Checkers for the Novice

A Logical Step-by-Step Guide

Richard Pask
Checkers for the Novice

A Logical Step-by-Step Guide

Richard Pask

M‫אבי גבלר ספרי‬

Avi Gobbler Publishing
Honolulu
 Copyright © 2018, 2019 Richard Pask
All rights reserved. No part of this book may be redistributed
or reproduced in any manner whatsoever without written per-
mission from the publisher except in the case of brief quotations
embedded in critical articles or reviews. Electronic redistri-
bution is explicitly prohibited. For further information
email the publisher:

bobnewell@[Link]
M‫אבי גבלר ספרי‬
Original print edition publication June, 2018
1st revision June, 2019
2nd revision August, 2020
Avi Gobbler Publishing
Honolulu, Hawai‘i
ISBN 978-1986847070
Cover Design: Bob Newell and Gail Baugniet.
Cover Photo: Checker Lesson, courtesy Robert Pask, 2018.
Rear Cover Photo: Grandmaster Richard Pask, courtesy Kath-
erine Pask, 2016.
Checker diagram font courtesy Jim Loy.
This book was typeset in LATEX Bookman and produced entirely
with a suite of free, open-source software running on Linux-
powered workstations. A PDF version of the book is available
free of charge at [Link].
Table of Contents
Publisher’s Introduction vii
Logical Checkers: Series Overview 1
Introduction to Logical Checkers Book 1 5
1 Lesson 1: Notation 7
2 Lesson 2: Rules 13
3 Simple Endgames 21
Lesson 3: 1 King v 1 King . . . . . . . . . . . . . . . . 21
Lesson 4: 2 Kings v 1 King . . . . . . . . . . . . . . . 25
Lesson 5: 3 Kings v 2 Kings (Double-Corner Focus) . 27
Lesson 6: 3 Kings v 2 Kings (Single-Corner Focus) . . 31
Lesson 7: 4 Kings v 3 Kings . . . . . . . . . . . . . . . 33
4 Basic Tactics 37
Lesson 8: 2 For 1 . . . . . . . . . . . . . . . . . . . . . 38
Lesson 9: 2 For 2 . . . . . . . . . . . . . . . . . . . . . 42
Lesson 10: 3 For 2 . . . . . . . . . . . . . . . . . . . . 46
Lesson 11: Rebound . . . . . . . . . . . . . . . . . . . 51
Lesson 12: In-and-Out or Back Shot . . . . . . . . . . 55
Lesson 13: Breeches . . . . . . . . . . . . . . . . . . . 59
Lesson 14: Fork . . . . . . . . . . . . . . . . . . . . . . 63
Lesson 15: Double-Corner Coup . . . . . . . . . . . . 67
5 Basic Strategy 71
Lesson 16: Centre and Side Moves . . . . . . . . . . . 72
Lesson 17: Single-Corner and Double-Corner . . . . . 74
Lesson 18: King-Row . . . . . . . . . . . . . . . . . . . 76
Lesson 19: Development . . . . . . . . . . . . . . . . . 78
Lesson 20: Avoiding Loose Ends . . . . . . . . . . . . 79
Lesson 21: The Opposition . . . . . . . . . . . . . . . 82
Lesson 22: Playing Against Backward Men . . . . . . 83
Lesson 23: First Position . . . . . . . . . . . . . . . . 85
Lesson 24: Second Position . . . . . . . . . . . . . . . 87
Lesson 25: One v Two Holds . . . . . . . . . . . . . . 88
Lesson 26: Piece-Down Situations . . . . . . . . . . . . 90
Lesson 27: Bridge Endgames . . . . . . . . . . . . . . 92
6 Freestyle Repertoire 95
With White . . . . . . . . . . . . . . . . . . . . . 95

v
vi Checkers for the Novice

Lesson 28: 11-15 23-19; 8-11 22-17; 4-8 Old 14th . . . . 96

Lesson 29: 11-15 23-19; 8-11 22-17; 11-16 Glasgow . . 99
Lesson 30: 11-15 23-19; 8-11 22-17; 9-13 Mixed . . . . 101
Lesson 31: 11-15 23-19; 8-11 22-17; 9-14 Souter . . . . 103
Lesson 32: 11-15 23-19; 8-11 22-17; 3-8 Alma . . . . . 105
Lesson 33: 11-15 23-19; 8-11 22-17; 15-18 Centre . . . 107
Lesson 34: 11-15 23-19; 9-14 27-23 Defiance . . . . . . 109
Lesson 35: 11-15 23-19; 7-11 27-23; 9-14 7-11 Defiance 111
Lesson 36: 11-15 23-19; 9-13 Will O’ The Wisp . . . . 113
Lesson 37: 9-14 22-18; 5-9 24-19 . . . . . . . . . . . . 116
Lesson 38: 11-16 24-19; 8-11 22-18 . . . . . . . . . . . 120
Lesson 39: 10-15 21-17; 11-16 17-13 . . . . . . . . . . . 122
Lesson 40: 10-14 24-19; 6-10 22-17 . . . . . . . . . . . 125
Lesson 41: 12-16 24-20; 8-12 28-24 . . . . . . . . . . . 128
Lesson 42: 9-13 22-18; 12-16 24-20 . . . . . . . . . . . 130
With Black . . . . . . . . . . . . . . . . . . . . . 132
Lesson 43: 9-14 22-18; 5-9 25-22 . . . . . . . . . . . . 133
Lesson 44: 9-14 22-18; 5-9 24-19 . . . . . . . . . . . . 135
Lesson 45: 9-14 22-18; 5-9 24-20 . . . . . . . . . . . . 137
Lesson 46: 9-14 22-17; 11-15 25-22 Pioneer . . . . . . 138
Lesson 47: 9-14 24-20; 5-9 28-24 3-8 Ayrshire Lassie . 141
Lesson 48: 9-14 23-19; 11-15 22-17; 7-11 Whilter . . . 143
Lesson 49: 9-14 24-19; 11-15 22-18 9-14 Second Double-
Corner . . . . . . . . . . . . . . . . . . . . . . . . 146
Summary . . . . . . . . . . . . . . . . . . . . . . . . . 149
When Playing White . . . . . . . . . . . . . . . . 149
When Playing Black . . . . . . . . . . . . . . . . 150
7 Lesson 50: Elimination & Visualization 153
About the Author 157
Publisher’s Introduction
You’re new, or relatively so, to the game of checkers. You’d like
to become a decent player, and maybe even start down the road
to becoming an expert. You’re willing to work toward that goal
and you don’t easily give up.
If this is you, then this is your book.
We’re more than proud, and privileged beyond measure, to
present another of Grandmaster Richard Pask’s works on the
great game of checkers. Checkers for the Novice is the stand-
alone first volume of a series of instruction manuals intended to
take the new player from complete novice to advanced expert,
fully prepared for master-level studies.
We’ve decided to produce a print edition of Checkers for the
Novice as there is an utter lack of in-print, modern books of
instruction for the aspiring checker novice. Mr. Pask herein
presents a series of lessons that are lucid, clear, and thorough.
This is a primer that will stand the test of time and set the
standard for checkers instruction.
While there won’t be separate print editions of succeeding books
in the Logical Checkers series, all of them will be available as
no-cost ebooks, and, at the end of the series, we contemplate
publication of a comprehensive, omnibus print edition.
Checkers for the Novice does not promise an “easy” or “magic”
approach, and the student will get out of the book what he or
she puts into it. But for those who truly wish to perform com-
petently at the checkerboard, this book, combined with diligent
application and practice, will ensure that such a worthy goal is
reached.
Bob Newell
Editor and Publisher
Honolulu, Hawai‘i
June, 2018

vii
Logical Checkers: Series Overview
Checkers is a splendid game, possibly the marvel of
games of pure skill.—Al Horowitz1

Checkers is easy. Everybody knows that. Well it’s easy to

learn the rules at least: most people can pick them up in about
5 minutes. Unfortunately, for most people that’s about as far
as they get. Actually, there is a second game: the one hidden
beneath the surface. This second game, the true game, has
around 10 distinct levels of play. They look like this:
Level 1: Basic novice (90% of the playing population)
Level 2: Advanced novice (9% of the playing population)
Level 3: Expert 1
Level 4: Expert 2
Level 5: Expert 3
Level 6: Expert 4
Level 7: Master 1
Level 8: Master 2
Level 9: Grandmaster 1
Level 10: Grandmaster 2
And tipping into the next level we have the likes of Dr. Marion
Tinsley and Chinook.
Complete Checkers, written by myself and published by Bob
Newell, contains 2200 master and grandmaster games, and is
aimed at the small minority of players in the top four levels. It
is basically a work of reference rather than instruction.
Logical Checkers serves both as a stand-alone work for the player
whose aspirations do not extend beyond the expert level, and
as a prequel to Complete Checkers for those who wish to go
further. Its focus is on how to play, and on how to play well.
1
The Personality of Chess, I. A. Horowitz and P. L. Rothenberg.

1
2 Checkers for the Novice

Book 1 is purely for the novice, covering levels 1 and 2. Master

its contents and you may consider yourself a fledgling expert,
able to defeat 99% of the playing population. And this is where
the real fun, challenge and fulfilment begins.
Books 2 through 5, pitched at levels 3 through 6, each con-
tain sections on the opening, midgame and endgame. Broadly
speaking, each time a section is revisited, the material becomes
more difficult and/or specialized.
For the reader unfamiliar with the organized game, a brief word
about opening conventions is in order. From 1756, when the
first book in English on the game was published, until around
1900, checkers was entirely freestyle: the players having com-
plete freedom of choice over their opening moves. This of course
is how 99% of people still play today. In order to broaden the
scope of the game for serious devotees2 , between 1900 and 1930
the first two moves were randomly balloted, with both sides of
the ballot being played in a sitting for fairness. From 1930 on-
wards this was extended to the first three moves, the so-called
3-move restriction (156 ballots), and is the system which is still
pre-eminent.
Therefore, partly for convenience, and partly because it’s the
natural approach, I have labelled Books 2, 3, 4 and 5 as follows:
Book 2: Freestyle Expert
Book 3: 2-Move Expert
Book 4: 3-Move Expert (Balanced Ballots)
Book 5: 3-Move Expert (Unbalanced Ballots)
Thus the section on the opening in Book 2 contains play on
those 3-move ballots which typically arose during the freestyle
era, in Book 3 those from the 2-move era and in Books 4 and 5
from the 3-move era. Not only is a sound, practical repertoire
outlined but, importantly, the reasoning behind the key moves
2
This is not to in any way decry freestyle checkers: world championship
matches played in the modern era have brought forth approximately the
same percentage of wins at freestyle (18%) as at 3-move (22%).
Richard Pask 3

is explained.
Don’t believe the uninformed who wrongly claim checkers to be
a game of memory. It is a game of immense skill: a perfect blend
of strategy and tactics. Moreover, for practical purposes it has
limitless scope. Most importantly, once you have developed a
certain level of understanding3 , you will see that it possesses
immense beauty.
I leave the final word to the game’s greatest ever exponent:

Checkers is fundamentally a test of what you can see,

rather than what you can remember.—Dr. Marion
Tinsley

Richard Pask
Weymouth, Dorset, England

3
When a lay person says, ‘I can’t see anything in checkers’, they are
simply speaking the literal truth. They can’t. It doesn’t mean however
that there is nothing there to see.
Introduction to Logical Checkers Book 1
This book has two purposes. First, to serve as a stand-alone
guide for the novice. Secondly, to provide the foundation for
Books 2, 3, 4 and 5.
It seems to me that any good introductory book should include
a clear and thorough explanation of the following four elements:
the standard system of notation, the rules, all-king endgames
and the main tactical devices. Chapters 1 to 4 provide this.
Unfortunately, most books then leap from this elementary stage
to a highly advanced one, with nothing to bridge the gap4 . In
this respect Chapter 5 is pivotal, as it summarizes the strategy
underpinning the opening, early midgame, late midgame and
endgame without bombarding the reader with unnecessary de-
tails. At the same time, a number of classic endgame situations
are addressed: First Position [sic], Second Position [sic] and
Payne’s Single-Corner Draw5 .
On the presumption that the reader will start by playing free-
style checkers, moving on to 2-move and 3-move only when
ready, Chapter 6 has been written to provide a highly reliable
and practical freestyle repertoire. The 22 opening and early
midgame sequences represent an easy-to-learn way of handling
both the black and white pieces and, crucially and unusually,
are accompanied by a detailed commentary. Rounding things
off, Chapter 7 addresses the key skills of elimination and visu-
alization.
A question commonly asked is: Can anyone become a skilful
checker player? My answer is that anyone of average intelligence
who is willing to apply themselves should be able to master the
contents of Logical Checkers Book 1. Combining this work with
regular crossboard6 play against a reasonable level of opposition,
4
Arthur Reisman’s Checkers Made Easy is a glorious exception.
5
A situation has certain defining features which may embrace several
thousand different positions. A position is specific. This is very important
when trying to understand what makes a given situation tick.
6
The term ‘crossboard’ has two meanings. First, to play an opponent

5
6 Checkers for the Novice

be it human, computer or both,7 will comfortably secure a spot

in the top 1% of the playing population.
In closing, I would say:

• Adopt an intellectual approach to the game.

• Play hard.

• Play on the square.

• Enjoy yourself!

Win, lose or draw, checkers is a truly wonderful game.

Richard Pask

across the board (as opposed to in the now defunct correspondence form),
and secondly, to play in an extemporized fashion rather than from memory.
7
The following three websites are invaluable: the American Checker
Federation (ACF); the English Draughts Association (EDA); the Checker
Maven (Bob Newell).
Chapter 1

Lesson 1: Notation

Notation
As a first step, it is necessary to become familiar with the lan-
guage of the game.

Diagram 1: The Starting Position

QRRRRRRRRS
TEA1EA2EA3EA4U
TA5EA6EA7EA8EU
TEA9EA!0EA!1EA!2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
TB@1EB@2EB@3EB@4EU
TEB@5EB@6EB@7EB@8U
TB@9EB#0EB#1EB#2EU
VWWWWWWWWX
Black to Play

As you can see in Diagram 1, the board is numbered from 1

to 32, with the black men occupying squares 1 to 12 at the
start and the white men squares 21 to 32. Although in practice
the black squares are used, for greater clarity the pieces are
shown on the white squares1 , and throughout this work the
1
Actually, at least five books have portrayed the pieces on the black

7
8 Checkers for the Novice

white pieces will be shown moving up the board.

The system used is simplicity itself:2 a move is recorded by
means of two numbers separated by a hyphen, the numbers
representing the squares on which a particular piece starts and
finishes. Once in a while, to avoid ambiguity, it is necessary to
record three numbers. A semi-colon is given after each white
move. Needless to say the numbers have no mathematical sig-
nificance whatsoever.
Easily the best way to become fluent is to buy an inexpensive
board and number each of the playing squares. In fact, it’s a
good idea to write each number twice, enabling easy recogni-
tion whether you are handling the black or white pieces.3 The
experience of thousands of players is that within a matter of
weeks the numbers become second nature, at which point the
numbered board can be handed on to a newcomer.
The final thing needed is a few annotation symbols:

! Good move.

!! Brilliant move.

? Bad move.

?? Blunder.
squares both clearly and attractively: The Mysteries of Dama (D’Orio),
Championship Chess and Checkers for All (Evans and Wiswell), Top-Notch
Checkers (Reinfeld), The Compleat Draughts Player (Chernev) and How to
Play Checkers (Pask). Additionally, in the past games were often played on
the white squares. (Sound economics: wear out the light squares first and
then move on to the dark squares!) The critical point is that the bottom
left-hand corner has to be a playing square.
2
Edward Lasker, the renowned chess player and writer, expressed a dim
view of the system, but I think he was mistaken. For example, the algebraic
system which makes so much sense in chess, would here refer to 32 non-
playing squares. Profligate indeed. Also, the diagonal system championed
by Derek Oldbury in his Move Over, like the descriptive chess notation,
has the disadvantage of a dual black and white perspective. Tellingly, no
other system has ever caught on.
3
Numbered boards are rarely used in official events.
Richard Pask 9

!? Interesting move.

?! Dubious move.

To check that all is clear, play through the following classic

game. It’s the one which clinched the man-machine world cham-
pionship for Dr. Marion Tinsley in 1992, his opponent being the
mighty computer program Chinook. Don’t worry about the
whys and wherefores at the moment: just make the moves on
your numbered board.
Black: Dr. Marion Tinsley
White: Chinook.
10-14 22-18; 12-16 (At this critical stage of the match Dr. Tins-
ley was hoping for one of the quieter 3-move ballots, but wound
up playing the weak side of one of the toughest!) 24-20; 16-19!
23-16; 14-23 26-19; 8-12 25-22; 6-10 29-25; 11-15 30-26; 15-24
28-19; 4-8 22-18; 8-11 18-15?; 11-18 26-22; 10-15 19-10; 12-19 22-
15; 7-14 27-23?; 19-26 31-22; 9-13 and you should have arrived
at the position in Diagram 2.

Diagram 2
QRRRRRRRRS
TEA1EA2EA3E 4U
TA5E 6E 7E 8EU
TE 9E !0E !1E !2U
TA!3EA!4EB!5E !6EU
TE !7E !8E !9EB@0U
TB@1EB@2E @3E @4EU
TEB@5E @6E @7E @8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play

Continue from Diagram 2: … 20-16; 2-6 15-11; 6-10 32-27; 10-15

27-24; 14-18 16-12; 18-23 11-8; 23-27 8-4; 27-32 4-8; 1-6! 8-11;
10 Checkers for the Novice

6-10! 11-18; 10-14 18-9; 5-14 22-18; 14-23 25-22; 23-26 24-20;
32-27 22-18; 27-23 18-14; 23-18 14-9; 26-31 9-5; 31-27. Black
wins.4
If you have played through the game correctly, the final position
will look like Diagram 3.

Diagram 3: The Final Position

QRRRRRRRRS
TE 1E 2EA3E 4U
TB5E 6E 7E 8EU
TE 9E !0E !1EB!2U
TA!3E !4E !5E !6EU
TE !7EC!8E !9EB@0U
TB@1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Chinook, White, resigns!

The Playing Equipment

Although this work follows tradition in referring to the play-
ers as ‘Black’ and ‘White’, in most official competitions a green
and buff board is used in combination with red and white pieces.
This is simply because it is much easier on the eyes. The official
dimensions are also worth noting. The board features squares
ranging between 1-¾ (44mm) and 2 inches (51mm) and pieces
ranging between 1-¼ (32mm) and 1-½ (38mm) inches in diam-
eter. In addition, it is essential that the pieces stack securely
and are sufficiently thick to be picked up easily.

4
In this work the term ‘Black/White wins’ serves two purposes: that
Black/White has won the game because the opponent has no legal move
remaining; that Black/White will win the game in due course assuming
correct play.
Richard Pask 11

A few general observations are worth noting:

• It is far more enjoyable playing with decent equipment

than the shoddy variety and it also shows the game in a
good light. In particular, the black and red monstrosities
so popular with toy manufacturers should be avoided like
the plague. Inexpensive, high-quality official boards and
pieces can be purchased from the ACF website.

• Although the official colours are to be recommended, it

must be conceded that they have no scientific basis and
that many other combinations are visually equally attrac-
tive.

• Whatever set you purchase however, ensure that the col-

ours don’t induce eye strain and that the dimensions are
correct. Pieces which are too small relative to the squares
will appear ‘lost’, while those which are relatively too big
will create an overcrowded appearance.
Chapter 2

Lesson 2: Rules

Introduction
Knowing the rules thoroughly is of course essential in any sport
or mind sport, but it is surprising how many players fail to take
the trouble to do this. Make sure you are not one of them.
When the EDA Handbook was published in 1991, the centrepiece
was an updated set of rules. Working independently on this
project, Ken Lovell and I produced very similar first drafts.1 In
blending these together, I had four main objectives:

• To frame the rules in clear English.

• To ensure they were consistent.

• To keep them concise.

• To avoid introducing tournament regulations.

The finished product has barely been amended in the interven-

ing years and may thus be considered a success. Three general
points are worth making:
1
Later it transpired that J Gillies had skilfully undertaken a similar task
in The New Draughts World of 1937.

13
14 Checkers for the Novice

• The rules principally exist to enable the game to run

smoothly on the assumption of reasonable compliance, not
to address gamesmanship or cheating.

• The rules do not, and are not intended to, cover every
possible eventuality, Rule 22 serving as a catch-all.

• In an official tournament, the referee, supported by a play-

ing committee, is appointed to deal with disputes on the
rare occasions when they arise, their decisions being final
and binding.

The Rules of Checkers

Checker Board and Men

1. The checker board is square in shape and is divided into 64

squares of equal size, alternately light and dark in colour.
(Technically called black and white.)

2. The board is arranged between the two players with a

black square in the bottom left-hand corner.2

3. The game is played on the black squares, which for refer-

ence purposes are numbered from 1 to 32.

4. Each player starts with 12 discs, or ‘men’, all of equal size.

One player has dark-coloured men (called Black) and the
other has light-coloured men (called White). The colours
of the men must make a distinct contrast with the colours
of the squares of the board.

5. At the start of the game the black men occupy squares 1

to 12, and the white men squares 21 to 32.

2
This is the same as in chess.
Richard Pask 15

Order of Play

6. Before the start of the first game there is a coin toss, the
winner of the toss choosing colours. In subsequent games
the players alternate colours.3

7. The first move in each game is played by the player with

the black men. Thereafter, the moves are made by each
player in turn.

The Moves

8. There are four types of move: the ordinary move of a man,

the ordinary move of a king, the jumping move of a man
and the jumping move of a king.

Ordinary Move of a Man

9. This is its transfer diagonally forward, left or right, from

one square to an immediately neighbouring vacant square.

10. When a man reaches the farthest row forward (the king-
row) it becomes a king, and the player’s move terminates.
The man is crowned by the opponent, who places a man
of the same colour on top of it before making his4 own
move, borrowing a man from another set if necessary.5

3
This assumes that the style of play is freestyle. Under the 3-move
restriction, because many of the ballots favour one colour over the other, a
player who was Black in the first game would be White, White and Black
in the second, third and fourth games respectively.
4
Purely as a matter of convention, male pronouns are used throughout
this book.
5
A modern trend is for players to crown their own men— reaching across
their opponent to do so. However, the rules are explicit on this point.
16 Checkers for the Novice

Ordinary Move of a King

11. This is its transfer diagonally forward or backward, left

or right, from one square to an immediately neighbouring
vacant square.

Jumping Move of a Man

12. This is its transfer from one square, over a diagonally

adjacent and forward square occupied by an opponent’s
piece (man or king), on to a vacant square immediately
beyond it. On completion of the jump, the jumped piece
is removed from the board.

Jumping Move of a King

13. This is similar to that of a man, but may be in a forward

or backward direction.

Jumping in General

14. If a jump creates an immediate further jumping opportu-

nity, then the jumping move of a piece is continued until
all the jumps are completed. The only exception is that if
a man reaches the king-row by means of a jumping move
it becomes a king, and the player’s move terminates. At
the end of the jumping sequence, all jumped pieces are
removed from the board in the order in which they were
jumped.

15. During a jumping sequence the same piece may only be

jumped once.6
6
This addresses the fear expressed by Charles Walker that a multiple
jumping sequence which started and finished on the same square might
never end!
Richard Pask 17

16. All jumping moves are compulsory, whether offered ac-

tively or passively. If there are two or more ways to jump,
a player may select any one he wishes, not necessarily that
which gains the most pieces.7

Touching the Pieces

17. Either player, on intimating his intention to his opponent,

is entitled to adjust his own or his opponent’s pieces prop-
erly on their squares at any time during the game.

18. Unless he has given an adjustment warning, if a player on

his turn to move touches a movable piece he must move
that piece.8

19. If any part of a movable piece is moved over a corner of

the square on which it is stationed, the move must be
completed in that direction.

False, Improper or Illegal Moves

20. A player making a false, improper or illegal move shall be

cautioned for the first offence, and the move immediately
recalled. A second false, improper or illegal move during
the course of the same game shall result in forfeiture. This
applies if, for example,9 a player:
7
This rule is the one most misunderstood by the general public. Without
this compulsion, the game becomes a total farce. It’s also worth noting that
even in the days of huffing, a player had the power to compel his opponent
to jump if he so wished.
8
It is a source of surprise to the uninitiated that ‘touch and move’ applies
with the same force in checkers as in chess.
9
Three points here. First, in serious play these occurrences are incredibly
rare. Secondly, it is taken as read that all of them are unintentional. And
finally, should one of these infringements be overlooked by the opponent
and not discovered until later in the game, the offended party may insist
that his opponent be cautioned for the offence and the game replayed from
the point prior to the infringement.
18 Checkers for the Novice

20.1. Omits to jump or complete a multiple jump.

20.2. On his turn to move, touches a piece which is not
movable.
20.3. At any point touches one of his opponent’s pieces
(other than crowning a king) without giving an ad-
justment warning.
20.4. Moves a piece, either in an ordinary move or a jump-
ing move, on to a wrong square.
20.5. Moves a man backwards.
20.6. When jumping, removes an opponent’s piece or pieces
which have not been jumped.
20.7. When jumping, removes one or more of his own pieces.
20.8. Continues a jumping move through the king-row with
a man.
20.9. Moves a piece when it is not his turn.
20.10. Moves a piece before crowning an opponent’s man.

21. If any of the pieces are accidentally displaced by the play-

ers, or through any cause outside their control, they are
replaced without penalty and the game continued.
22. A player who refuses to adhere to the rules shall immedi-
ately forfeit the game.

Result of the Game

23. There are two states to define: the win and the draw.

Definition of a Win

24. The game is won by the player who makes the last move.
That is, no move is available to the opponent when it is
his turn, either because all his pieces have been jumped
or his remaining pieces are all blocked.10
10
In chess stalemate is a draw.
Richard Pask 19

25. A player also wins if his opponent resigns at any point or

forfeits the game by contravening the rules.

Definition of a Draw

26. The game is drawn if, at any stage, both players agree on
such a result.

27. 40-move rule. The game shall be declared drawn if a

player can demonstrate that both the following conditions
hold: neither player has advanced a man towards the king-
row during the previous 40 moves and no pieces have been
removed from the board during the previous 40 moves.11
(For the purposes of this rule, a move shall be said to
consist of one black move and one white move.)

28. Repetition of position. A draw shall be declared if a player

can demonstrate that with his next move he would create
the same position for the third time during the game.

11
I strongly disagree with the current rule, which originally stood at 50
moves, as it allows the winning side insufficient scope for probing the posi-
tion or making minor inaccuracies. It also encourages players to continue
in hopeless situations such as 3 kings against 4 rather than resigning grace-
fully. Granted that for practical purposes there has to be a numerical limit,
even though it could deny a player a difficult technical win, I consider 50
moves rather than 40 to be the best compromise.
Chapter 3

Simple Endgames

Lesson 3: 1 King v 1 King

Let’s start in the simplest way possible by looking at an empty
board, as its major diagonals play a significant strategic role.

Diagram 4
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
The Double-Corner and Single-Corner Diagonals

The two diagonals running from square 1 to square 28 and

square 5 to square 32 respectively, are known as the double-
corner diagonals. They connect Black’s double-corner (squares
1, 5, 6 and 9) with White’s double-corner (squares 24, 27, 28
and 32).
The long diagonal running from square 4 to square 29 is known

21
22 Checkers for the Novice

as the single-corner diagonal; squares 4, 8, 11 and 12 comprising

Black’s single-corner and squares 21, 22, 25 and 29 comprising
White’s single-corner.
Now look at Diagram 5. Black is pinned on the side of the
board and just two moves away from oblivion.
Diagram 5
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2ED@3E @4EU
TE @5E @6E @7E @8U
T @9E #0EC#1E #2EU
VWWWWWWWWX
Black to Play, White Wins

Continue from Diagram 5: 31-27 (Or 31-26 23-30) 23-32. White

wins.
The previous position might well have been derived from Dia-
gram 6.
Diagram 6
QRRRRRRRRS
TE 1E 2E 3ED4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
TC@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win
Richard Pask 23

Continue from Diagram 6: … 4-8; 29-25; 8-11!; 25-22 11-15!;

22-26 (Black is forced to give ground because White possesses
what is known as the opposition. Note that 22-17 fares no
better) 15-18; 26-31 (Or 26-30 18-22) 18-23. White wins.
Although Black lost, he employed the best available strategy:
that of striving to reach the sanctuary of the double-corner
diagonals. Naturally White prevented this, and if you examine
the two moves with exclamation marks you will discover that
they are essential: the other available moves permitting draws.
The reason why the double-corner diagonals, and in due course
the double-corners themselves, provide this sanctuary is given
in Diagram 7.

Diagram 7
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2ED@3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1EC#2EU
VWWWWWWWWX
Black to Play and Draw

Continue from Diagram 7: 32-28, 23-27; 28-32 27-24 (Or 27-23

or 27-31); 32-28 24-27 etc … A see-saw draw.
In passing, you will note that White again has the opposition,
but that in this position it confers no advantage. Actually that’s
not strictly true, as in a 1 king v 1 king situation possession of
the opposition means it’s impossible to lose! The relevance of
this is brought out in Diagram 8, a parent position, where Black
has to employ care to secure the draw.
24 Checkers for the Novice

Diagram 8
QRRRRRRRRS
TE 1E 2E 3E 4U
TD5E 6E 7E 8EU
TE 9E !0E !1EC!2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play, Black Draws

Continue from Diagram 8: … 5-9; 12-16! 9-14; 16-19 (16-20 is

also okay, but both 16-11? and 16-12? lose) 14-18; 19-24! 18-
23; 24-28! 23-27; 28-32 27-23 (Or 27-24 or 27-31) and we have
reached Diagram 7. Drawn.
Simple as they may be, before proceeding it’s well worth playing
through Diagrams 6 and 8 several times, examining all the pos-
sible alternative moves, in order to firmly embed the underlying
principles.
Incidentally, not only is the situation portrayed in Diagram 7 a
dead draw, but so is that in Diagram 9.
Richard Pask 25

Diagram 9
QRRRRRRRRS
TED1E 2ED3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9EC#0E #1EC#2EU
VWWWWWWWWX
Either Side to Play and Offer a Draw

I must first point out that there is no significance in the specific

location of the kings here. Diagram 9 is simply representative of
any open all-king endgame situation where the forces are equal,
and could apply equally to 3 kings v 3 kings, 4 kings v 4 kings
or 5 kings v 5 kings. What matters is that from a scientific
viewpoint the position is ‘dead’: there is no play remaining and
no point in continuing. Ironically, it was in precisely such a
situation that Edgar Allan Poe, in his famous discourse on the
game in The Murders in the Rue Morgue, claimed that a win
might be obtained through ‘a strong exertion of the intellect.’
I’m afraid not.
Lesson 4: 2 Kings v 1 King
However, in an open all-king situation where there is a material
imbalance, the side with the king majority has a forced win at
hand. In the case of 2 kings v 1, the strategy employed is as
follows: the lone king strives to access one of the double-corners;
the two kings pursue it there, force it out and pin it on the side
of the board. Diagram 10 is representative.
26 Checkers for the Novice

Diagram 10
QRRRRRRRRS
TE 1E 2E 3E 4U
TD5ED6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4EC!5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 10: … 5-9; 15-19 (15-18 comes to the

same thing, while 15-11 just hastens the end) 6-10; 19-24 (The
same comments apply to 19-23 and 19-16) 10-15 (There is no
need to memorize specific moves, just the general strategy);
24-28 (Once again, 24-27 is essentially the same; 24-20 loses
quickly) 15-19; 28-32 9-14; 32-28 14-18; 28-32 18-23; 32-28 23-
27; 28-32 19-23!; 32-28 27-32! (Entering the double-corner and
forcing Black out); 28-24 32-28; 24-20 23-18!; 20-16 18-15; 16-20
15-11! White wins.
Of course in specific, atypical positions, generalized statements
don’t apply, Diagram 11 being one of them. Here, the inherent
restrictiveness of the single-corner zone allows 1 king to draw
against 2.
Richard Pask 27

Diagram 11
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
TC@9EC#0E #1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 11: … 18-22!; 30-25 22-26 (Or 22-17);

25-30 (Note that 25-22 26-17; 29-25 has no real merit as White
can escape to the double-corner) 26-22 etc … Drawn by a see-saw
operation.
Lesson 5: 3 Kings v 2 Kings (Double-Corner Focus)
Because two kings are needed to oust and corral a single king
when it occupies one of the double-corners, many beginners are
under the impression that the situation portrayed in Diagram
12 is a draw. Actually, by constantly threatening and eventually
forcing a simple exchange (a one for one), the situation can be
easily reduced to that of Diagram 10. Easy when you know how
that is! Naturally the correct strategy for the losing side is to
make this as difficult as possible, and against a player unfamiliar
with the winning technique a draw may well be obtained under
Rule 27.
28 Checkers for the Novice

Diagram 12
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TEC9ED!0E !1E !2U
T !3E !4ED!5E !6EU
TE !7E !8ED!9E @0U
T @1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 12: … 15-18; 9-5 (The situation being

symmetrical, the reader will observe that 27-32 is in effect the
same. Of course 9-13 loses quickly by 10-14) 10-6; 27-32 (5-1
would allow a simple exchange with 18-15) 19-23 (This threat-
ens the 6-9 exchange); 5-1 (Or else!) 6-9; 32-28 (Against 1-5
White replies with 9-14 with the threat of two simple exchanges
on his next move) 23-27 (This line-up, rather than the individ-
ual moves, is what you need to commit to memory); 1-5 (Or
28-32) 27-23; 5-14 18-9. White wins.
When defending an endgame, it is generally good policy, where
possible, to keep your kings together. Separated, the tactical
possibilities are very limited, together there are many. Black
has achieved this goal in Diagram 13, and is therefore able to
put up the stoutest defence, but naturally still loses against the
best play.
Richard Pask 29

Diagram 13
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8ED!9ED@0U
T @1E @2E @3E @4EU
TE @5E @6EC@7EC@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 13: … 19-23! (Widely criticized in many

beginner’s books, 18-15 being the usual approach, but is actu-
ally simplest and best); 28-32 (27-32 is suicidal, while 27-31
allows White to exchange with 23-27) 20-16!; 27-31 (Against 27-
24 White replies with 18-15! After this, he effects an exchange
with 16-11 against 24-27, does the same with 23-18 against 24-
20 and confiscates the black king on square 24 with 16-20 should
Black play 32-28) 16-11!; 32-28 (If 31-27 White exchanges with
18-15) 11-15!; 28-32 23-26; 31-22 18-25. White wins.
Two other smart ways of bringing matters to a winning conclu-
sion are shown in Diagrams 14 and 15.
30 Checkers for the Novice

Diagram 14
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5ED!6EU
TE !7E !8E !9ED@0U
T @1E @2E @3E @4EU
TE @5E @6EC@7ED@8U
T @9E #0E #1EC#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 14: … 16-19! (Offering Black what is

known as a 2 for 1); 27-31 (27-24 20-27; 32-16 28-24 and White
wins with the opposition) 20-24!; 32-27 (Against 31-26 White
exchanges with 19-23) 28-32! (24-20?? permits a draw with
27-24); 27-20 19-24; 20-27 32-23. White wins.

Diagram 15
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8ED!9EC@0U
T @1E @2ED@3E @4EU
TE @5E @6ED@7EC@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 15: … 23-26!; (Getting ready) 28-32 27-

24! (Throwing a piece like this is called a pitch); 20-27 26-31!
(Trapping the black king). White wins.
Richard Pask 31

Lesson 6: 3 Kings v 2 Kings (Single-Corner Focus)

In Diagram 16 Black has again succeeded in coordinating his
kings, but this time in the single-corner zone. Just when he
thinks he’s safe, a neat pitch clinches matters for White.

Diagram 16
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
TD!3ED!4ED!5E !6EU
TE !7E !8E !9E @0U
TC@1EC@2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 16: … 15-10; 21-25 14-17; 22-26 17-21;

25-22 10-14; 26-23 14-17; 23-26 (22-18 allows White to win with
both 17-14 and 17-22) 21-25!; 22-29 17-22; 26-17 13-22. White
wins.
Diagrams 17 and 18 feature two quick finishes which are worth
being aware of.
32 Checkers for the Novice

Diagram 17
QRRRRRRRRS
TE 1E 2E 3E 4U
TD5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8E !9E @0U
T @1ED@2E @3E @4EU
TEC@5E @6E @7E @8U
TC@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 17: … 18-14! (Of course. Remember,

having obtained a winning position the goal is to win as effi-
ciently as possible); 25-9 5-14; 29-25 14-18. White wins.

Diagram 18
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4ED!5E !6EU
TE !7ED!8E !9E @0U
T @1ED@2E @3E @4EU
TE @5E @6E @7E @8U
TC@9EC#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 18: … 15-11! (Getting into position);

30-25 18-15; 25-18 15-22. White wins.
To conclude this lesson, let’s look at two positions in which 2
kings can draw against 3. They both represent an extension of
Diagram 11.
Richard Pask 33

Diagram 19
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8E !9E @0U
TC@1E @2ED@3E @4EU
TE @5E @6E @7E @8U
TC@9EC#0E #1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 19: … 18-22; 30-25 23-18; 25-30 (21-17

22-13; 25-22 18-25; 29-22 achieves nothing) 18-23 … Drawn.

Diagram 20
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8E !9E @0U
T @1E @2ED@3E @4EU
TE @5E @6E @7E @8U
TC@9EC#0EC#1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 20: … 18-22; 30-25 23-18; 25-30 18-23;

30-25 23-18; 31-27 (Trying something different) 22-26; 25-21
26-22; 27-32 18-23; 32-28 23-27. Drawn.
Lesson 7: 4 Kings v 3 Kings
Here there are a number of possible configurations, but the
two major ones are where two of the defending kings are in one
34 Checkers for the Novice

double-corner while one is in the other (Diagram 21); and where

the three defending kings are combined (Diagram 22).

Diagram 21
QRRRRRRRRS
TEC1E 2E 3E 4U
T 5E 6E 7E 8EU
TED9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8ED!9ED@0U
T @1E @2E @3E @4EU
TE @5E @6EC@7EC@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 21: … 18-15 (Threatening to exchange

with 9-6); 1-5 (Moving out of the way) 9-6; 28-32 15-10; 32-28
(5-1 would permit the exchange with 10-15) 6-1; 28-32 (Against
5-9 White retorts with 19-23!; 27-18 10-14 – an imaginative
way of cutting down the pieces) 10-14 (Locking the king up
completely); 32-28 20-16 (All of White’s moves are now directed
at forcing a simple exchange, and there is nothing Black can do
to prevent it); 27-24 19-15; 24-27 16-11; 27-23 15-10; 28-24 11-7;
23-27 14-9; 5-14 10-17 and the situation has been reduced to 3
kings against 2. White wins.
In Diagram 22 the attacker, here White, employs the normal
strategy of forcing the defending kings to the edge of the board
where they have least mobility, then forcing an exchange to
reduce the situation to a simpler state. This applies with equal
force in a 5 kings v 4 kings situation or even a 6 kings v 5 kings
situation (Heaven help us!). Better still however, would be to
not let your opponent get so many kings in the first place. So
be ultra-alert when such a situation is in the offing, and take
every measure to minimize counterplay.
Richard Pask 35

Diagram 22
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8ED!9ED@0U
TD@1ED@2E @3E @4EU
TE @5E @6EC@7EC@8U
T @9EC#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 22: … 21-17 (Leaving the king on square

22 where it has a key role to play); 27-31 (28-32 19-24; 27-31
24-28 loses more quickly) 20-24; 28-32 24-28; 31-27 19-16; 27-31
16-20; 31-27 22-26! (A classic pitch); 30-23 28-24!; 27-31 24-27
31-24 20-18. White wins.
By this stage you won’t be surprised to learn that there are
certain unusual positions in which 3 kings can draw against 4.
Diagrams 23 and 24 portray two of these. Naturally when you
have the 3 kings you will seek these refuges; when you have the
4 kings you try to avoid them.

Diagram 23
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7ED!8ED!9EC@0U
T @1ED@2E @3E @4EU
TE @5E @6E @7EC@8U
T @9E #0EC#1EC#2EU
VWWWWWWWWX
White to Play and Draw
36 Checkers for the Novice

Continue from Diagram 23: … 18-23; 20-24 19-15; 31-27 22-18;

24-20 15-19 … Drawn.
Diagram 24
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4ED!5E !6EU
TE !7E !8E !9EC@0U
TC@1ED@2ED@3E @4EU
TE @5E @6E @7EC@8U
T @9E #0E #1EC#2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 24: … 15-19; 20-24 19-15; 24-27 23-19;

27-31 19-23; 28-24 23-19; 24-27 15-11! (You should work out
why 15-18?? is a disaster); 32-28 11-15; 27-24 19-23; 24-20 15-
19; 28-32 23-18; 31-27 18-15; 32-28 15-18; 27-32 18-23. Drawn.
Chapter 4

Basic Tactics

In a free and open position, the gain of a single piece

is enough to ensure a won game.—Derek Oldbury

Introduction
The eight devices featured in this chapter represent the basic
tricks of the trade. When an expert faces a novice he typically
employs one or more of these to get a piece or two ahead, and
then executes a series of judicious exchanges to quickly reduce
matters to one of the endgames dealt with in Chapter 3.
Of course between experts simple tactics play a different role,
though still an important one. Here, through a combination of
direct threats (‘Do something about this or else’) and indirect
threats (‘You can’t go there because’) they serve to force the
play along desired paths. There is no expectation of a coup.
The advanced tactical devices featured in Books 2 through 5 are
a different matter entirely however, being underpinned by their
own principles and requiring separate treatment. Their subtlety
and complexity has baffled even the greatest players for, unlike
here where the coup is typically preceded by a blunder, the
losing move is often deeply appealing. In other words, they are
bona fide traps!
For now it’s sufficient to know that, although at the higher
levels tactics are generally subservient to strategy, they are al-
37
38 Checkers for the Novice

ways there ready to bite! They keep a player honest and single-
handedly preclude the application of any ‘system’ to defeat the
game.
The examples which follow are just a tiny selection from bil-
lions of possibilities. Try devising your own settings, This is an
excellent way to fix the ideas in your mind.
Lesson 8: 2 For 1
You give up one man (The word ‘sacrifice’ is inappropriate here
as the return is immediate) and get two back.

Diagram 25
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TEA9EA!0EA!1E !2U
T !3E !4E !5E !6EU
TEB!7EB!8E !9E @0U
TB@1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 25: … 17-14!; 10-17 21-5. White wins.

Richard Pask 39

Diagram 26
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3EA!4EA!5EA!6EU
TE !7E !8E !9E @0U
T @1E @2EB@3EB@4EU
TE @5E @6E @7EB@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 26: … 24-19!; 15-24 28-12. White wins.

Diagram 27
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TEA!7EA!8E !9E @0U
T @1E @2E @3E @4EU
TEB@5E @6E @7E @8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 27: … 25-22!; 18-25 (Or 17-26) 30-14.

White wins.
40 Checkers for the Novice

Diagram 28
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7EA!8E !9EA@0U
T @1E @2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 28: … 27-24!; 20-27 32-14. White wins.

Diagram 29
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7EA!8E !9E @0U
T @1E @2EA@3E @4EU
TE @5EA@6EB@7E @8U
T @9EB#0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 29: … 32-28!; 23-32 30-14. White wins.

Richard Pask 41

Diagram 30
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
TA!3E !4EA!5E !6EU
TE !7EA!8E !9E @0U
T @1EB@2EA@3E @4EU
TEB@5E @6EB@7E @8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 30: … 25-21!; 18-25 27-11. White wins.

Diagram 31
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5EA6E 7E 8EU
TE 9E !0ED!1E !2U
T !3E !4EB!5E !6EU
TE !7E !8E !9E @0U
T @1E @2EC@3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 31: … 15-10!; 6-15 11-27. White wins.

42 Checkers for the Novice

Diagram 32
QRRRRRRRRS
TEA1ED2E 3E 4U
T 5E 6ED7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7EC!8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 32: … 2-6!; 1-10 7-23. White wins.

Lesson 9: 2 For 2
These examples show that, when the conditions are right, you
can win on position by giving up two pieces to gain two. Some-
times the two pieces are given up together, sometimes sepa-
rately.

Diagram 33
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5E 6E 7E 8EU
TE 9E !0E !1EA!2U
T !3E !4E !5E !6EU
TEA!7E !8E !9EB@0U
T @1E @2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0EB#1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 33: … 20-16!; 12-19 27-23; 19-26 31-13.

White wins.
Richard Pask 43

Diagram 34
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3EA!4E !5E !6EU
TE !7EA!8E !9EA@0U
TB@1E @2E @3E @4EU
TE @5E @6E @7EB@8U
TB@9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 34: … 21-17!; 14-21 28-24; 20-27 32-14.

White wins.
Diagram 35
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5E 6E 7E 8EU
TE 9EA!0E !1E !2U
T !3E !4E !5E !6EU
TEA!7EB!8E !9E @0U
T @1E @2EB@3E @4EU
TE @5E @6E @7E @8U
T @9E #0EB#1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 35: … 18-15!; 10-26 31-13. White wins.

44 Checkers for the Novice

Diagram 36
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6EA7E 8EU
TE 9E !0EA!1E !2U
T !3E !4E !5E !6EU
TEA!7EB!8EA!9E @0U
T @1E @2E @3E @4EU
TE @5EB@6E @7EB@8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 36: … 26-22!; 17-26 30-16; 11-20 18-15.

White wins.
Diagram 37
QRRRRRRRRS
TE 1E 2E 3EA4U
T 5E 6E 7E 8EU
TE 9E !0EB!1E !2U
T !3ED!4E !5E !6EU
TE !7EB!8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0EC#1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 37: … 11-8!; 4-11 18-15 (It would be

superfluous assigning a exclamation mark here: the first move
of the combination is the one requiring the foresight); 11-18
14-32. White wins.
Richard Pask 45

Diagram 38
QRRRRRRRRS
TE 1EA2E 3E 4U
T 5E 6E 7E 8EU
TE 9EB!0E !1E !2U
T !3ED!4E !5E !6EU
TE !7E !8EB!9E @0U
T @1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0EC#1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 38: … 10-7!; 2-11 19-15; 11-18 14-32.

White wins.
Diagram 39
QRRRRRRRRS
TE 1EA2E 3E 4U
T 5E 6E 7E 8EU
TE 9EB!0E !1E !2U
T !3EB!4ED!5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5EC@6E @7E @8U
T @9EC#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 39: … 10-6!; 2-18 15-31. White wins.

46 Checkers for the Novice

Diagram 40
QRRRRRRRRS
TE 1E 2EA3E 4U
T 5E 6E 7EB8EU
TE 9EA!0E !1ED!2U
T !3E !4E !5E !6EU
TE !7EB!8E !9EB@0U
T @1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0EC#1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 40: … 18-15! (Highly imaginative); 10-

19 12-16; 3-12 16-32. White wins.
Lesson 10: 3 For 2
Two pieces are given up and three gained in return. Here, as
elsewhere, under the old rules a player might conveniently ‘over-
look’ the final jump, with the hope of being huffed, because he
didn’t like the consequences! Nowadays there is no possible
cause for confusion.
Diagram 41
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0EA!1E !2U
T !3E !4E !5E !6EU
TE !7EB!8EA!9E @0U
T @1E @2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0EB#1E #2EU
VWWWWWWWWX
White to Play and Win
Richard Pask 47

Continue from Diagram 41: … 18-15!; 11-18 27-23; 18-27 (Or

19-26) 31-6. White wins.

Diagram 42
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0EA!1E !2U
T !3E !4E !5E !6EU
TE !7EB!8EA!9E @0U
T @1E @2E @3E @4EU
TE @5EB@6E @7E @8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 42: … 18-14!; 10-17 26-22; 17-26 30-7.

White wins.
Diagram 43
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0EA!1E !2U
T !3E !4E !5E !6EU
TEA!7E !8EB!9E @0U
T @1E @2E @3E @4EU
TE @5EB@6E @7E @8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 43: … 19-15!; 10-19 (Or 11-18) 26-22;

17-26 30-7. White wins.
48 Checkers for the Novice

Diagram 44
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TEA9E !0E !1E !2U
T !3EA!4E !5E !6EU
TE !7EA!8E !9EA@0U
TB@1E @2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 44: … 21-17! (Creating a hole); 14-21

27-24; 20-27 32-5. White wins.

Diagram 45
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5EA6E 7EA8EU
TE 9E !0E !1E !2U
TA!3E !4EB!5E !6EU
TE !7E !8E !9EA@0U
T @1EB@2E @3E @4EU
TEB@5E @6E @7E @8U
TB@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 45: … 15-10! (Creating the desired

pattern); 6-15 22-17; 13-22 25-4. White wins.
Richard Pask 49

Diagram 46
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TEA9E !0EA!1E !2U
T !3E !4E !5E !6EU
TE !7EB!8E !9E @0U
T @1E @2EA@3E @4EU
TE @5EA@6EB@7E @8U
T @9EB#0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 46: … 18-15!; 11-18 32-28; 23-32 30-5.

White wins. A comparison with Diagram 29 will show that this
is simply an extension of the idea shown there.

Diagram 47
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5EA6EA7E 8EU
TE 9E !0E !1E !2U
T !3E !4EB!5E !6EU
TE !7EA!8E !9E @0U
T @1EA@2E @3E @4EU
TEB@5E @6EB@7E @8U
TB@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 47: … 15-10!; 6-15 (Or 7-14) 27-23;

18-27 25-2. White wins.
50 Checkers for the Novice

Diagram 48
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0EA!1E !2U
T !3E !4E !5E !6EU
TE !7EA!8EB!9E @0U
T @1E @2E @3EB@4EU
TE @5E @6E @7E @8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 48: … 19-16!; 11-27 32-7. White wins.

Diagram 49
QRRRRRRRRS
TE 1E 2EA3E 4U
T 5E 6EB7E 8EU
TEA9ED!0E !1E !2U
T !3E !4E !5E !6EU
TEB!7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5EC@6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 49: … 17-14!; 9-18 10-6; 3-10 6-31.

White wins.
Richard Pask 51

Diagram 50
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0ED!1E !2U
T !3E !4E !5E !6EU
TE !7EA!8EC!9EA@0U
T @1E @2E @3E @4EU
TE @5E @6E @7EB@8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 50: … 11-15! (A ‘blind’ shot like this is

often overlooked); 19-10 28-24; 20-27 32-7. White wins.
Lesson 11: Rebound
This is a double-action device in which one of the opponent’s
pieces is used as a backstop.

Diagram 51
QRRRRRRRRS
TEA1E 2EA3E 4U
T 5E 6E 7E 8EU
TE 9EB!0E !1E !2U
T !3EB!4E !5E !6EU
TEA!7E !8E !9E @0U
TB@1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 51: … 10-6!; 1-10 14-7; 3-10 21-7. White
wins.
52 Checkers for the Novice

Diagram 52
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0E !1EA!2U
T !3EA!4E !5E !6EU
TE !7E !8EB!9E @0U
T @1E @2EB@3E @4EU
TE @5EB@6EA@7E @8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 52: … 19-15!; 10-19 23-16; 12-19 32-16.

White wins.
Diagram 53
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5E 6E 7E 8EU
TEA9E !0EA!1E !2U
T !3E !4E !5E !6EU
TE !7EB!8E !9EA@0U
T @1E @2E @3EB@4EU
TE @5E @6EB@7E @8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 53: … 27-23!; 20-27 18-15; 11-18 23-14;

9-18 32-14. White wins.
Richard Pask 53

Diagram 54
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1EA!2U
T !3E !4EA!5E !6EU
TEA!7E !8EA!9EA@0U
T @1E @2E @3EB@4EU
TE @5EB@6EB@7EB@8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 54: … 27-23!; 20-27 23-16; 12-19 32-16.

White wins.
Diagram 55
QRRRRRRRRS
TE 1E 2E 3EA4U
TA5EA6E 7EA8EU
TE 9E !0E !1E !2U
TA!3E !4EB!5E !6EU
TEB!7E !8E !9E @0U
T @1EB@2E @3E @4EU
TEB@5E @6E @7E @8U
TB@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 55: … 22-18!; 13-22 15-10; 6-15 18-11;

8-15 25-11; 5-9 29-25; 9-14 25-22. White wins.
54 Checkers for the Novice

Diagram 56
QRRRRRRRRS
TE 1E 2EA3E 4U
TA5E 6E 7E 8EU
TE 9E !0EB!1EA!2U
T !3E !4E !5E !6EU
TE !7E !8EB!9EA@0U
T @1E @2EB@3E @4EU
TE @5EA@6E @7EB@8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 56: … 11-7!; 3-10 19-15; 10-19 23-16;

12-19 30-16; 5-9 16-11 (White has the opposition and here it
proves crucial); 9-14 11-7; 14-18 7-2; 18-23 2-7; 23-27 7-11; 27-
31 11-15; 31-27 15-18; 27-32 (Or 27-31) 18-23. White wins. You
will notice that the presence of the man on square 28 effectively
turned White’s double-corner into a single-corner.

Diagram 57
QRRRRRRRRS
TEA1E 2EA3E 4U
T 5E 6E 7E 8EU
TE 9EB!0E !1E !2U
T !3EB!4E !5E !6EU
TEA!7EA!8E !9E @0U
T @1E @2E @3E @4EU
TE @5EB@6E @7E @8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 57 … 10-6!; 1-10 14-7; 3-10 26-22; 17-26

(Or 18-25) 30-7. White wins. Note that this is an extension of
the idea given in Diagram 43.
Richard Pask 55

Diagram 58
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5E 6E 7E 8EU
TEA9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9EA@0U
T @1E @2EB@3E @4EU
TEC@5EB@6E @7EB@8U
T @9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 58: … 28-24! (Imagine how hard this

would be to find if you had never been exposed to the idea);
20-27 26-22; 25-18 23-14; 9-18 32-14. White wins.
Lesson 12: In-and-Out or Back Shot
A player’s move terminates when one of his men jumps or moves
into the king-row. This grants the opponent an extra tempo.

Diagram 59
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6EB7EA8EU
TE 9E !0E !1E !2U
T !3E !4E !5EA!6EU
TE !7E !8E !9E @0U
TA@1E @2E @3E @4EU
TEB@5E @6E @7E @8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 59: … 30-26!; 21-30 (Black must wait

before jumping again) 7-3; 30-23 3-26. White wins.
56 Checkers for the Novice

Diagram 60
QRRRRRRRRS
TE 1E 2E 3EA4U
T 5EA6E 7E 8EU
TE 9E !0E !1E !2U
TA!3E !4EA!5E !6EU
TE !7E !8E !9E @0U
TB@1E @2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 60: … 21-17!; 13-22 31-26; 22-31 32-28;

31-24 28-1. White wins.
Diagram 61
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6EA7EB8EU
TE 9E !0E !1E !2U
TA!3E !4EC!5E !6EU
TE !7E !8E !9EA@0U
TB@1E @2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0EB#1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 61: … 21-17!; 13-22 31-26; 22-31 8-3;

31-24 3-28. White wins.
Richard Pask 57

Diagram 62
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EB!0EB!1E !2U
T !3E !4EC!5EA!6EU
TE !7E !8E !9E @0U
TA@1E @2E @3E @4EU
TEB@5E @6E @7E @8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 62: … 10-7!; 15-8 30-26; 21-30 7-3; 30-
23 3-26. White wins. The similarity with Diagram 59 will be
readily apparent.

Diagram 63
QRRRRRRRRS
TE 1EA2E 3E 4U
T 5E 6E 7EA8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8EB!9E @0U
TA@1E @2E @3EA@4EU
TE @5EB@6E @7E @8U
TB@9E #0E #1EB#2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 63: … 29-25!; 21-30 32-28; 30-16 28-3.

White wins.
58 Checkers for the Novice

Diagram 64
QRRRRRRRRS
TE 1E 2E 3EA4U
T 5EA6E 7EA8EU
TE 9E !0E !1E !2U
TA!3E !4E !5EA!6EU
TE !7E !8E !9E @0U
TB@1E @2E @3EB@4EU
TE @5E @6EB@7EB@8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 64: … 21-17!; 13-22 30-26; 22-31 24-20;

31-24 20-11!; 8-15 28-1. White wins.

Diagram 65
QRRRRRRRRS
TE 1E 2EA3E 4U
T 5E 6E 7EA8EU
TE 9EA!0E !1E !2U
T !3E !4E !5EA!6EU
TEB!7EB!8E !9E @0U
T @1EA@2E @3E @4EU
TE @5E @6EB@7EB@8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 65: … 30-26!; 22-31 18-14; 31-24 14-7!;

3-10 28-3. White wins.
Richard Pask 59

Diagram 66
QRRRRRRRRS
TEA1E 2E 3E 4U
TA5EA6EA7EA8EU
TEA9E !0E !1E !2U
TB!3EB!4EB!5EA!6EU
TEB!7EB!8EA!9EA@0U
T @1E @2E @3EB@4EU
TE @5EB@6EB@7EB@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 66: … 15-10!! (A definite case of mind

over matter. Dream the impossible dream!); 6-31 13-6; 1-10
24-6; 31-24 28-3. White wins.
Lesson 13: Breeches
Here a king is placed between two of the opponent’s pieces.
Because they can’t both move out of the way at once, one of
them is gained on the next move.

Diagram 67
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
TA!3ED!4EC!5E !6EU
TE !7E !8E !9E @0U
TB@1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 67: … 21-17! (The only way out. In-
60 Checkers for the Novice

stead, 14-9? eventually loses by First Position, a classic end-

game discussed in Chapter 5); 13-22 14-18. Drawn.

Diagram 68
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7EA8EU
TE 9E !0E !1E !2U
T !3E !4E !5ED!6EU
TE !7E !8E !9EB@0U
T @1E @2E @3EC@4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 68: … 16-12 (Nudging Black into posi-

tion); 8-11 12-16!; 11-15 16-19. White wins.

Diagram 69
QRRRRRRRRS
TE 1ED2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8EA!9E @0U
T @1E @2E @3EA@4EU
TE @5EB@6E @7E @8U
TB@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 69: … 2-7!; 10-15 (10-14 loses to 26-22!)

7-11!; 15-18 11-16!; 18-23 16-20; 23-30 20-27; 30-26 (No choice)
27-23. White wins. I won this against Brian Lucas in 1998: like
Diagram 68, a nice example of the ‘slow-motion’ concept.
Richard Pask 61

Diagram 70
QRRRRRRRRS
TE 1ED2EA3E 4U
T 5E 6E 7EC8EU
TE 9ED!0E !1EB!2U
TA!3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 70: … 2-7!; 13-17 (Against 8-4 the 10-6
exchange wins quickly) 10-14!; 3-10 12-3. White wins.

Diagram 71
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6ED7E 8EU
TE 9EC!0E !1E !2U
T !3ED!4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2ED@3EC@4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 71: … 23-19! (With 2 kings against

3, Black thought he’d found a way out with the breeches, but
checkers is full of hidden resources); 24-15 14-18 (7-11 also wins);
15-22 (10-3 also loses) 7-14. White wins.
62 Checkers for the Novice

Diagram 72
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6ED7E 8EU
TE 9EC!0E !1E !2U
T !3ED!4E !5E !6EU
TE !7E !8ED!9E @0U
T @1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 72: … 19-23! (Again Black wrongly

thought he had secured a draw); 27-9 (10-3 or 10-17 is just a
slow death) 7-5. White wins.

Diagram 73
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5EA6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TEB!7E !8E !9EA@0U
T @1E @2E @3E @4EU
TE @5ED@6EC@7EB@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 73: … 17-14; 20-24 (Against 27-31 or

27-32 White wins quickly with 26-23) 28-19; 27-23 (Apparently
escaping with a draw) 14-10! (Not to be); 6-24 26-28. White
wins.
Richard Pask 63

Diagram 74
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0EA!1EA!2U
T !3E !4E !5E !6EU
TE !7ED!8EB!9EB@0U
T @1E @2E @3E @4EU
TEA@5EC@6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 74: … 19-16!; 12-19 18-23. Drawn.

This is an example of the rarely seen double breeches. A triple
breeches is also possible.
Lesson 14: Fork
A press is when a king attacks a man from behind. A squeeze is
when a man is attacked from the front, using another man or the
edge of the board. When a king presses two men simultaneously,
gaining one of them on the next move, it is called a fork.

Diagram 75
QRRRRRRRRS
TED1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
TB@1E @2EA@3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win
64 Checkers for the Novice

Continue from Diagram 75: … 1-6! (Press); 10-15 (10-14 loses

similarly) 6-10 (Press); 15-19 (15-18 loses similarly) 10-15
(Press); 19-24 15-19 (Fork). White wins.

Diagram 76
QRRRRRRRRS
TE 1E 2ED3E 4U
TA5E 6E 7E 8EU
TE 9EA!0E !1E !2U
T !3E !4E !5EA!6EU
TE !7E !8E !9E @0U
TB@1E @2E @3EB@4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 76: … 24-20! (Squeeze); 16-19 3-7

(Press); 10-14 (10-15 loses to both 7-10 and 7-11) 7-10 (Press);
14-18 10-15 (Fork). White wins.

Diagram 77
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5EA6EA7E 8EU
TE 9E !0E !1E !2U
T !3ED!4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3EB@4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 77: … 24-19!; 6-10 (Against 7-11 the

19-15 exchange wins immediately) 14-9!; 7-11 9-6; 11-15 (10-14
Richard Pask 65

leads to the loss of the man on square 11 after 6-2 and 2-7)
19-16; 10-14 6-10 (Fork). White wins.

Diagram 78
QRRRRRRRRS
TED1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0ED!1E !2U
TA!3E !4E !5E !6EU
TE !7EA!8EA!9EA@0U
TB@1E @2E @3E @4EU
TE @5E @6E @7EB@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 78: … 11-16! (Press); 19-23 16-19

(Press); 23-26 19-15 (Press); 18-22 15-18 (Press); 22-25 18-22
(Fork). White wins. The great Willie Ryan defeated the leg-
endary Samuel Gonotsky with this.

Diagram 79
QRRRRRRRRS
TE 1E 2ED3E 4U
T 5E 6E 7E 8EU
TEB9EA!0E !1E !2U
TB!3E !4E !5E !6EU
TE !7EA!8E !9E @0U
TB@1EA@2E @3E @4EU
TE @5EA@6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 79: … 3-7! (Press); 10-15 7-10 (Press);

15-19 10-14 (Press); 19-23 14-17!; 23-27 17-14 (Press); 18-23
66 Checkers for the Novice

14-18 (Press); 22-25 18-22 (Fork). White wins. And Gonot-

sky himself scored with this against Jesse Hanson, the ‘man of
mystery’.

Diagram 80
QRRRRRRRRS
TE 1E 2EA3E 4U
T 5E 6EB7E 8EU
TEA9EB!0E !1EB!2U
T !3E !4EB!5E !6EU
TEA!7EC!8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 80: … 7-2!; 18-11 10-7; 3-10 2-6 (Double
fork!). Drawn. To conclude this lesson, here are two more
examples of this rarefied type.

Diagram 81
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9ED!0EA!1E !2U
T !3E !4E !5E !6EU
TE !7EB!8EA!9E @0U
TB@1E @2E @3E @4EU
TEC@5E @6EC@7EB@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 81: … 18-15!; 11-18 10-15 (Double fork).

White wins.
Richard Pask 67

Diagram 82
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5ED6E 7E 8EU
TE 9E !0E !1E !2U
T !3EA!4EA!5E !6EU
TE !7E !8E !9E @0U
TB@1E @2E @3EA@4EU
TE @5E @6E @7E @8U
T @9EB#0EC#1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 82: … 30-26! (6-10? loses quickly. Can

you see how?); 31-22 6-10 (Double fork). Drawn.
Lesson 15: Double-Corner Coup
This device is based upon various configurations of pieces in the
double-corner zone.
Diagram 83
QRRRRRRRRS
TEA1E 2ED3E 4U
T 5EA6E 7E 8EU
TE 9E !0E !1E !2U
TB!3EB!4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
TC@9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 83: … 3-7! (Threatening to play 7-2);

6-10 13-9; 10-17 9-6; 1-10 7-21. White wins.
68 Checkers for the Novice

Diagram 84
QRRRRRRRRS
TE 1E 2EA3E 4U
TA5E 6E 7E 8EU
TE 9E !0EB!1E !2U
TD!3EB!4E !5E !6EU
TE !7EC!8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 84: … 11-7!; 3-17 (Or 18-9 13-6; 3-10
6-15 to a loss) 13-15. White wins.

Diagram 85
QRRRRRRRRS
TE 1ED2E 3E 4U
TA5E 6ED7E 8EU
TE 9E !0E !1E !2U
TB!3E !4EC!5E !6EU
TEC!7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 85: … 13-9!; 5-14 7-10; 15-6 2-18. White
wins.
Richard Pask 69

Diagram 86
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5EB6E 7E 8EU
TEB9E !0E !1E !2U
T !3EB!4EC!5E !6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5EC@6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 86: … 14-10!; 5-14 6-2! (6-1? would

only draw); 15-6 2-18. White wins.

Diagram 87
QRRRRRRRRS
TE 1EA2E 3E 4U
TA5EB6E 7E 8EU
TEB9E !0E !1E !2U
T !3EB!4E !5E !6EU
TE !7E !8E !9E @0U
T @1EC@2EB@3EC@4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 87: … 23-19!; 24-15 14-10; 5-14 6-1;

15-6 1-26. White wins.
70 Checkers for the Novice

Diagram 88
QRRRRRRRRS
TED1EA2E 3E 4U
TA5E 6E 7E 8EU
TEB9E !0E !1E !2U
T !3EB!4E !5E !6EU
TE !7E !8E !9E @0U
T @1EC@2EB@3EC@4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Continue from Diagram 88: … 14-10!; 5-14 23-19; 24-6 1-26.

White wins.
Two questions. First, can you see the similarity between these
two examples? Secondly, are they not positions which you
would previously have considered as hopeless? Such is the magic
appeal of checkers.
Chapter 5

Basic Strategy

Introduction
The ambitious goal of this chapter is to summarize the overar-
ching principles which apply to the four different phases of the
game: the opening, the early midgame, the late midgame and
the endgame. For simplicity, things are viewed from White’s
viewpoint: obviously the same principles (but the mirror-image
squares) apply when playing Black.
Curiously enough, the general public appear to be in complete
agreement over this matter! Their received understanding of
these principles is as follows:

• Bad Strategy #1: move your men to the side for safety.

• Bad Strategy #2: never voluntarily exchange a piece.

• Bad Strategy #3: retain your king-row men for as long

as possible.

Unfortunately each of these is a disaster in its own right: in

combination they are absolutely catastrophic! This revelation
may come as a real shock, but I can assure you that in order to
make any progress in the game you will need to set them aside.

71
72 Checkers for the Novice

Opening and Early Midgame

As a preliminary step, and keeping in mind a certain artificiality
inherent in these divisions, we need a couple of definitions:
Opening: a series of moves, of varying length, played at the start
of the game, where both sides are either beginning to create
a distinctive midgame formation (of which there are eight) or
seeking to counteract one being set up by the opponent.
Early Midgame: involves the completion and maintenance of the
formations initiated in the opening, culminating in a climactic
point which signifies the start of the late midgame.
Lesson 16: Centre and Side Moves
Because a man in the centre has greater mobility than one at
the side, being able to move in two directions rather than one,
you should generally move and jump towards the centre. As you
would expect, the centre itself (squares 14, 15, 18 and 19) plays
a key role and should therefore always be fiercely contested. Its
control often means control of the whole board, which is why
the passivity of Bad Strategy #1 is to be avoided.
One approach to centre control is to simply move into one or
more of these squares. Alternatively, where the opponent has
a man on square 15, occupation may be accomplished with the
22-18; 15-22 25-18 exchange or the 24-19; 15-24 28-19 exchange.
Alternatively, where the man is on square 14, the 23-18; 14-23
27-18 trade could be made (23-18; 14-23 26-19 is rare), although
for reasons which will be explained in Lesson 17 this should not
be undertaken lightly. A complete refusal to exchange, Bad
Strategy #2, is again totally passive.
Another method is to leave the central squares vacant and con-
test their control by means of men posted on squares 17, 22, 23
and 24.
A third way is to allow the opponent free rein in the centre,
encouraging overcrowding, with a view to gripping his forces
with a pincer movement. In the hands of an expert this can be
Richard Pask 73

very effective, but is not to be undertaken lightly as it requires

fine judgement.
None of the foregoing means that side moves are invariably
weak: far from it. First, a man on the side cannot be jumped.
Secondly, it only takes two men at the side to effect an exchange,
rather than three in the centre. And finally, a man on square
13 or 20 often has a vital cramping or supporting part to play.
In Diagram 89 all superfluous men have been blanked out, and
it can be seen that the man on square 13, in conjunction with
that on 18, is imposing a severe cramp (restriction of mobility)
on Black’s double-corner. Incidentally, where the black man
on square 2 has actually been moved, this often proves to be
a significant liability. In addition, a man on square 13 may
provide invaluable support for one which has infiltrated the
opponent’s territory on square 9.

Diagram 89
QRRRRRRRRS
TEA1E 2E 3E 4U
TA5EA6E 7E 8EU
TEA9E !0E !1E !2U
TB!3E !4E !5E !6EU
TE !7EB!8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Double-Corner Cramp

Likewise, a white man on square 20 can either be used to sup-

port a man which has invaded on square 16 or, in conjunction
with one on square 18, may impose a severe cramp on Black’s
single-corner. This is illustrated forcibly in Diagram 90: again
all of the other men have been blanked out.
74 Checkers for the Novice

Diagram 90
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7EA8EU
TE 9E !0EA!1EA!2U
T !3E !4E !5E !6EU
TE !7EB!8E !9EB@0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Single-Corner Cramp

Lesson 17: Single-Corner and Double-Corner

The relative vulnerability of the single-corner and the double-
corner can easily be demonstrated by removing the four men
which comprise each one. First, the single-corner men (Diagram
91).
Diagram 91
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2EB@3EB@4EU
TE @5EB@6EB@7EB@8U
T @9EB#0EB#1EB#2EU
VWWWWWWWWX
Removing White’s Single-Corner Men

With just one entry square to the king-row, it can be seen that
the single-corner zone is not very vulnerable to attack. It is for
this reason that the men on squares 21, 22, 25 and 29 tend to be
developed early in the game. In particular, the sequence 21-17
Richard Pask 75

and 17-13 is often seen: two good developing moves which leave
the body of White’s forces intact while imposing a slight cramp
on Black’s double-corner.
Contrast this with Diagram 92, which demonstrates the im-
pact of removing White’s four double-corner men: you can
see how easy it is to enter the king-row! It is for this rea-
son that you should retain as much strength as possible in
this area of the board. Incidentally, this explains the relative
merit and frequency of the exchanges discussed in Lesson 16.
Namely, 22-18; 15-22 25-18 only affects the single-corner and is
frequently taken; 24-19; 15-24 28-19 affects the double-corner
and is slightly rarer; as the man on square 27 is of greater import
than that on 28, 23-18; 14-23 27-18 is rarest and only adopted
with a definite objective in mind.
For similar reasons, when trading off a man on square 18, 25-22;
18-25 29-22 is generally preferred to 27-23; 18-27 32-23. In the
case of a man on square 19, the disruptive effect of an early
26-23; 19-26 30-23 (Or 31-22) exchange is so great that it is
virtually unseen in expert company.

Diagram 92
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
TB@1EB@2EB@3E @4EU
TEB@5EB@6E @7E @8U
TB@9EB#0EB#1E #2EU
VWWWWWWWWX
Removing White’s Double-Corner Men
76 Checkers for the Novice

Lesson 18: King-Row

There are two powerful reasons why Bad Strategy #3 is fu-
tile. First, against an expert who retains just two king-row
men, which is broadly typical, you will be left with just 8 men
in the outfield to fight against 10, and will be overwhelmed.
Secondly, expert checkers rests upon the construction of sound
formations, with different formations requiring different config-
urations of king-row pieces. Rare exceptions aside, you simply
can’t develop soundly if you keep all four king-row men back.
The best general advice which can be given is the following. Be
completely flexible when it comes to moving your king-row men:
experiment! Certainly don’t make a policy of trying to retain all
four of them. Normally, the man on square 29 is moved early on,
in line with the policy of developing the single-corner, and that
on square 31 retained in order to avoid structural weakness.
In short, if you don’t choose to move some of your king-row
men at an appropriate time, a skilled opponent will force you
to do so at an inappropriate time.
Of the eight formations alluded to earlier, the two most impor-
tant are the long dyke formation and the triangle formation,
each of which makes its own demands upon the king-row men.
In portraying them, the superfluous men have been screened
out (Diagram 93).
Richard Pask 77

Diagram 93
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3EB!4E !5E !6EU
TE !7EB!8E !9E @0U
T @1E @2EB@3E @4EU
TE @5E @6EB@7E @8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
Fully Developed Long Dyke Formation

This aggressive formation has as its premise an attack upon the

opponent’s double-corner, typically initiated by the occupation
of square 14. Here the men on squares 31 and 32 play a vital role:
if the man on 31 is absent, Black can far more easily infiltrate
and undermine White’s position; if that on 32 is absent, the
formation has nothing to rest on.
The triangle formation featured in Diagram 94 was a great
favourite of Julius D’Orio and featured heavily in his highly
entertaining book, Mysteries of Dama. In contrast with the
long dyke, this formation is basically defensive, requires no set-
ting up and may be employed by both players simultaneously.
The idea is to keep the triangle in place for as long as possible,
activating only the other six men, including the king-row man
on square 29. It is indeed a very sturdy structure, but the fly in
the ointment is that checkers is not static and the triangle must
be broken at some stage – something which D’Orio reluctantly
acknowledged in the second edition of his book! At this point,
the idea is to reduce the triangle to a smaller one, consisting of
men on squares 26 (the apex man), 30 and 31, allowing for the
trading off of a man crowning on square 32, and finally to just
the single man on square 31.
78 Checkers for the Novice

Diagram 94
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2EB@3E @4EU
TE @5EB@6EB@7E @8U
T @9EB#0EB#1EB#2EU
VWWWWWWWWX
Triangle Formation

Lesson 19: Development

Regarding your own king-row as the first rank and your oppo-
nent’s king-row as the eighth, it can readily be seen that at
the start of the game each player has four men on the first
rank, four on the second rank and four on the third rank. In
this way, at any stage it is possible to arithmetically assess the
relative state of development of the opposing forces. The key
thing to realize is that, unless you have ready access to your
opponent’s king-row, in the opening and early midgame it is an
advantage to be less well developed than your opponent. This
is because it affords you a greater reserve of waiting moves, and
prevents formations which you may have painstakingly set up
from collapsing in upon themselves. Of course the development
factor is only one among many, and rather than expend need-
less time and energy in myriad calculations, what matters is to
understand the effect that different types of exchange will have
before they are undertaken. Four examples will amply make the
point. From the start of the game make the following moves:
Example 1. 11-15 24-19; 15-24 28-19. A black man is removed
from the 4th rank and a white man from the 2nd rank. Hence
White gains two moves in development.
Example 2. 11-15 22-18; 15-22 25-18. Again, a black man is
Richard Pask 79

removed from the 4th rank and a white man from the 2nd rank.
White gains two moves in development.
Example 3. 11-16 22-18; 8-11 18-14; 9-18 23-14; 10-17 21-14.
Two black men are removed from the 3rd rank and two white
men are removed from the third rank. Hence there is no change
in development.
Example 4. 11-15 23-18; 12-16 18-11; 8-15 24-20; 9-14 20-11;
7-16. In the first exchange a white man was removed from the
4th rank and a black man from the 2nd rank. Black gained two
moves. In the second exchange this operation was repeated.
Hence overall Black gained four moves in development: a sig-
nificant disadvantage.
Do not become obsessed with development (time has many
other facets which will be considered in due course), but do
keep it in mind as it explains many moves which would other-
wise be puzzling.
Late Midgame
Again, a broad definition is helpful, though approximate.
Late midgame: runs from the climactic point of the early mid-
game, where the structures which have been erected begin to
melt away as the forces are reduced, to the start of the endgame
(if there is one).
In general it may be stated that in the late midgame the impor-
tance of individual squares comes into its own. And thus the
priority of the exchanges described in Lesson 16, for example,
becomes less significant.
Lesson 20: Avoiding Loose Ends
There are three major things to keep in mind:

• The avoidance of backward men.

• The need to break through the opponent’s king-row.

• The knowledge of certain classic late midgame positions.

80 Checkers for the Novice

Backward Men
In Lesson 19 I made the point that in the opening and early
midgame it was a disadvantage to be ahead in development.
However, in the endgame the opposite is the case. This is be-
cause in this phase, for reasons to be explained in Lesson 22, it
is an advantage to be able to crown all of your own men while
preventing your opponent from doing the same. This change
occurs during the late midgame, and for this reason you should
seek those exchanges which speed your development and, by
definition, slow down that of your opponent. Also, there com-
monly arises a critical point at which a backward man must ‘run
the gauntlet’, and whether handling the weaker or the stronger
position you need to be alert to this. Finally, when crowning
several kings, you need to work out a plan which does this
without wasting any moves. As Fred Reinfeld so eloquently ex-
pressed it: skilful checkers embodies an ‘exquisite economy of
force’.
Breaking Through the Opponent’s King-Row
In many well played games of checkers one side is just in time to
make a clearance: breaking up the opponent’s king-row before
being attacked by a king. Diagram 95 is typical.

Diagram 95
QRRRRRRRRS
TEA1E 2EA3E 4U
T 5E 6E 7E 8EU
TE 9EB!0E !1E !2U
T !3E !4EB!5E !6EU
TE !7E !8EB!9E @0U
T @1E @2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Draw
Richard Pask 81

Continue from Diagram 95: … 10-6!; 1-10 15-6. Drawn.

Two points are worth noting. First, in this specific position
any other white move would lose. (If instead, you place the
three white men on squares 10, 14 and 17, with the black king
on square 25, several white moves would draw, but any ex-
pert would play 10-7; 3-10 14-7 without hesitation. The reason:
checkers is hard enough already without making it unnecessar-
ily difficult!) Secondly, and critically, with Black to move he
would win. Therefore, when seeking to visualize a clearance like
this, it’s important to be spot-on with your timing. One move
out is not good enough: just a pretty picture which loses.
Fifth Position
There are many classic late midgame positions, about a dozen of
which are worth committing to memory (See Books 3, 4 and 5).
Of these Fifth Position is undoubtedly the most important, and
a detailed grasp of its finer points, combined with the ability
to recognize it in embryo, will enable you to turn many an
apparent loss into a draw.

Diagram 96
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0EA!1EA!2U
TA!3EA!4E !5E !6EU
TE !7E !8EB!9EB@0U
TB@1EB@2E @3E @4EU
TE @5E @6EB@7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Draw

Continue from Diagram 96: … 20-16! (A key pitch as Black was

threatening to play 11-15); 11-20 27-23; 20-24 22-18; 24-27 18-9;
10-14 (Against 27-31 White escapes with 23-18; 10-14 18-15; 31-
82 Checkers for the Novice

27 15-11; 27-23 19-15; 23-19 15-10 as the black man on square

13 provides unwilling support!) 9-6; 27-31 6-2; 31-27 2-6; 27-18
6-9; 13-17 19-15!; 18-11 9-18; 17-22 18-25; 11-15 25-22! Drawn.
Note that at the last move 21-17? would lose to 15-18!
Endgame
Endgame: a game ending in which both sides have achieved a
king, or at least have gained a clear run to the king-row.
Lesson 21: The Opposition
This term was introduced in Chapter 3, but now requires ex-
pansion. Suffice to say that more nonsense has been written
about the opposition than any other aspect of the game, so I
will try to make things crystal clear.
Opposition: in any position where the forces are equal, a player
is said to possess this factor if, in the context of pairing up each
of his pieces with those of his opponent, treating the board as
empty each time, he has the last move.
Since this makes no allowance for the relative disposition of the
forces, the proper response to such an abstract definition is: So
what? And indeed, possession of the opposition per se, has no
significance whatsoever. When then is it important?
Boiling things down, the opposition may be disregarded as ir-
relevant in the opening and midgame, and only worthy of con-
sideration in endgame situations.
Boiling things down further, in these situations the opposition
has two major applications.
First, when the forces are equal, and other necessary conditions
are in place, possession of the opposition may be the deciding
factor which enables a win to be scored. Two classic examples
are given in Lessons 23 and 24.
Secondly, when one side is a piece down, and other necessary
conditions, including holding a man immobile on a vertical edge
of the board, are in place, possession of the opposition – the
immobile man is ignored during the pairing-off - may be the
Richard Pask 83

deciding factor in enabling a draw to be registered. Two classic

examples are given in Lesson 26.
It’s also important to be aware that the opposition may be
changed through an exchange of pieces or when a man enters
the ‘dog hole’ (squares 5 and 28); the latter being because here
a piece holds an opposing man even though they are on ad-
joining squares. Countless rules have been formulated in this
regard, but all of them are confusing and unnecessary. Instead,
you should analyze each position on its own merits, using the
pairing-off method to ascertain the effect of any available con-
tinuation on the opposition.
Lesson 22: Playing Against Backward Men
We have already seen from Diagram 9 that any open all-king
endgame where the forces are equal should be given up as a
draw as there is nothing left to play for.
However, in a situation where one side can crown all of his
pieces and the other side is unable to, things are very different.
This applies with particular force when there are two backward
men as in Diagram 97.

Diagram 97
QRRRRRRRRS
TEA1E 2E 3EA4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
TD!3ED!4ED!5ED!6EU
TE !7E !8E !9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0EC#1EC#2EU
VWWWWWWWWX
Either Side to Play, White Wins

Although the forces are equal, White clearly has a considerable

advantage. Namely, he has crowned all of his pieces and they
84 Checkers for the Novice

are both centralized and connected. By contrast, while Black’s

two kings are connected, his two men are completely undevel-
oped, and it should come as no surprise that, with or without
the opposition, White can force a win.
White’s plan, which is the one to be generally applied in these
cases, consists of the following three steps:
First, attacking Black’s kings and rendering them immobile or
threatened with the same. Secondly, forcing one or both men to
move into more vulnerable positions. Finally, repeating steps 1
and 2 until Black’s pieces interfere irreparably with each other.
The situation represented in Diagram 98 crops up frequently,
both in play and analysis, and illustrates a point which is so
fundamental that experts take it for granted.

Diagram 98
QRRRRRRRRS
TEA1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4ED!5E !6EU
TE !7E !8E !9E @0U
T @1E @2ED@3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1EC#2EU
VWWWWWWWWX
White to Play, Black Draws

By pairing off the white king on square 23 with the black king on
32 and mentally moving 15-10, you can see that White possesses
the opposition. However, when White follows the plan outlined
above, his two kings confronting Black’s king in the double-
corner, Black’s backward man is able to slink down to the king-
row without any interference because it is on the opposite side
of the board. (Of course, with Black to play it is also a draw.)
This principle also applies in Diagram 99, and indicates the ap-
Richard Pask 85

proach which should be undertaken when you are the defending

side.
Diagram 99
QRRRRRRRRS
TE 1E 2E 3EA4U
T 5E 6E 7E 8EU
TE 9ED!0ED!1E !2U
T !3E !4E !5E !6EU
TE !7E !8ED!9E @0U
TC@1EC@2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Either Side to Play, Black Draws

Because of his backward man on square 4, Black has taken the

wise step of positioning his two kings on the opposite side of
the board. Now, irrespective of who has the opposition, he is
able to secure a draw. Naturally this can be extended to cover
three kings and a man versus four kings, or even four kings
and a man versus five kings. That said, the defender must still
employ care and, unless facing an expert, the attacker is fully
justified in playing these endgames out.
Lesson 23: First Position
The situation portrayed in Diagram 100 is of quite a different
order to that in Diagram 98, and represents easily the most
important endgame there is.
86 Checkers for the Novice

Diagram 100
QRRRRRRRRS
TE 1E 2E 3EA4U
T 5E 6E 7E 8EU
TE 9E !0ED!1E !2U
T !3E !4E !5E !6EU
TE !7E !8ED!9E @0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1EC#2EU
VWWWWWWWWX
White to Play and Win

The key features are as follows:

First, the attacker possesses the opposition; otherwise the sci-
entific result would be a draw. To confirm this, pair off the
white king on 11 with the black man on 4 and then mentally
play 19-23: White has the ‘last move’. Secondly, at least one
of Black’s pieces is a single-man. Thirdly, White has, or can
develop, two kings while keeping Black’s single-man confined to
the right-hand side of the board. And finally, the Black king
can be prevented from reaching the other double-corner.
In the following skeletal continuation, White follows the generic
strategy outlined in Lesson 22, while Black plays his part by
delaying the advance of his man for as long as possible. A far
more detailed treatment is given in Book 2.
Continue from Diagram 100: … 11-15; 32-28 15-18; 28-32 18-
23; 32-28 23-27; 28-32 19-23; 32-28 27-32 (The king is attacked
relentlessly); 28-24 32-28; 24-20 23-19! (23-18? allows the black
king to reach the haven of the ‘triple-corner’ created by the man
on 4, and a draw results); 20-24 19-15; 24-27 15-18; 4-8 (Must
advance now) 18-15; 27-23 28-32; 8-12 (And again) 32-28; 23-27
15-18; 12-16 (And again) 28-32; 27-24 18-15; 24-28 15-11! (15-
18?, which has been played by more than one master player,
allows Black to get through with 16-19! 32-27; 19-23!); 16-19
Richard Pask 87

32-27; 28-32 27-31; 19-23 11-15; 32-28 15-19! White wins.

Lesson 24: Second Position
Another classic endgame situation which must be known is Sec-
ond Position: this is given in greater detail in Book 3.

Diagram 101
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9EA@0U
TA@1E @2E @3E @4EU
TEC@5E @6EB@7E @8U
T @9EB#0E #1ED#2EU
VWWWWWWWWX
White to Play and Win

It is again worth emphasizing the difference between a situation

and a position. Second Position, so called, is actually a situation
with certain defining features. Within these confines, there are
thousands of possible positions. The above position, which is
typically given, is simply the one which best brings out the key
points.
In this situation the attacker possesses the opposition; otherwise
the scientific result would be a draw. To confirm this, pair off
the pieces on 21 and 30 and those on 20 and 27. Now mentally
play 32-27 (Remember the board is being treated as empty);
25-22 27-23 and you can see that White has the ‘last move’.
Additionally, one of the black men is held on 21 while the other
is held on the opposite side of the board. And lastly, the third
black piece is, or can become, a king, although its scope is
severely limited.
The winning procedure is lengthy but mechanical, and will be
explained as we go along.
88 Checkers for the Novice

Continue from Diagram 101: … 32-28; 25-22 28-24; 22-18 24-

19; 18-22 (Against 18-14 27-23! is the best way to force the
win) 19-15; 22-17 15-18; 17-13 18-22 (Now that the white king
is holding the black man on 21, his own man on 30 can be
released to become a king); 13-9 30-26; 9-6 26-23; 6-10 23-18;
10-6 18-14; 6-1 14-9; 1-5 9-6; 5-1 6-2; 1-5 2-6; 5-1 6-10; 1-5 10-15;
5-9 15-19 (Now that the white king is holding the black man
on 20, his own man on 27 can be released to become a king);
9-14 27-23; 14-10 23-18; 10-6 18-14; 6-1 14-9; 1-5 9-6; 5-1 6-2;
1-5 2-6; 5-1 6-10 (This king has to be brought back to square 27
to effect the win. If instead White prematurely carries out the
two exchanges given in this solution, the black king escapes to
the double-corner and safety); 1-5 10-14; 5-1 14-18; 1-6 18-23;
6-10 23-27 (Now the exchanges can take place); 10-14 19-23; 14-
9 23-18; 9-6 18-14; 6-1 14-9; 1-5 22-17! (This exchange alters
the opposition. However, it is hardly a cause for celebration
for Black, as the confining nature of the situation means that
White can regain it with another exchange); 5-14 17-10; 21-25
10-15; 25-30 15-19; 30-26 (Black is striving to reach the opposite
double-corner) 27-32; 26-22 (Still trying) 19-24! (Regains the
opposition and is just in time to cut Black off); 20-27 32-23;
22-17 23-18; 17-13 18-14. White wins. At last!
Lesson 25: One v Two Holds
There are 11 ways in which one king can hold two opposing
pieces on the left or right-hand side of the board. On its own,
this hold will allow the piece-down side to score a draw (7 cases)
or even a win (4 cases). Where the forces are equal, and such
a hold can be obtained as part of a larger set up, it is almost
always something to be sought and may be the telling factor
in obtaining a win. Diagram 102 represents this situation in a
stark form.
Richard Pask 89

Diagram 102
QRRRRRRRRS
TE 1E 2E 3E 4U
TA5E 6E 7E 8EU
TE 9E !0E !1E !2U
TA!3ED!4E !5E !6EU
TE !7E !8ED!9E @0U
T @1E @2ED@3E @4EU
TE @5E @6E @7EC@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Either Side to Play, White Wins

Here the white king on square 14 holds the two black men on
squares 5 and 13, while the two white kings carry out the rout
of the lone black king. In effect White is a piece up. If you
now refer back to Diagram 3, where Tinsley crushed Chinook,
you can see that in due course a black king on square 11 is set
to hold the two white men on squares 12 and 20. That is why
Chinook resigned.
Here are the 11 holds in isolation. In each case it is Black to
play.
Hold 1: Black men on 5 and 13; white king on 14. White wins.
Hold 2: Black man on 5, black king on 13; white king on 14.
Drawn.
Hold 3: Black men on 13 and 21; white king on 22. White wins.
Hold 4: Black man on 13, black king on 21; white king on 22.
Drawn.
Hold 5: Black man on 13, black king on 29; white king on 21
or 22. White wins.
Hold 6: Black man on 21, black king on 29; white king on 13
or 14 or 22 or 23 or 30 or 31. Drawn.
Hold 7: Black men on 4 and 12; white king on 11. Drawn.
90 Checkers for the Novice

Hold 8: Black man on 4, black king on 12; white king on 11.

Drawn.
Hold 9: Black men on 12 and 20; white king on 19. Drawn.
Hold 10: Black man on 12, black king on 20; white king on 19.
Drawn.
Hold 11: Black man on 28, black king on 32; white king on 23.
White wins.
Lesson 26: Piece-Down Situations
Playing against an expert, it is considered good sportsmanship
to resign the losing all-king endgames covered in Chapter 3,
rather than play them out to the bitter end. Until all of your
opponent’s men have been crowned however, there may yet be
hope.
In order to obtain a draw in these situations, the defending side
seeks to hold one of the opponent’s men immobile on a vertical
edge of the board: the pivot man. If, through attacking one
of the defending kings and by rendering it immobile, the other
defending king or kings are forced to relinquish their hold on
the pivot man, then the attacking side will win. Otherwise, a
draw will result.
Book 4 deals with a number of these man-down draws, but for
the moment we will focus on Payne’s Single-Corner Draw: the
most famous of them all.
Richard Pask 91

Diagram 103
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6EC7E 8EU
TE 9E !0EC!1E !2U
T !3E !4E !5E !6EU
TE !7ED!8ED!9EB@0U
T @1E @2E @3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Black to Play and Draw

In Diagram 103, by ignoring the pivot man on 20, pairing off the
black king on 11 with the white king on 19 and mentally playing
7-10, you can readily see that Black possesses the opposition.
Several authorities have pointed out that if the attacking side
tries too hard to ‘win this draw’, he often ends up losing instead!
Continue from Diagram 103: 7-10 19-16; 10-7 18-23; 11-8 (Ask-
ing for 23-19?; 8-12 and a black win) 16-12; 8-11 23-19; 7-3
(7-10? loses in a similar fashion to Diagram 16) 12-16; 3-7 19-
24; 11-15 24-28; 15-11 16-19; 7-3 28-32; 3-7 (3-8? loses to 20-16!;
11-20 19-24; 20-27 32-23). Drawn.
Third Position, given in Diagram 104, is closely related to the
situation above, but with a different outcome. Its fine details
are beyond the scope of this chapter (See Book 4), but it is
mentioned here in order to make an important point about the
opposition.
92 Checkers for the Novice

Diagram 104
QRRRRRRRRS
TE 1E 2E 3E 4U
T 5E 6E 7E 8EU
TE 9E !0EC!1ED!2U
T !3E !4E !5E !6EU
TE !7E !8EC!9ED@0U
T @1E @2E @3E @4EU
TE @5E @6E @7EB@8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

When you ignore the white man on 28 and pair up the white
kings on 12 and 20 with the black kings on 11 and 19, you can
see that Black has the opposition. Crucially, although White
can force a win with super-fine play, this fact allows Black to
put up a tremendous fight, with the ever-present possibility of
the situation drifting into that of Diagram 103. Lacking the
opposition, Black loses with barely a whimper.
Lesson 27: Bridge Endgames
Referring back to Diagram 95, you will see that Black has re-
tained king-row men on 1 and 3. As stated there, if possible
it is almost always best to break up this configuration, either
using the simple method discussed or by means of several more
subtle approaches addressed in Book 5. Failing this, in order
to crown White would either need to post a man on 12 and
enter the restrictive single-corner via 11-8, or post one on 10,
the keystone, forming a bridge, and enter via 9-6 or 11-7.
Some authorities seem to think that the side forming a bridge is
necessarily weak, and that the one holding the bridge is neces-
sarily strong. For this reason they advocate that players should
make a policy of retaining two king-row men on 1 and 3 (for
Black) or 30 and 32 (for White). However, this advice is faulty
for three reasons. First, as mentioned in Lesson 18, there are
Richard Pask 93

several serious structural weaknesses which commonly attend

the early movement of the man on 2 (or 31). Secondly, even
when its movement is sound, the resultant bridge endgames are
often exceptionally hard to evaluate. And thirdly, bridges can
sometimes be strong for the forming side.
In Diagram 105 White has crowned two men under a bridge, and
got his kings back out before Black is in a position to restrict
their movement.
Diagram 105
QRRRRRRRRS
TEA1E 2EA3E 4U
T 5E 6E 7E 8EU
TED9EB!0ED!1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1E @2EC@3E @4EU
TE @5E @6E @7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
White to Play and Win

Since White has the opposition and Black has two backward
men, it should not come as too much of a surprise that White
can force a win from this position.
By contrast, in Diagram 106 Black has the opposition and has
succeeded in crowning two kings, while White is tied down to
protecting the keystone which is open to attack from four pos-
sible directions. In this instance, the forming side is indeed
fatally weak.
94 Checkers for the Novice

Diagram 106
QRRRRRRRRS
TEA1E 2EA3E 4U
TB5ED6ED7E 8EU
TE 9EB!0E !1E !2U
T !3E !4E !5E !6EU
TE !7E !8E !9E @0U
T @1EC@2E @3E @4EU
TE @5E @6EC@7E @8U
T @9E #0E #1E #2EU
VWWWWWWWWX
Black to Play and Win

In short, bridges are very tricky: both from the standpoint of

holding them and forming them. Of course, a firm understand-
ing of the key ones is vital, for which see Book 5, but in general
I would advocate their avoidance.
Chapter 6

Freestyle Repertoire

Introduction
This chapter aims to provide a short, manageable repertoire for
the freestyle player. By providing the reasons for the moves,
you will find it easy to commit them to memory. Rest assured
all of the recommendations are rock solid and guaranteed to
get you off to a good start: and in many cases a winning one!
Incidentally, to follow the play with ease, it would be best to
have two boards at hand: one to keep track of the line under
discussion and one to follow the notes. In addition to the points
made in Lessons 16 through 19, in the opening the following
observation is crucial.

The strength or weakness of an opening move is mea-

sured in terms of the strongest immediate reply.—
Maurice Chamblee

With all of this in mind, let’s start by considering a good re-

joinder to Black’s strongest opening move, 11-15.
As White: Responding to 11-15
Because it is best, 11-15 more or less defines freestyle play as
undertaken by the masters and grandmasters. To be frank it is
the least likely move to be played by the fellow novices you will

95
96 Checkers for the Novice

face first, but that is by the way: the other six opening moves
will be covered in Lessons 37 to 42.
Lesson 28: Trunk (Main line of play)
11-15(A) 23-19(B); 8-11(C) (V6) 22-17(D); 4-8(E) (V1) 17-13(F);
15-18(G) 24-20(H); 9-14(I) 28-24(J); 11-15(K) 26-23(L); 8-11(M)
31-26(N); 6-9(O) 13-6; 2-9 26-22(P) [Diagram 107]; 1-6(Q) …
even position

Diagram 107: Old 14th

QRRRRRRRRS
TEA1E 2EA3E 4U
TA5E 6EA7E 8EU
TEA9EA!0EA!1EA!2U
T !3EA!4EA!5E !6EU
TE !7EA!8EB!9EB@0U
TB@1EB@2EB@3EB@4EU
TEB@5E @6EB@7E @8U
TB@9EB#0E #1EB#2EU
VWWWWWWWWX
Black to Play

A: The strongest move because it exits from the single-corner

towards the centre. It retains the initiative conferred by virtue
of having the first move, and guarantees Black a theoretical
edge irrespective of White’s immediate reply.
B: All seven of White’s possible replies are sound and have their
followers. This flanking move gets my recommendation because
it prevents Black from occupying square 19 and does not put
White ahead in development as would be the case with the 22-18
and 24-19 exchanges.
C: Developing naturally along the single-corner diagonal. Other
moves are covered in Variations 6, 7 and 8.
D: Working in tandem with 23-19, this and White’s next move
is part of a plan to invite Black to overcrowd the centre.
Richard Pask 97

E: At this stage Black has six good options and you must be
prepared to meet them all. The text is the most natural choice
as it continues with Black’s policy of single-corner development.
F: A natural developing move which keeps White’s position
intact and imposes a slight cramp on Black’s double-corner. A
good alternative, much favoured, is the unlikely-looking 25-22.
This would appears to permit a powerful single-corner cramp
with 9-13, but long standing analysis has shown that after 27-
23; 6-9 23-18; 9-14 18-9; 5-14 26-23 White’s position is sound,
with tricks available for both sides.
G: Easily best, but by no means always taken. It forms what is
known as the Old 14th , although it originally arose by a different
order of moves: 11-15 22-17; 8-11 17-13; 4-8 23-19; 15-18 same.
Instead, 9-14, though natural in appearance, invariably leads
to trouble for Black, and a knowledge of the best continuation
for White will win many games for you. Continue: 9-14 25-22
and Black has two plausible moves. 1) 15-18 22-15; 11-18 29-
25; 14-17 (After 10-15 19-10; 6-15 White is often able to grip
Black’s central men to advantage with 26-23; 8-11 30-26; 2-6 26-
22. Also, 5-9? loses after 26-23; 1-5 30-26 and 7-11? loses after
26-23; 2-7 24-20; 11-15 28-24; 8-11 30-26; 5-9 26-22; 1-5 31-26:
a beautiful tie-up) 21-14; 10-17 24-20; 17-21 26-23; 6-10 23-14;
10-17 27-24 and White is powerful. 2) 14-18 (Unless there is an
immediate tactical follow-up, a plunging move like this is rarely
good. Even worse is 5-9? 26-23!; 1-5 22-17: a 12-move win I
have scored on the Internet on around 50 occasions!) 29-25; 5-
9? (11-16 draws narrowly after 21-17; 16-23 26-19; Black being
forced to play a man down with 5-9 17-14; 10-26 30-5) 26-23; 9-
14 22-17; 1-5 30-26; 5-9 26-22. White wins. Black overcrowded
the centre and was punished with a crushing pincer attack.
H: Cramping Black’s single-corner.
I: Sometimes in checkers the order of moves is critical, some-
times of no consequence. 11-15 28-24; 9-14 26-23 comes into
the latter category.
J: In checkers, transpositions (arriving at the same position via
98 Checkers for the Novice

different routes) have an important role to play. Although not

strictly relevant to our current discussion, this position also
arises soundly from 11-15 24-20; 8-11 28-24; 4-8 23-19; 9-14
22-17; 15-18 17-13 same.
K: The 10-15 exchange is also popular, after which 26-23; 15-19
(12-16? looks good, but loses to an advanced tactical device.
Among aficionados these are known as shots or strokes. See if
you can find the winning combination after the initial 23-19!)
24-15; 5-9 13-6; 1-26 31-15; 11-18 25-22; 18-25 29-22 is dead
even.
L: 25-22; 18-25 29-22; 8-11 27-23 is also sound and preferred
by many. It should be kept in mind that any given position
may permit several logical, sound moves. It may also allow for
illogical, sound moves! On the flip-side there are obviously innu-
merable illogical, unsound moves. Of particular importance are
logical, natural moves which are unsound. It is necessarily these
which have had the greatest effect on the game’s development.
M: 6-9 13-6; 2-9 31-26; 8-11 is another inconsequential inter-
change of moves.
N: Based on the advice given in Lesson 18 the reader, reluctant
to move the man on 31, might reject the text in favour of the
solid-looking 30-26. However, this loses after 6-9! 13-6; 2-9
26-22; 9-13 31-26; 5-9 32-28; 1-5 19-16; 12-19 23-16; 14-17 21-
14; 10-17 25-21; 18-25 29-22; 15-19! 24-8; 3-19 21-14; 9-25.
Black wins. Two points need to be made here. First, I also
made the point that flexibility is crucial: the game would not
have continued to enthrall and challenge the finest minds if it
were completely susceptible to fixed ‘rules’. And secondly, in
addition to making static evaluations, the aspiring player needs
to develop his powers of visualization in combination with the
technique of elimination (for which see Chapter 7). Although
24 moves deep, the winning line given is well within the reach
of an expert playing ‘crossboard’ (extemporizing).
O: 5-9 looks like a blunder, but draws after 21-17 (Declining the
offer gives Black the advantage); 14-21 23-5; 15-18 26-23; 18-22
Richard Pask 99

25-18; 10-15 19-10; 6-22 23-18 7-10 and Black is able to draw
though a man down. This is in large part due to the zombie-like
status of the white man on square 5 (For Black, square 28): the
so-called dog hole.
P: Easily White’s best move, and sets Black up for perhaps the
most famous shot in the entire game.
Q: If not told of the presence of a shot, a player would need
x-ray vision to see through the fatal flaw in 9-13? Known as
the Big Shot in the Old 14th , the blue touch-paper is lit with
20-16! and 22-17! (played in either order). After 1-6, play
continues with 22-17; 18-22 25-18; 15-22 23-18! (As mentioned
in Lesson 17, this type of exchange should only be adopted for
a specific purpose. Here White seeks to gain control of the
centre. Instead, the feeble 17-13? loses after the 14-17 double-
exchange); 14-23 27-18 to an ancient draw. Instead of 1-6, 3-8
demands the opposite approach. Namely, 22-17; 18-22 25-18;
15-22 and now the 23-18 exchange is bad, as Black has the 9-
14 exchange available in reply, whereas 17-13!; 1-6 23-18; 14-23
27-18 draws. For obvious reasons the 1-6/3-8 duo are known as
‘twisters’.
Lesson 29: Variation 1 (Off Trunk)
11-16(A) (V2) 24-20(B); 16-23(C); 27-11; 7-16 20-11; 3-7(D)
28-24(E); 7-16 24-20(F); 16-19(G) 25-22(H); 4-8(H) 29-25(H)
[Diagram 108]; 10-15(I) … Black has the edge
100 Checkers for the Novice

Diagram 108: Glasgow

QRRRRRRRRS
TEA1EA2E 3E 4U
TA5EA6E 7EA8EU
TEA9EA!0E !1EA!2U
T !3E !4E !5E !6EU
TEB!7E !8EA!9EB@0U
TB@1EB@2E @3E @4EU
TEB@5EB@6E @7E @8U
T @9EB#0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: Known as the Glasgow, Black temporarily gives up a man

in order to rapidly develop his single-corner while attacking
White’s double-corner. This idea arises from several ballots.
B: Easily best.
C: 15-24 20-11; 7-16 27-11 comes to the same thing.
D: By far the best way to regain the man. Instead, 3-8 allows
White to significantly disrupt Black’s king-row with 11-7; 2-11,
removing both central men. Tenable but not desirable.
E: This is the favoured approach. Instead, 25-22; 7-16 22-18 is
also logical and sound, as is 11-8; 4-11. The latter has an in-
teresting history. Appealing naturally to the beginner because
it removes a second king-row man, this was frowned upon by
experts for many years aware that this was actually of no disad-
vantage to Black and in fact assisted him in the formation of a
strong long dyke. However, largely due to excellent analysis by
Jack Cox, 11-8 is currently held to be both sound and an ideal
choice for the adventurous player.
F: Applying some pressure to Black’s single-corner.
G: Positions such as this, which can arise from a number of
different routes are known as landings. In Complete Checkers I
identified 26 Key Landings, this being #12.
Richard Pask 101

H: Natural developing moves along the single-corner diagonal.

I: This is where the action really begins in the Glasgow: an
opening which the late, great Tom Wiswell advocated for play-
ers of all levels. Surveying the scene, you can see that Black’s
double-corner is intact while White’s is shattered. In compen-
sation, White is slightly cramping Black’s single-corner and has
a couple more moves in hand. After 10-15 play typically con-
tinues with 17-13; 2-7! (Reluctantly forced to move this man
because the natural 9-14 loses to 20-16!; 2-7 and 22-18!) 21-17
and now both 7-10 and 8-11 are good. Instead of 10-15, 9-14 is
effectively met with 22-18!; 14-23 17-14; 10-17 21-14; 2-7 31-27:
simplifying the position and eventually regaining the sacrificed
man. Likewise, the aggressive 19-24 is cleverly countered with
the 17-14!; 9-18 22-15; 10-19 32-28 sacrifice. It will come as no
surprise to learn that both sacrifices are the result of detailed
analysis, and not the moves which were originally played: their
purpose being to reduce Black’s attacking scope. At the same
time they limit White’s winning chances, so whether they are
‘best’ or not is a matter for the reader. Incidentally, instead of
10-15, 9-14 and 19-24, take a look at 8-11?? Believe it or not
this was once played in a top-level match!
Lesson 30: Variation 2 (Off Variation 1)
9-13(A) (V3) 17-14(B); 10-17 21-14; 15-18(C) 24-20(D); 4-8(E)
27-23(F); 18-27 32-23; 11-15(G) 19-10; 6-15 23-18(H); 15-22 25-
18 [Diagram 109] … even position
102 Checkers for the Novice

Diagram 109: Mixed

QRRRRRRRRS
TEA1EA2EA3E 4U
TA5E 6EA7EA8EU
TE 9E !0E !1EA!2U
TA!3EB!4E !5E !6EU
TE !7EB!8E !9EB@0U
T @1E @2E @3E @4EU
TE @5EB@6E @7EB@8U
TB@9EB#0EB#1E #2EU
VWWWWWWWWX
Black to Play

A: Known as the Mixed, this opening is noted for its fearsome

complications.
B: Lesson 28, Note F, featured an unnatural-looking 25-22 move,
permitting a single-corner cramp, which was nonetheless sound.
Here it is fatal because Black has not committed 4-8 and thus
has a move in hand for cramping purposes. In any case, the text,
which exchanges onto square 14, is clearly the logical choice.
C: The natural rejoinder. The rarely seen and inferior 4-8 19-
10; 6-15 is met with 24-19; 15-24 28-19 while 6-9? 19-10; 9-18
allows White to break up Black’s position with 26-22; 7-14 22-
8; 4-11. Not only has the heart been ripped out of Black’s
centre, with the absence of men on squares 6 and 7, but he is
also significantly ahead in development. By contrast, the white
position is marvellously intact.
D: The complications mentioned in Note A arise from 19-15
or 26-23 at this point. The text, which cramps Black’s single-
corner, was designed to keep the position under control.
E: Natural single-corner development. Against 6-10 White re-
duces the forces with 27-24; 10-17 26-22; 17-26 31-8; 4-11 19-16;
12-19 24-8; 3-12 25-22. A series of waiting moves leads to a sim-
ilar clear out against 6-9. Namely, 28-24; 1-6 19-15; 4-8 32-28;
12-16 26-23 followed by the 18-22 shot. Finally, the aggressive
Richard Pask 103

3-8, which is more pro-active than 4-8, is countered with 19-15;

6-10 15-6; 1-17 25-22; 18-25 30-14.
F: This type of radical exchange, mentioned in Lesson 17, is
quite unusual. There are two good reasons for it. First, in this
position the 25-22 exchange doesn’t work out. And secondly,
it anticipates Black’s 11-15 exchange and the return 23-18 ex-
change.
G: A logical move which seeks to control the centre.
H: Returning the compliment. With a mini-triangle of men on
squares 26, 30 and 31 and natural developing moves available
in 29-25 and 28-24, White has nothing to fear.
Lesson 31: Variation 3 (Off Variation 2)
9-14(A) (V4) 25-22(B); 6-9(C) 17-13(D); 2-6(E) 29-25(F); 4-
8(F) 24-20(G); 15-24 28-19; 11-15(H) 27-24(I); 14-17(J); 21-14;
9-18 26-23(K); 18-27 32-23; 10-14(L) 19-10; 6-15 13-9(M) [Dia-
gram 110]; 14-17(N) … even position

Diagram 110: Souter

QRRRRRRRRS
TEA1E 2EA3E 4U
TA5E 6EA7EA8EU
TEB9E !0E !1EA!2U
T !3EA!4EA!5E !6EU
TE !7E !8E !9EB@0U
T @1EB@2EB@3EB@4EU
TEB@5E @6E @7E @8U
T @9EB#0EB#1E #2EU
VWWWWWWWWX
Black to Play

A: A natural move towards the centre which keeps Black’s op-

tions open. A move never seen in top-level play, but worthy of
a brief mention, is 10-14? After the double-exchange you will
note that Black has gained 4 moves in development (undesir-
104 Checkers for the Novice

able), and created a huge hole on squares 6 and 7. Watchful

waiting by White will see Black crumble in due course.
B: Natural single-corner development.
C: A critical branching point. Black can choose from six plau-
sible moves: 4-8, 5-9, 14-18, 3-8, 11-16 and the text. Against
4-8, 17-13 transposes into Lesson 28, Note G, and is inferior
for Black. The continuation against 5-9 is instructive: 17-13
(White cannot permit the fatal single-corner grip with 9-13); 3-
8? (At this point 11-16 is best, although White gains a distinct
advantage after 24-20, but 1-5? falls almost instantly to the
binding 22-17!) 22-17! (26-23?; 11-16 transposes into a sound
Whilter formation given shortly, whereas this gains a crucial
move in the attack on Black’s double-corner. Time and timing
is a critical factor in checkers and this is a beautiful example);
11-16 29-25; 16-23 26-19! (Maintaining the bind); 7-11 27-23;
11-16 24-20; 15-24 28-19! (Wonderful play. By leaving the man
on 16 ‘hanging’, it forces Black to move the man on 1); 1-5
20-11; 8-24 25-22! (Again perfect timing. Instead, 32-28? al-
lows Black to secure a draw with 24-27 31-24; and 2-7) … White
wins. Thirdly, 14-18 is akin to Lesson 28, Note G, but in this
case is even worse! Continue: … 29-25!; 11-16 26-23; 6-9 23-14;
9-18 17-13; 16-23 24-19; 15-24 22-6; 1-10 28-19; 4-8 27-18; 8-11
18-14; 10-17 21-14; 11-16 14-9; 5-14 31-27; 16-23 27-9. White
wins. A sound option for Black is as follows: 3-8 26-23; 5-9
17-13; 11-16 forming the Whilter. With 9-14 already commit-
ted, 11-16 24-20 forms the Glasgow opening but with less scope
than in Lesson 29. Finally, there is the text move which leads
to a development which is loved and loathed in equal measure.
D: White cannot permit the 9-13 grip.
E: Forced and forms the Souter. Permitting the exchange would
wreck Black’s formation, while 1-6? loses instantly to 22-17! as
mentioned in Note C.
F: Watchful waiting.
G: The most natural move here is 22-17, and for this reason
Richard Pask 105

it was worked on first. Although it draws, it has fallen out of

use because it is known to lead into complications favouring
Black. The odd-looking text move was tried out through neces-
sity rather than conviction, and has been shown through anal-
ysis to be both sound and to contain winning chances. Finally,
there is 26-23, which allows Black to break up the position with
either 14-17 or 14-18. To the venturesome player 26-23 may be
‘best’; for the studious type it may be 24-20; for the risk-taker,
22-17.
H: Natural and best. The 14-18 exchange has been shown by
analysis to lose to the odd-looking 32-28 waiting move.
I: Forced and creates an ugly-looking double-corner.
J: But look what happens against the natural 8-11 here! Con-
tinue: 8-11? 32-27!; 3-8 22-17; 15-18 26-23; 11-15 30-26; 8-11
26-22. White wins. Bottled up or what?
K: Best by test.
L: This is natural and best. However, 5-9 will draw.
M: 23-19?? is a howler, being met with 14-18!
N: In addition to the text, Black has options in 14-18 23-14; 7-
10 and 14-18 23-14; 7-11 and 14-18 23-14; 8-11 and 14-18 23-14;
15-19 and 7-10 and 7-11 and 8-11.
Lesson 32: Variation 4 (Off Variation 3)
3-8(A) (V5) 25-22(B); 11-16(C) 27-23(D); 7-11(E) 24-20!(F);
15-24 28-19; 10-14(G) 17-10; 6-24 22-18(H); 1-6(I) 21-17(J); 6-
10(K) 17-13 [Diagram 111] 24-27(L) … even position
106 Checkers for the Novice

Diagram 111: Alma

QRRRRRRRRS
TE 1EA2E 3EA4U
TA5E 6E 7EA8EU
TEA9EA!0EA!1EA!2U
TB!3E !4E !5EA!6EU
TE !7EB!8E !9EB@0U
T @1E @2EB@3EA@4EU
TE @5EB@6E @7E @8U
TB@9EB#0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: Forms the Alma: a favourite among several master players

but rightly shunned by the rank and file because of the difficul-
ties it presents.
B: Natural and best.
C: Applying pressure to White’s double-corner. Instead, 9-14
transposes into the Whilter, as mentioned in Lesson 31, Note
C.
D: Preparing for the surprising sacrifice which follows. Two
points arise. First, this is a definite instance where knowledge
is power. Secondly, not only is this the most aggressive move it
is also arguably the safest move. A popular saying, attributed
to Alfred Jordan, is ‘Keep the draw in sight’. This is actually
not nearly as negative as it sounds, and is simply counselling the
student to resist ‘attacking’ until a weakness has been created in
the opponent’s position. Granted such an opportunity, the only
safe policy is to play for a win: in checkers, timid or inaccurate
play in these circumstances often results in a loss.
E: 16-20 32-27; 8-11 19-16; 12-19 23-16 favours White.
F: A remarkable move, which at first sight looks like a blunder,
but is justified because of Black’s strangulated single-corner.
G: Forced: if Black doesn’t accept the sacrifice, it leaves White
Richard Pask 107

with all of the advantages and none of the disadvantages!

H: 32-28 is hopeless, losing to both 9-14 and 1-6. However,
White is hardly likely to instigate the sacrifice at Note F without
knowing the proper continuation.
I: Against 9-13 White secures the draw with 32-28; against the
9-14 exchange with 26-22 and against 24-28 with 29-25; 1-6 25-
22; 6-10. The last-named continuation is highly involved and
often leads to delicate endgames for Black.
J: 29-25 also draws, but this is more forceful.
K: This leads to a clear-cut finish. A subtle alternative is 2-7!
This is not played with the expectation of White playing 18-15?
(It loses after 11-27 20-2; 12-16 32-23; 9-13 2-9; 13-22 26-17; 5-
21. Black wins), but rather in the knowledge that White can’t
play it. Having thus occupied square 7, Black is then able to
force the 16-19 exchange, seemingly giving him a comparatively
free game with a man to the good. Checkers affords many
opportunities for such tempo-gaining finesses. The trick is to
be alert to them. Of course, being the remarkable game it is,
there is always more than meets the eye. Continue after 2-7: …
32-28! (A superior move order to the original 17-14; 16-19 23-
16; 12-19 32-28; 9-13 29-25 and yet another example of proper
timing); 16-19 23-16; 12-19 29-25; 9-13 25-21! (Avoiding 17-14
which transposes back into the original play); 13-22 26-17 and
White is strongly situated even though a man down.
L: After the text move, proper timing is again critical, with 13-
6; 2-9 31-24; 10-15 26-22 being proper and the careless 31-24??
losing to 10-15.
Lesson 33: Variation 5 (Off Variation 4)
15-18(A) 19-15(B); 10-19 24-8; 4-11 17-14(C); 11-15(D) 28-24(E);
12-16(F) 26-23(G); 16-20(H) 30-26(I); 9-13(J) 32-28(K) [Dia-
gram 112] … even position
108 Checkers for the Novice

Diagram 112: Centre

QRRRRRRRRS
TEA1EA2EA3E 4U
TA5EA6EA7E 8EU
TE 9E !0E !1E !2U
TA!3EB!4EA!5E !6EU
TE !7EA!8E !9EA@0U
TB@1E @2EB@3EB@4EU
TEB@5EB@6EB@7EB@8U
TB@9E #0EB#1E #2EU
VWWWWWWWWX
Black to Play

A: Forms the Centre. Permitting a great deal of variety for

both sides, and being very evenly balanced, it is something of
a mystery why it is not adopted more often.
B: This 2 for 2 is natural and best, and is the first move an
expert would consider. White might take the 17-14 exchange,
with a view to transposing into the Mixed opening after 9-13 in
reply. However, although 17-14 is sound, Black would be more
likely to reply with 11-16, and White would be thrown onto his
own resources. In other words, every proposed transposition
has to be checked move-for-move. Otherwise, to quote Marion
Tinsley, ‘You’ll get knocked down while crossing the road.’
C: Natural, although there is enormous scope here.
D: To the centre and best.
E: Again towards the centre and best. Incidentally, it is almost
always better to play 28-24 rather than 27-24 when playing
routine developing moves (5-9 rather than 6-9 for Black), as the
man on 27 (6 for Black) occupies a more central and important
position.
F: Attacking White’s double-corner and destined for square 20,
this is in line with the policy of rapid single-corner development.
A good alternative is 7-11, lining up three men on 11, 15 and
Richard Pask 109

18 directed against White’s single-corner. A safe continuation

runs: … 26-23; 9-13 23-19; 6-10 14-7; 3-10 25-22; 18-25 29-22;
5-9 27-23; 9-14 32-28 with a completely even position.
G: It suits White to help Black on his way.
H: Consistent with Note F.
I: 31-26 looks and is inferior, being strongly met with 7-11; text
is natural.
J: But now 7-11 is well met with the solid 32-28.
K: Works beautifully in tandem with 30-26 and prepares for the
24-19 exchange.
Lesson 34: Variation 6 (Off Trunk)
9-14(A) (V7) 27-23(B); 8-11(C) 22-18(D); 15-22 25-9; 5-14(E)
29-25(F); 11-15(G) 25-22(H); 4-8(I) 24-20(J); 15-24 28-19; 10-
15(K) 19-10; 6-15 [Diagram 113] … even position

Diagram 113: Defiance

QRRRRRRRRS
TEA1EA2EA3E 4U
T 5E 6EA7EA8EU
TE 9E !0E !1EA!2U
T !3EA!4EA!5E !6EU
TE !7E !8E !9EB@0U
TB@1EB@2EB@3E @4EU
TE @5EB@6E @7E @8U
T @9EB#0EB#1EB#2EU
VWWWWWWWWX
White to Play

A: Towards the centre from the double-corner: not quite as

strong as 8-11, but logical and good.
B: Forms the Defiance, a restrictive defence so named because
it denies Black other opening developments which afford more
110 Checkers for the Novice

scope for attack. The only decent alternative is 22-17. This is

addressed from the black standpoint in Lesson 48.
C: Easily best. Black’s three alternatives are as follows. First,
7-11, which is covered in Lesson 35. Secondly, 5-9, which is met
with 22-18; 15-22 25-18; 7-11 (Against 8-11 19-15; 10-19 24-8;
4-11 28-24; 7-10 29-25 is easy) 26-22; 11-15 18-11; 8-15 24-20;
15-24 28-19; 4-8 22-18; 8-11 30-26; 2-7 32-28! to a draw. And
thirdly, 6-9 (Transposes into 10-14 24-19; 6-10 27-24; 11-15 same
and, as we learnt in Lesson 33, Note E, is going to be weaker
than playing 5-9) 22-18; 15-22 25-18; 8-11 19-15 (Natural); 10-
19 24-8; 4-11 28-24; 7-10 29-25; 9-13 18-9; 5-14 25-22 and White
has the edge.
D: Natural and best to develop White’s single-corner. Some-
times waiting moves are necessary, but here to wait with 32-
27? allows Black to gain a valuable tempo with 6-9!, and is
both unnecessary and decidedly inferior.
E: The side jump with 6-13?! is a case of swimming against the
tide, although on the plus side it opens up new territory, and
no doubt draws after 29-25; 5-9 23-18 and the 11-15 2 for 2.
F: Again natural and best, forming Key Landing #6. One of
the strong points of this defence is that many of the moves pick
themselves. Purely out of interest, it’s worth noting that the
once-defunct 26-22, which is not as good although it draws, is
now making something of a revival, as it transposes with colours
reversed into one of the ballots recently added to the 3-move
deck.
G: 6-9 25-22; 9-13 24-20; 11-15 32-27!; 15-24 28-19 transposes
into Note I.
H: Natural and best. Instead, the immediate 24-20 exchange
allows Black to follow up with 10-15 19-10; 6-15 25-22; 15-19
23-16; 12-19: still okay for a draw, but requiring a little bit of
care in the endgame.
I: 7-11 is shown in Lesson 35 and forms another position which
can arise from several different ballots: Key Landing #8. Alter-
Richard Pask 111

natively, Black has 6-9 24-20; 15-24 28-19; 9-13 32-27 (This fits
in well now) forming Key Landing #7. A typical continuation
runs 4-8 22-18; 1-5 18-9; 5-14 26-22 to a draw.
J: The best time for this exchange.
K: More dynamic than 8-11, which is well met with 22-17; 11-15
32-28; 15-24 28-19; 7-11 and 19-16 to a draw. After the text
White counters with the 22-18 2 for 2 and then 31-27 with a
view to exchanging onto square 18.
Lesson 35: Variation 7 (Off Variation 6)
7-11(A) (V8) 27-23(B); 9-14(C) 22-18(D); 15-22 25-9; 5-14 29-
25(E); 11-15(F) 25-22(G); 8-11(H) 22-18(I); 15-22 26-17; 11-
15(J) 24-20(K); 15-24 28-19; 4-8(L) 30-26(M) [Diagram 114] …
even position
Diagram 114: 7-11 Defiance
QRRRRRRRRS
TEA1EA2EA3E 4U
T 5EA6E 7EA8EU
TE 9EA!0E !1EA!2U
T !3EA!4E !5E !6EU
TEB!7E !8EB!9EB@0U
TB@1E @2EB@3E @4EU
TE @5EB@6E @7E @8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: The apex men, on square 7 for Black and square 26 for

White, are so named for the following reason. They are at the
apex of the two small triangles - consisting of men on squares
2, 3 and 7, and 26, 30 and 31 – mentioned in Lesson 18. Some
authorities have counselled against moving these men early in
the game, but there are so many exceptions to this guidance
that it can scarcely qualify as general advice— the text being a
case in point. Of more relevance is the typical character of 7-11
112 Checkers for the Novice

(For White 26-22) in contrast with that of the more usual 8-11
(For White 25-22). See Lesson 38 (26-22) and Lesson 48 (7-11)
for an outline of the two main points. Of passing interest is
the fact that 10-15 23-19; 7-10 forms the same position as 11-15
23-19; 7-11. However, although the latter is far more natural,
it is the former which is listed in the 3-move deck.
B: White has five playable moves at this stage: the 22-18 ex-
change, 27-23, 26-23, 22-17 and 21-17. The text is an ideal
choice for the student because it is both safe and restrictive, link-
ing naturally with Lesson 34. Also, whereas 26-23, 22-17 and
21-17 might be said to accentuate the strength of Black’s 7-11
move, 27-23 harnesses its limitations. After 22-17, for exam-
ple, Black continues with 9-14 (11-16 26-23; 8-11 is also strong)
25-22; 11-16 26-23; 5-9 17-13; 3-7 and the Whilter opening men-
tioned under Lesson 31, Note C and Lesson 32, Note C. It is
also covered in Lesson 48.
C: 3-7 is comfortably met with the 22-18; 15-22 25-18 exchange
and 9-13 with the centre-controlling 23-18. This just leaves 11-
16, which applies pressure to White’s double-corner. A logical
continuation runs: … 22-18; 15-22 25-18; 10-14 29-25; 16-20 32-
27 (A natural fill-in); 8-11 19-16 (A standard 2 for 2 in this
type of position); 12-19 24-8; 4-11 28-24; 6-10 24-19 and White
is comfortable. After 9-14, which forms the 7-11 Defiance, the
absence of the man on square 7 means that Black’s options are
limited in comparison with Lesson 34.
D: Logical and best.
E: Ditto: 24-20 could be played immediately, but it’s natural
to develop the single-corner man.
F: Ditto. For example, 11-16 is easily met with either 25-22 or
24-20 (My preference).
G: The immediate 24-20 exchange may be taken in order to
break with 19-16 against 8-11, but again the single-corner de-
velopment is natural.
H: Forms Key Landing #8. With the man off of square 7, 6-9
Richard Pask 113

here favours White slightly, in contrast with Note I of Lesson

34.
I: The 24-20 exchange is sound but affords Black far more scope,
and a number of important wins have been scored for the first
side. By contrast, the text is exceptionally easy to handle.
J: 4-8 24-20; 11-15 30-26; 15-24 28-19 is an interchange of no
consequence.
K: Part of a plan to meet Black’s 4-8, 8-11 development.
L: Natural and best.
M: A standard alignment of three men on squares 19, 23 and 26
(For Black squares 7, 10 and 14), designed to meet an advance
to square 11 with the 19-16 break-up. After 12-19 23-7; 2-11,
White continues with 26-23, gripping Black’s ‘elbow’ of men
on squares 1, 6, 10 and 14 with those on squares 17, 21 and
23. Edward Lasker wrongly considered elbows to be a source
of strength: in fact, they generally have to be carefully nursed.
Lesson 36: Variation 8 (Off Variation 7)
9-13(A) 22-18(B); 15-22 25-18; 10-14(C) 18-9; 5-14 27-23(D);
8-11(E) 26-22(F); 6-10(G) 22-18(H); 1-5(I) 18-9; 5-14 29-25(J);
11-15(K) 25-22(L); 4-8(M) 30-26(N); 8-11 [Diagram 115] … even
position.

Diagram 115: Will O’ The Wisp

QRRRRRRRRS
TE 1EA2EA3E 4U
T 5E 6EA7E 8EU
TE 9EA!0EA!1EA!2U
TA!3EA!4EA!5E !6EU
TE !7E !8EB!9E @0U
TB@1EB@2EB@3EB@4EU
TE @5EB@6E @7EB@8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
White to Play
114 Checkers for the Novice

A: Forms the Will-O’-The Wisp: a completely even opening.

Incidentally, Black has one other playable option in the rad-
ical 10-14 exchange. Known as the Virginia, this was by no
means unheard of in the freestyle era, but White’s favoured re-
ply was different then from now. After 19-10; 6-15 Continue:
… 22-18 (The practice of grandmasters such as Asa Long and
Marion Tinsley has shown that apparently innocent open for-
mations can still prove lethal. Instead, the heavier 22-17 was
the old-time favourite, being correctly met with 14-18! rather
than the natural 7-10? fill-in which loses); 15-22 26-10; 7-14
25-22; 8-11 24-19 and White is best. In Derek Oldbury’s opin-
ion, given sufficient winning incentives the game would have
evolved naturally, without the need for enforced balloting. It’s
an interesting thought.
B: Natural and best, White of course jumping back towards the
centre.
C: For once, let’s look at every possible black move. There are
8 of them. 1) 12-16?? is ridiculous and loses at once. 2) 6-
9?! allows White to break up Black’s double-corner with 19-16;
12-19 24-6; 1-10. Both 12-16 and 6-9 would be dismissed auto-
matically by an expert. 3) 5-9 is an ineffective waiting move,
though sound, which allows White to gain a tempo and consol-
idate his position with 27-23. Incidentally, this transposes into
another ballot: 9-13 23-19; 5-9 27-23; 11-15 22-18; 15-22 25-18
same. 4) 8-11 is natural and sound, but gives White a slight
edge after the characteristic 19-15 2 for 2. 5) The 10-15 2 for 2
is a good option for the skilful crossboard player, opening up a
wealth of options for both sides after 18-11 (The Glasgow idea
with 19-10 also draws, but this is better); 7-23 (8-15 is weaker
but sound) and 27-18 (26-19? horribly unbalances White’s po-
sition). 6) The 13-17 exchange most gives rise to the elusive
qualities suggested by the name of the opening. Continue: …
21-14; 10-17 (A man on square 17 is particularly effective when
there is no man on 25 available to force it into the dust hole:
square 21 for Black and square 12 for White. When there is a
man on 25, the occupation of 17 may still be sound if Black can
Richard Pask 115

support it with one on 13) 29-25; 5-9 25-22; 9-13 27-23 (White
adopts the correct policy of operating on the opposite wing and
seeking to out-wait Black); 8-11 32-27; 4-8 24-20; 1-5 (19-16!;
12-19 23-16 may win here) 27-24; 6-9 31-27; 2-6 and a very
involved midgame. 7) 7-11 (This invites complications arising
from the 19-15 exchange) 27-23 (A nice finesse: if Black doesn’t
take the break up which is being offered, White can consolidate
his position with 26-22); 10-15 19-10; 6-22 26-17; 13-22 30-26
(The Glasgow idea once more); 5-9 26-17; 9-13 17-14; 11-15 24-
19; 15-24 28-19 and an even position. 8) And finally the text
move, which is the model of calmness, allowing both sides to
develop naturally. Hopefully this extended note will give the
reader some idea of the thoughts which occupy an experienced
player’s mind. It’s also of relevance that of the 8 possible moves,
7 of them are sound.
D: Part of a plan to squeeze the man on square 14.
E: Note the move order: 6-10 first would allow the 19-16 2 for 2.
F: A continuation of the plan initiated at Note D. The natural
29-25 is of course sound.
G: 11-16 and 7-10 are also good, but this natural move is the
most favoured one.
H: Logical and best: when you can get to the centre first, it is
almost always correct to do so.
I: This is natural and simplest, but the 14-17 exchange is good
for the reasons explained in Note C, and requires careful han-
dling. Continue: … 21-14; 10-17 18-14; 1-5 29-25; 2-6 31-26;
17-21 25-22; 6-10 and White has to be prepared to play a man
down with 24-20; 10-17 32-27 … an involved draw.
J: Natural and best.
K: Ditto, although 4-8 25-22; 11-15 comes to the same thing.
L: White could deny Black the possibility of a break-up by
playing 30-26; 4-8 and then 25-22, but this would cut out a
winning opportunity. This is yet another example of the role
116 Checkers for the Novice

of time/timing in the game: giving your opponent enough rope

with which to hang himself!
M: Current analysis holds that 14-17 draws while 14-18? loses.
Certainly White has nothing to fear from either, so the text
may be considered best.
N: In this instance 31-26 is also okay, but I prefer the text
because it allows for the future 22-17 exchange.
As White: Responding to Other Initial Moves
In order of strength, these rank as follows: 9-14, 11-16, 10-15,
10-14, 12-16 and 9-13. The next six lessons provide the reader
with a good rejoinder to each one.
Lesson 37: White Reply to 9-14
9-14(A) 22-18(B); 5-9(C) 24-19(D); 11-15(E) 18-11 8-24 28-19;
4-8(F) 25-22(G); 8-11(H) 22-18(I); 11-16(J) 29-25(K); 7-11(L)
25-22(M); 1-5(N) 27-24(O); 16-20(P) 32-28(Q); 20-27 31-24 [Di-
agram 116] … even position

Diagram 116: Reply to 9-14

QRRRRRRRRS
TE 1EA2EA3E 4U
TA5EA6E 7E 8EU
TEA9EA!0EA!1EA!2U
T !3EA!4E !5E !6EU
TE !7EB!8EB!9E @0U
TB@1EB@2EB@3EB@4EU
TE @5EB@6E @7EB@8U
T @9EB#0E #1E #2EU
VWWWWWWWWX
Black to Play

A: Moving towards the centre, but exiting from the more vul-
nerable double-corner, this allows White to equalize assuming
the best immediate response.
Richard Pask 117

B: Apart from 23-18 (and 21-17?? of course!), there is little

to choose between White’s possible replies. However, the text,
which is the mirror-image of 11-15, is certainly the most logical
move and, from the student’s standpoint, best. First, it enables
White to get to the centre before Black does, and secondly, it
‘puts the question’ to the man on square 14.
C: Unquestionably best. Permitting the exchange with 11-15,
11-16 or 10-15 grants White a definite advantage, to varying de-
grees: partly because it puts Black ahead in development and
partly because of the disruption it causes. The fourth exchange,
with 14-17 21-14; 10-17, which may also arise from 9-13 22-18;
13-17?, has been shown by analysis to be a loss for Black and
is therefore excluded from the 3-move deck. (Although it may
still be played freestyle!) The details of this are not relevant to
the present discussion, but the first few moves are. Continue:
… 25-21! (Developing White’s single-corner while further weak-
ening Black’s double-corner); 6-10 21-14; 10-17 29-25!; 1-6 (Or
Black could voluntarily enter square 21) 25-22! (Better than
25-21 on principle, because after 6-10 21-14; 10-17 the man on
17 could only be removed with the generally-disruptive 26-22
exchange); 17-21 24-19 … White wins. Entering square 21, for
Black, or 12, for White, the dust holes mentioned under Lesson
36, Note C, early in the game is generally disadvantageous be-
cause of the very limited mobility of these men. You will also
note that 12-16? is too horrible to contemplate after 18-9; 6-13
(5-14?? allows a 2 for 1) 24-20! (or 23-18!) and with a damaged
double-corner and a cramped single-corner, it is not surprising
that this ballot is also barred. And finally, there is the 6-9 fill-
in. Although this is sound, it follows from our general principles
(Moving the more central man on 6 rather than that on 5) that
this is weaker for Black. Continue: … 25-22; 11-15 18-11; 8-15
and the clever waiting move with 29-25! throws Black’s position
out of kilter. Referring back to Lesson 36, Note C, you will see
that here there are 7 possible black moves, of which 5 draw and
2 lose only as a result of detailed analysis: very little wastage.
To quote the legendary Tinsley once more: ‘[This] surely re-
118 Checkers for the Novice

flects the unique character of checkers – the seemingly endless

resources that can be conjured from the flimsiest structure.’
D: Logical: to the centre and very forceful. However, White
has other good moves here and these are examined in Lessons
43 and 45.
E: Logical and easily best. However, the accomplished expert
sometimes plays 11-16, partly because it is more complicated
and partly because it may also be utilized from another ballot.
Continue: … 26-22! (Preferable to 25-22, which in Lesson 43 is
already committed. This grips Black’s double-corner and pre-
vents the Glasgow idea shown there); 7-11 (Replying in kind.
8-11 is also okay) 22-17; 16-20 17-13! (Not 30-26? which loses
to a double-action shot after 20-24!) and White is best. You
will also note that 10-15 19-10; 6-22 26-10; 7-14 25-22 is infe-
rior because it rips a hole in Black’s position, helps to develop
White’s single-corner and gets nothing in return. Lastly, the
1-5 waiting move, although sound, is basically a wasted move,
serving only to grant White a free tempo. Continue: … 25-22;
11-15 18-11; 8-24 28-19; 4-8 25-22; 8-11 27-24; 9-13 18-9; 5-14
24-20 and White has the edge.
F: 7-11 is also played, in order to get a quicker squeeze on the
man on 19, but 9-13 is inferior because it again loses a tempo.
G: My preference, but 26-22 is also popular.
H: 9-13 is again inferior, for the reason given in F. However,
this didn’t stop it being a favourite with Willie Ryan, one of
the all-time greats. What is appropriate for a grandmaster is
not necessarily appropriate for a beginner.
I: Of course: nothing else is worthy of consideration. For exam-
ple, the 23-18 exchange rips open White’s double-corner (holes
on both 27 and 28) without compensation.
J: Easily best. For example, 1-5 again loses a tempo, while the
10-15 break-up, although better than in Note E, gives White
the edge.
Richard Pask 119

K: 26-22 is again okay, but this is consistent with Note G.

L: 1-5 25-22; 7-11 comes to the same thing, but without permit-
ting the 18-15 dissolution. Since this favours Black anyway, to
prevent it would be akin to Note L of Lesson 36.
M: Although 18-15; 11-18 21-17; 14-21 23-5; 16-23 26-19 (Opens
up the double-corner less than 27-18) lands a white man in the
dog hole (5), the fact that there is a black men in the dust hole
(21) and the forces are considerably reduced, means that Black’s
advantage is quite small. It also gains for White a somewhat
freer game. In its favour, the text offers White several winning
possibilities if Black is incautious. Of course, 27-24?? would be
awful after 10-15!
N: The 10-15 exchange and 3-8 are also good, being met with
27-24 in both cases. Against 16-20, White breaks up Black’s
position to good effect with 19-15. In addition, 3-7? loses to
32-28!; 16-20 and the subtle shot with 21-17!; 14-21 19-15; 10-19
23-16; 12-19 27-24; 20-27 31-8. And finally, 2-7? loses to 32-28!;
16-20 28-24 (A move like this, voluntarily cramping one’s own
position, is normally horrible, but here, because of the magic of
timing, it wins); 11-16 (The key point is that the 10-15 exchange
loses to 22-17 in return. Try it out!) 22-17; 3-8 26-22; 1-5 30-25;
8-11 31-26. White wins. A glorious tie-up reminiscent of Lesson
31, Note J.
O: Forcing Black into square 20. Notice that 22-17? cannot be
played here, because the 9-13 series of exchanges wins a man.
P: No player worth his salt would consider anything else.
Q: 30-25 is okay, but 31-27? allows an horrific cramp with 11-
16 30-25; 3-7 (Making preparations) 32-28; 9-13 18-9; 5-14 22-
18; 13-17 18-9; 6-13 21-14; 10-17 and there is no way White’s
log jam of men can escape the clutches of Black’s upcoming
king. After the text move, White still has some tricky shoals to
negotiate, a typical continuation being 9-13 (11-16 is also fine,
but not as sustaining) 18-9; 5-14 24-20! (22-18? is a blunder
after 11-16! 18-9; 16-20); 2-7 to a draw.
120 Checkers for the Novice

Lesson 38: White Reply to 11-16

11-16(A) 24-19(B); 8-11(C) 22-18(D); 4-8(E) 26-22(F); 16-20(G)
22-17(H); 9-14(I) 18-9; 5-14(J) 25-22(K); 11-15(L) 30-26(M); 15-
24 28-19; 8-11(N) 22-18(O) [Diagram 117] … even position

Diagram 117: Reply to 11-16

QRRRRRRRRS
TEA1EA2EA3E 4U
T 5EA6EA7E 8EU
TE 9EA!0EA!1EA!2U
T !3EA!4E !5E !6EU
TEB!7EB!8EB!9EA@0U
TB@1E @2EB@3E @4EU
TE @5EB@6EB@7E @8U
TB@9E #0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: Moving from the single-corner, but directed towards the side,

this allows White to take the initiative.
B: Both 22-18 (The mirror-image of 11-15 remember) and 23-
18 are fractionally stronger, but the text is also good and well
suited to the beginner.
C: To the centre from the single-corner and best.
D: Parried effectively.
E: Of the 8 moves Black has at his command, only the ludicrous
11-15? loses: such is the scope of the game. Aside from the text,
which is a super-solid waiting move, two of these are particularly
pertinent. The 9-14 exchange would seem natural, but after
18-9; 5-14 25-22; 11-15 29-25! (White holds the man on 22
in readiness); 15-24 28-19; 4-8 22-18 White holds a definite
advantage. Should Black continue with 14-17 (8-11 is best) 21-
14; 10-17 then 25-22!; 17-21 (Into the dust hole) 18-14! may
even prove to be a forced win. Against the flanking 10-14, my
Richard Pask 121

preferred reply is the early movement of the apex man with

26-22. To understand its benefits, it is first necessary to look at
25-22, which is of course also very good. Continue: … 25-22; 16-
20 (7-10! first cuts out the Glasgow idea because 22-17?; 9-13
18-9; 13-22 26-17; 6-22 30-26; 5-9 26-17; 9-13 17-14; 10-17 21-14
allows Black to infiltrate to deadly effect with 13-17! However,
the 16-20 move is forced from another ballot) 22-17; 9-13 18-9;
13-22 26-17; 6-22 30-26; 5-9 26-17; 9-13 17-14 and White has
the edge. Back to 26-22. Continue: … 26-22; 16-20 (7-10! is
arguably again best, after which White boldly continues with
22-17!; 10-15 19-10; 6-22 25-18; 2-6 17-10; 6-22 and secures an
advantage with the clever 28-24!; 3-7 30-25; 22-26 31-22; 16-20
22-18; 7-10) 22-17; 7-10 (It is best for Black to fill in with this,
forming Key Landing #9, as against other moves White can
now jump back towards the centre with 25-18: Point 1) 30-26
(There are strong alternatives in 17-13 and 28-24); 11-16 26-22!
(25-22?; is hopeless after 9-13! 18-9; 5-14 as the release with
22-18 is impossible since it would lose a man); 9-13 18-9; 5-14
22-18! (But with 26-22 played, this is fine: Point 2); 13-22 18-9;
6-13 25-18 and White holds the advantage.
F: The natural 25-22 is also good. Another option is to dyke
with 18-14; 9-18 23-14; 10-17 21-14; 16-23 27-18. So far as
one can generalize with safety, the strength of a dyke forma-
tion can be assessed according to the number of men remaining
on the board after its formation: 11-man and 10-man dykes,
particularly when the double-corner remains intact, are strong;
9-man dykes are even; 8-man dykes are usually unfavourable to
the dyking player. Thus this particular dyke may be assessed
as even. For one thing, by referring back to Diagram 93 you
will see that it is impossible for White to construct the ideal
formation given there.
G: Natural and best, although other moves are playable. Against
the premature 9-14 exchange, White squeezes strongly with 22-
18.
H: This is consistent with the previous move.
122 Checkers for the Novice

I: Natural and best. Instead, 9-13 is well met with the 30-26
exchange (Jack Cox Landing): the 17-14 exchange would be
premature, allowing Black to infiltrate with 13-17!
J: This keeps Black’s position intact, forming Key Landing #5,
whereas 6-22 disrupts it.
K: Natural, but 30-26 is a good twister, tempting 11-16? (11-15
25-22 returns to the main line) and the win covered in the next
note with 26-22!
L: Natural and best. While 11-16? may be open to criticism
on the grounds of failing to take the centre when available, one
would hardly expect it to be a losing move. Continue: … 30-
25!; 8-11 22-18; 1-5 18-9; 5-14 (6-22 25-18; 10-14 18-9; 5-14 is
a good try, but loses to 29-25; 7-10 25-22; 11-15 23-18!) 25-22;
11-15 29-25; 15-24 28-19; 7-11 17-13; 11-15 22-17; 15-24 23-19;
16-23 27-9 and Black is deep in the throes of ‘Dunne’s Loss’ (Or
‘Dunne’s Win’, according to your outlook!).
M: But played here, 30-25? may even lose , allowing Black to
continue powerfully with 15-24 28-19; 8-11 22-18; 1-5 18-9; 5-14
25-22; and 11-15! The text readies White for the later 22-18
thrust.
N: Natural and clearly best.
O: Declining the centre would be illogical and almost certainly
a loss. It deserves to be! After the text Black has sound con-
tinuations in 11-16, 11-15 and 1-5.
Lesson 39: White Reply to 10-15
10-15(A) 21-17(B); 11-16(C) 17-13(D); 16-20(E) 23-18(F); 8-
11(G) 26-23(H); 7-10(I) 25-21(J); 9-14(K) 18-9; 5-14 29-25(L);
4-8(M) 30-26(N); 11-16(O) 24-19(P); 15-24 28-19 [Diagram 118]
… White has the edge
Richard Pask 123

Diagram 118: Reply to 10-15

QRRRRRRRRS
TEA1EA2EA3E 4U
T 5EA6E 7EA8EU
TE 9EA!0E !1EA!2U
TB!3EA!4E !5EA!6EU
TE !7E !8EB!9EA@0U
TB@1EB@2EB@3E @4EU
TEB@5EB@6EB@7E @8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: On the plus side this is towards the centre; on the debit side
it exits from the double-corner and opens up a hole on square
10.
B: The best reply as it is directed towards the hole in question.
C: Of Black’s 8 possible moves, two can be eliminated imme-
diately because they lose a man: 15-19?? and 12-16?? (via
the 24-19 2 for 1). The 9-14 exchange disrupts Black’s centre
and on looks is hardly choice. That it is actually an analyt-
ical loss after the flanking attack with 25-21; 6-10 24-20; 3-7
28-24; 5-9 22-17 is simply one of the mysteries of the mysti-
cal squares: attempting to ‘explain’ this in generalized terms
would be dishonest. Although sound, 6-10 and 7-10 are both
weak, inviting an attack with 17-14! Note that 17-14! is also a
powerful response to 9-13?, one of the tougher 3-movers, which
is a misguided attempt to cramp White’s single-corner. This
leaves 15-18 and 11-16. Rarely played in the 2-move era, anal-
ysis under 3-move has revealed 15-18 to be quite a good choice
for the skilful player, as it sets up a complicated position with
enormous scope for both sides. Technical advances such as this
have also affected how freestyle matches are conducted in the
modern era. Given that all 7 initial moves have long been es-
tablished as sound, one might expect today’s players to display
124 Checkers for the Novice

more variety. In practice, they stick even more closely to 11-15

than before, in the knowledge that their opponents know how
to achieve at least equality against the other 6 moves if they
wish. After 15-18 22-15; 11-18 23-14; 9-18 one good plan for
White is to surround the outpost man with 24-19— a possible
continuation being given under Lesson 40, Note C. Finally, we
have the text: a strong favourite in the 2-move era, since it
keeps Black’s double-corner intact and avoids posting a man in
enemy territory.
D: My preference: a natural developing move which imposes a
slight cramp on Black’s double-corner. That said, this ballot
possesses enormous scope, and valid cases may be made for
numerous alternatives.
E: The 16-19 exchange is logical and sound, but after the 22-18;
15-22 24-15 exchange, White forces the pace. The text is the
counterpart of 17-13 and keeps all options open.
F: My choice among many: the 22-18 and 24-19 exchanges are
excellent, for example, and lead to entirely different midgames.
G: A natural fill-in.
H: Keeps White’s position intact; 25-21; 7-10 26-23 is an in-
nocent interchange of moves. The text might be said to set a
trap!
I: Black is thinking along the same lines. Note that the 9-14
exchange would be premature, permitting a 2 for 1 in reply
with 22-18 and a damaged black position after regaining the
man with 1-5. Also, 12-16?? is unthinkable!
J: Natural, but White has other choices.
K: The best time to exchange towards the centre: 4-8 29-25
(Not forced); 9-14 18-9 5-14 comes to the same thing.
L: A good waiting move, although the rare 30-25 has its merits.
Another one of Alfred Jordan’s dictums was, ‘When in doubt
move 4-8 (29-25).’ Of course he was well aware that checkers is
not that simple. For one thing, the choice between 3-8 and 4-8
Richard Pask 125

may be dictated by pressing issues of single-corner cramping,

examples of which are given in Lesson 41 and 42. For another,
when there is a white man on square 20, and three black men
on 3, 4 and 12, 3-8 may be preferred to 4-8 as a means of
discouraging a white advance with 22-18 because of the 12-16
20-11; 8-22 threat. Overall, I would say that just as 7-11 (For
White, 26-22) may be viewed as more dynamic than 8-11 (25-
22), so may 3-8 (30-25) be viewed in relation to 4-8 (29-25).
M: Black follows suit.
N: Consolidates White’s position and forms Key Landing #2.
Flanking with 22-17 is another good move, but so many white
wins have been registered after the text that it remains a firm
favourite.
O: Against the 15-18 22-15; 11-18 exchange, White replies
strongly with 24-19. Apart from this and the text, other moves
have been shown to be either losses or very narrow draws.
P: White has very little room for manoeuvre, but having one
strong move available is far better than having a choice of 8 bad
ones! After the exchange, Black’s best reply is the logical 3-7!
rather than the lazy, but popular 8-11? which invites trouble
with 22-18! When you become thoroughly familiar with this
landing, you will seek it again and again.
Lesson 40: White Reply to 10-14
10-14(A) 24-19(B); 6-10(C) 22-17(D); 9-13(E) 28-24(F); 13-22
25-9; 5-14 26-22(G); 11-15(H) 29-25(I); 7-11(J) 23-18(K); 14-23
27-18; 11-16(L) 18-11; 8-15(M) 31-27; 16-23 27-11; 3-8(N) 11-
7(O); 2-11 22-17(P) [Diagram 119] … White has the advantage.
126 Checkers for the Novice

Diagram 119: Reply to 10-14

QRRRRRRRRS
TEA1E 2E 3EA4U
T 5E 6E 7EA8EU
TE 9EA!0EA!1EA!2U
T !3E !4E !5E !6EU
TEB!7E !8E !9E @0U
TB@1E @2E @3EB@4EU
TEB@5E @6E @7E @8U
T @9EB#0E #1EB#2EU
VWWWWWWWWX
Black to Play

A: A flanking move which allows White several strong replies.

B: Best, although 22-18 and 22-17 are also favoured.
C: A quick survey shows that there are 8 possible black moves,
of which two, 14-17?? and 12-16??, can be dismissed immedi-
ately. Rather like 10-15 21-17; 9-14 discussed in the previous
lesson, the 11-15 exchange looks very questionable because of
the hole it creates, and after White applies pressure against
Black’s double-corner with 22-17; 7-10 17-13; 1-6 25-22; 3-7 22-
17 it has indeed been shown to be a loss. (This of course does
not mean that if someone were to play it he would necessarily
lose!) Against the premature 9-13, White replies with the natu-
ral 22-18 and gets a strong game. Both 7-10 and 11-16 seek to
transpose into Key Landing #9 shown under Lesson 38, Note E.
To remind you, this arose from 11-16 24-19; 8-11 22-18; 10-14
26-22; 16-20 22-17; 7-10. However, with careful play White can
deny this, and in so doing gain a strong advantage. This leaves
6-10 and 14-18. The former was an almost universal favourite
in the 2-move era, but 14-18 is now recognized to be almost
as good. After 14-18 22-15; 11-18 23-14; 9-18 21-17 Black has
to proceed with caution: 8-11 17-13 (White plays a series of
waiting moves, and in response Black times his moves carefully
to support the man on 18 while avoiding overcrowding); 7-10
Richard Pask 127

25-21; 10-14 29-25; 4-8 26-23; 3-7 28-24; 6-10 24-20; 11-15 32-28;
15-24 28-19; 1-6 and another Key Landing (#20).
D: There are other good moves in 22-18, 27-24 and 28-24, but
this is best as it is directed towards the hole created on square
6.
E: This and 11-15 are the two major defences. The disadvan-
tage with 9-13 is that it results in a hole on squares 5 and 6:
its advantage is that it is allows for a more natural, thematic
defence with the moves 11-15, 7-11 and 11-16 against all of
White’s attacks. By contrast, 11-15 originally found favour be-
cause it was thought to lead to better-defined draws. However,
further analysis has revealed that the early removal of the man
on square 2 leads to a spindly position which is highly suscep-
tible to attack. A good attack against 11-15 runs as follows:
… 26-22 (17-13; 15-24 13-6; 2-9 28-19; 8-11 25-22; 11-15 19-16;
12-19 23-16 is also strong for White); 15-24 28-19; 7-11! (To dis-
suade 22-18. Note that 9-13? would allow White to break up
Black’s position with 22-18!) 30-26 (Building up the pressure
against Black’s double-corner); 11-15 (9-13? here would be an
outright loss) 17-13 (32-28 is also good); 15-24 13-6; 2-9 27-20;
8-11 22-18 and White has many winning chances. Also worth a
mention is the rarely seen 1-6 defence. Its attraction is that it
fills in the hole on 6: one danger is the elbow of men it creates
on squares 6, 10 and 14. Continue: … 25-22; 11-15?? 30-25!;
15-24 28-19. White wins. R. Scobbie v J. Ferrie 1928.
F: The natural move and, in line with other examples which
have been given, is stronger than 27-24 at this point.
G: The quickest way to apply pressure to the man on square
14. However, 29-25 is an excellent alternative. Note that the
inferior 24-20 is met strongly with the natural 11-15 advance,
while 32-28 allows Black to apply pressure to White’s elbow of
men on 19, 23 and 27 with 11-16.
H: The obvious move to parry a 22-18 thrust.
I: My preference, but 22-17 is also strong.
128 Checkers for the Novice

J: 8-11 is also sound, though less thematic and more involved.

Continue: … 22-17; 3-8 25-22; 1-6 32-28 and White is best.
Also, the 14-18 break is all in favour of White. Over time, the
student will gradually become aware of the different gradations
of ‘draw’ which exist within the game: a theoretical draw is not
necessarily a practical proposition!
K: A radical exchange, but one which is justified by its bid to
grip the centre.
L: 1-5 21-17 and then the break-up with 11-16 may be okay,
but everything else is hopeless.
M: Jumping 16-23 first comes to the same thing.
N: Forced, or Black would remain a man down.
O: Other moves let Black off too lightly.
P: This sets Black a problem to solve. My reason for giving
the best continuation is to bring out two key points: 10-15! (In
combination with Black’s next move, this is played as part of a
long term combination to break through White’s king-row, as
discussed in Lesson 20) 17-14; 11-16 24-20; 15-19 20-11; 8-15
14-10; 19-23 10-7; 12-16 7-3; 15-19 3-7 23-26 (Point 1: notice
how Black is just in time to effect this) 30-23; 19-26 7-11; 16-19
25-22; 26-31 (Point 2: not the careless 26-30? which loses to
32-27! Keep concentrating until the end) 22-18; 31-26 18-14;
26-22 14-10; 19-23 10-7; 1-5 to a draw.
Lesson 41: White Reply to 12-16
12-16(A) 24-20(B); 8-12(C) 28-24(D); 3-8(E) 23-18(F); 9-13(G)
18-14(H); 10-17 21-14; 6-10(I) 25-21(J); 10-17 21-14; 16-19(K)
24-15; 11-25 29-22; 1-6(L) 30-25(M) [Diagram 120] … White has
the edge
Richard Pask 129

Diagram 120: Reply to 12-16

QRRRRRRRRS
TE 1EA2E 3EA4U
TA5EA6EA7EA8EU
TE 9E !0E !1EA!2U
TA!3EB!4E !5E !6EU
TE !7E !8E !9EB@0U
T @1EB@2E @3E @4EU
TEB@5EB@6EB@7E @8U
T @9E #0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: This ranks 6th in strength purely because of White’s rejoin-

der.
B: Cramping Black’s single-corner. Other replies are soft in
comparison.
C: Making preparations to break the cramp and best. How-
ever, 10-15, which is a recent addition to the 3-move deck, is
also sound and only slightly weaker. Of a completely differ-
ent nature but perfectly playable, is the 11-15 exchange. This
breaks the cramp immediately at the cost of damaging Black’s
single-corner and putting him ahead in development. However,
to gain a point you must give a point. Lastly, 9-13? which
blissfully ignores the issue at hand!, gifts White a tempo and
eventually loses after 28-24; 8-12 24-19 etc …
D: Continuing to cramp and my preference.
E: Logical and best. However, both 9-14 and 10-15 will draw.
Note that 4-8? (Playing by rote) falls to a beautiful thematic
attack after 24-19!; 10-15 19-10; 6-15 23-18!; 9-14 18-9; 5-14
22-18!; 14-23 27-18!; 15-22 25-18! and the single-corner cramp
is crippling.
F: Against 24-19 Black is now a position to make the break
with 11-15, jumping out all of the men and virtually equalizing.
130 Checkers for the Novice

Although 22-18 leads to a more sustained advantage, the text

move is also justly popular and possesses many winning chances.
G: The only good move at Black’s command. Against the 9-
14 18-9; 5-14 exchange, White gains complete control of the
centre with 24-19; 16-23 27-9; 6-13 22-18; 11-16 20-11; 8-22 25-
18; 4-8 29-25; 8-11 25-22; 12-16 18-14; 10-17 while the 16-19
exchange is well met with the 18-15 exchange, leaving White
with a working advantage in a complicated position. Finally,
10-15 is weak on account of the 22-17 exchange which retains
the cramp; 10-14 gets hopelessly suffocated after 26-23; and the
11-15 double-exchange loses a man after 24-19 in return.
H: Logical to occupy square 14, although White has several
other playable moves.
I: Seeking to reduce the forces and gain some breathing space.
J: Falling in with Black’s plans, but good. White has incredible
scope at this stage. For example, he has the lively 14-9; 5-14
24-19; 16-23 27-9 or the sacrificial lines with 22-17; 13-22 25-18;
10-17 29-25 or 22-18; 10-17 26-23 or 22-18; 10-17 25-22 or 22-18;
10-17 25-21: in each case giving up a man to amplify the cramp.
K: The follow-up to Note I.
L: Applying pressure to the man on square 14 and setting a
little trap in the process.
M: Correct, as the hasty 27-23?? loses to 6-9!
Lesson 42: White Reply to 9-13
9-13(A) 22-18(B); 12-16(C) 24-20(D); 8-12(E) 27-24(F); 3-8(G)
24-19(H); 11-15(I) 18-11; 8-24 28-19(J); 10-14(K) 20-11; 7-16 25-
22(L); 4-8(M) 22-18(M); 6-10(M) 18-9; 5-14 29-25(M); 8-11(M)
25-22(M) [Diagram 121] … White has a definite advantage
Richard Pask 131

Diagram 121: Reply to 9-13

QRRRRRRRRS
TEA1EA2E 3E 4U
T 5E 6E 7E 8EU
TE 9EA!0EA!1EA!2U
TA!3EA!4E !5EA!6EU
TE !7E !8EB!9E @0U
TB@1EB@2EB@3E @4EU
TE @5EB@6E @7E @8U
T @9EB#0EB#1EB#2EU
VWWWWWWWWX
Black to Play

A: Exiting from the double-corner to the side, this is easily

Black’s weakest opener. However, it finds favour with 99% of
the general public, who regard it as safe!
B: Taking the centre of the board: logical and strong.
C: As if often the case in the early stages, there are 8 possible
moves to consider. The 13-17 exchange loses and was discussed
under Lesson 37, Note C. Also, 5-9?? falls immediately to 18-
15! There are many good ways to meet 6-9 (Considered the
logical follow-up by the man-in-the-street!), dyking with 18-14
being one of them. The dyke idea also works well against 11-16.
Continue: … 18-14; 10-17 21-14; 16-20 23-18! and White is very
powerful. Against 11-15 18-11; 8-15 21-17; 13-22 25-11; 7-16
24-20 is very good, while 26-22 is an effective way of meeting
the 10-14 exchange. This leaves 10-15 and the text: the two
moves which were preferred in the 2-move era. A good attack
against 10-15 runs 25-22; 6-10 (Of course 12-16?? is dire) 23-
19 and Black must allow the break-up with 11-16 18-11; 16-23
27-18; 8-15 18-11; 7-16 22-18 or suffer the consequences. For
example, 5-9? (Instead of 11-16) 26-23; 1-5 30-25; 11-16 18-11;
8-15 22-17; 13-22 25-11; 16-20 31-26; 7-16 19-15; 10-19 24-15 is
a lost cause. Although 12-16 permits the single-corner cramp,
if White wishes, analysis has shown it to resolve into clearer
132 Checkers for the Novice

endgames than 10-15. Note once more that, even in this weak
debut, 6 out of 8 of the black moves draw.
D: The cramp mentioned in Note C. White has several other
good options.
E: Hastening to break the cramp: Black must not tarry!
F: My preference. 25-22 is also strong, as is 28-24. Against
the latter, 4-8! is essential, meeting the fearsome looking 24-19
with 10-15! 19-10; 6-22 25-18; 16-19 23-16; 12-19, with 3-8?
losing to 24-19 because the 11-15 break-up loses a man.
G: But here the opposite is the case, as 4-8?? loses to 18-15!
In some positions you may eventually develop the ability to
visualize 20 or even 30 moves ahead, but in all positions you
should endeavour to look one move ahead!
H: Cramping to the nth degree: White also has 25-22, 18-14
and 32-27 to choose from.
I: Black has to find release.
J: A clever move which leaves the man on square 16 hanging
and forces Black to find a suitable waiting move. Instead, 20-11;
7-16 28-19 allows Black to develop naturally with 4-8.
K: The best there is.
L: 26-22 and 19-15 are other good moves.
M: Natural developing moves.
As Black: Opening with 9-14
The theoretical strength of this opening move, assuming the
best immediate response from White, is beyond dispute: it’s
50-50. The extent to which its merits are appreciated however,
varies widely! William Call, author of several individual and
highly attractive books on the game, regarded it simply as ‘safe’:
no more, no less. Grandmaster Derek Oldbury considered it to
be ‘weak’, having few winning chances. By contrast, Kenneth
Grover, a highly creative crossboard player, frequently opened
with 9-14 in his simultaneous exhibitions and scored hundreds of
Richard Pask 133

wins with it. There are several reasons why I am advocating its
adoption. First, although second in strength to 11-15, it’s more
restrictive and thus easier for a newcomer to gain a working
knowledge of its strengths and weaknesses; secondly, excepting
a slight cramp in the double-corner, it presents no basic forma-
tional difficulties; thirdly, against players whose knowledge of
it is shaky, it does possess many winning chances.
Lesson 43: Trunk (Main line of play)
9-14(A) 22-18(B) (V3); 5-9(C) 25-22(D) (V1); 11-16(E) 18-
15(F); 10-19 24-15; 7-10(G) 27-24; 10-19 24-15; 16-19(H) 23-16;
12-19 22-17; 14-18 17-14(I); 9-13(J) 29-25(K); 3-7(L) 31-27(M);
1-5(N) [Diagram 122] … even position

Diagram 122
QRRRRRRRRS
TE 1EA2E 3EA4U
TA5EA6EA7EA8EU
TE 9E !0E !1E !2U
TA!3EB!4EB!5E !6EU
TE !7EA!8EA!9E @0U
TB@1E @2E @3E @4EU
TEB@5EB@6EB@7EB@8U
T @9EB#0E #1EB#2EU
VWWWWWWWWX
White to Play

A: Principally serving to forestall active play by White, this

move delights or infuriates according to your temperament.
B: This, 24-20 and 22-17, which allows more room for manoeu-
vre, are on a par.
C: From a freestyle standpoint, the only move worth consider-
ing.
D: In this position White has 7 possible moves. The big 3,
25-22, 24-19 and 24-20, are covered in Lessons 43, 44 and 45
134 Checkers for the Novice

respectively. In response to the early movement of the apex

man with 26-22, Black has 10-15 24-19; 15-24 28-19; 7-10 27-
24; 11-16 22-17; 16-20 31-27 and the surprising 3-7! to gain
the upper hand. Willie Ryan’s ‘Bronx Express’ with 18-15?!
(21-17?! first comes to the same thing); 11-18 21-17; 14-21 23-5,
has never caught on, being aptly described as ‘hazardous’ by
Richard Fortman. Granted, the white man in the dog hole is
partly offset by the black man in the dust hole, but analysis
has shown that by operating on the opposite wing with 12-16
25-22; 8-11 24-20; 4-8 Black obtains a strong position. Finally,
there is the never seen 23-19?!; 14-23 27-18 after which Black
applies enormous pressure to White’s double-corner with 11-16
26-23; 16-20 32-27 and 10-14. The text move, 25-22, develops
the single-corner and often leads to complications.
E: An excellent flanking move which invites White to overcrowd
the centre.
F: A good move which establishes a well-protected outpost on
square 15. Instead, the natural 29-25 is well met with 8-11,
while 24-19 is tricky for both sides. Continue after 24-19: 8-11
28-24 (The immediate 22-17 and the Glasgow idea with 9-13 is
fine, but better delayed with this); 16-20 (Of course, 24-20 must
not be permitted) 22-17 (Black is looking for the hasty 29-25?
after which he ties things up with 11-16 18-15; 4-8 22-18; 7-11
26-22; 1-5 31-26; 3-7 32-28; 9-13 18-9; 11-18 22-15; 5-14 and it’s
a black win!); 9-13 (The familiar break-up) 18-9; 13-22 26-17; 6-
22 30-26; 11-16 (This, in combination with Black’s next move,
grips the white position most effectively) 26-17; 10-14 17-10;
7-14 29-25 (The only move, but good enough!); 3-7! (Incredibly,
4-8? leads to defeat by virtue of a classic late midgame position
given in Book 5. It must be said however that 3-7 is more logical,
as part of a plan to set up a standard defensive line of 3 men
on squares 7, 10 and 14 without a loss of tempo) 25-22; 7-10!
31-26; 2-7! to a draw.
G: Playing 16-19 immediately is also popular. Squeezing a man
in this particular way so as to reduce the forces generally takes
Richard Pask 135

about the same out of both sides. Repeatedly doing so is known

as a run-off, the merits of which depend on the strength of the
outpost.
H: 2-7 (Not 3-7?? of course!) is also playable, but this a natural
way to contest control of the centre.
I: 17-13; 9-14 29-25; 8-12 is another logical and common ap-
proach.
J: The Mixed, as well as being the name of a particular opening
(Lesson 30), also refers to a type of midgame formation: one
characterized by the kind of jumbled-up position given here. For
players with a liking for shots and strokes, the mixed formation
is a godsend.
K: A natural waiting move.
L: Following suit. To play 3-7 and 1-5 out of order would not
do!
M: 32-27 would also be met with 1-5.
N: The culmination of all the waiting manoeuvres, after which
a definite course of action has to be undertaken.
Lesson 44: Variation 1 (Off Trunk)
… 24-19(V2); 11-15 18-11; 8-24 28-19; 4-8 26-22(A); 8-11 27-
24(B); 1-5(C) 22-18; 9-13 18-9; 5-14 25-22; 11-15(D) 32-28(E);
7-11 24-20(F); 15-24 28-19; 11-15(G) [Diagram 123] … White
draws with care
136 Checkers for the Novice

Diagram 123
QRRRRRRRRS
TE 1EA2EA3E 4U
T 5EA6E 7E 8EU
TE 9EA!0E !1EA!2U
TA!3EA!4EA!5E !6EU
TE !7E !8EB!9EB@0U
TB@1EB@2EB@3E @4EU
TE @5E @6E @7E @8U
TB@9EB#0EB#1E #2EU
VWWWWWWWWX
White to Play

A: Mentioned in Lesson 37, Note G, this is popular with many

strong players because of its restrictive qualities.
B: This works in tandem with the previous move to restrict
Black’s options.
C: Best to play this before 9-13. If 9-13 first, White has the
option of the 22-17 double-exchange, rather the desired 22-18;
1-5 18-9; 5-14.
D: Better than the 14-17 2 for 2 in this instance.
E: Both 30-25 and 31-26 are well met with 15-18 (Or 12-16 first)
22-15; 12-16 19-12; 10-28 and an easy draw: Black is more than
compensated for his man on 28 by the white man on 12, the
fact that the forces have been significantly reduced and by his
sturdy king-row.
F: Played now however, 30-25? is a loser, Black winning after
6-9 22-18; 15-22 25-18; 13-17 24-20; 17-22 31-27; 22-26 18-15;
11-18 21-17; 14-21 23-5; 26-31 27-24; 10-14 5-1; 31-26 1-5; 21-25
29-22; 26-17 19-15; 14-18 15-11; 17-14 etc …
G: From a practical standpoint one is tempted to say that find-
ing the draw from here is your opponent’s problem, but the cor-
rect continuation is so beautiful that it demands to be shown.
Continue: … 22-18!; 15-22 (Strongest) 30-25; 22-26! 31-22; 13-
Richard Pask 137

17! 22-13; 2-7 20-16; 3-8 25-22; 14-17 21-14; 10-26 (Providing
a backstop for White!) 19-15; 10-19 23-16; 26-30 16-12; 7-10
12-3; 10-19 3-7. Drawn. Derek Oldbury v Marion Tinsley in
their 1958 match for the world championship.
Lesson 45: Variation 2 (Off Variation 1)
… 24-20(A); 11-16(B) 20-11; 8-22 25-18; 4-8(C) 28-24(D); 8-11
29-25(E); 10-15(F) 25-22; 7-10(F) 24-20; 3-7(F) 27-24; 1-5(F)
32-28(G); 9-13 18-9; 5-14(H) [Diagram 124] … even position

Diagram 124
QRRRRRRRRS
TE 1EA2E 3E 4U
T 5EA6EA7E 8EU
TE 9EA!0EA!1EA!2U
TA!3EA!4EA!5E !6EU
TE !7E !8E !9EB@0U
TB@1EB@2EB@3EB@4EU
TE @5EB@6E @7EB@8U
T @9EB#0EB#1E #2EU
VWWWWWWWWX
White to Play

A: This is of the same order of strength as 24-19 but permits

more room for manoeuvre if Black wishes.
B: 10-15 might be termed the more aggressive move, as it allows
White to open up the position with 28-24; 15-22 26-10; 7-14 25-
22. The text is more conservative, keeping the position intact
and restricting the options available.
C: 12-16 is perfectly logical and sound, but favours White after
28-24; 16-20 24-19; 4-8 29-25; 8-12 25-22; 1-5 and the 19-16
double-exchange.
D: Although 27-24 is not quite as strong, for reasons we have
discussed, here it is very tricky. Continue: … 27-24; 8-11 24-19;
11-16 29-25; 7-11 25-22 and Black must now exercise caution.
138 Checkers for the Novice

For one thing, 3-7? 32-27! transposes into the loss given in
Lesson 37, Note N. For another, 1-5? falls foul of 19-15!; 10-19
22-17; 6-10 and the 18-15 3 for 2. Instead, Black should continue
with 3-8 28-24 (Also transposing into the aforementioned note);
16-20 32-28; 20-27 31-24; 11-16 24-20? (Loses: 19-15 is the
draw); 8-11 28-24; 1-5 30-25; 9-13 18-9; 5-14 22-18; 6-9 26-22;
2-6 and another pretty tie-up. Black wins.
E: 24-19 transposes into Lesson 37 at the 12th move (22-18).
F: A forceful and restrictive combination of moves.
G: This is best, although both 32-27 and the unusual 23-19!;
14-23 32-28 will draw.
H: White typically replies with 24-19; 15-24 28-19 after which
Black presses on with 11-15 19-16; 12-19 23-16; 14-18 22-17;
13-22 26-17; 7-11 16-7; 2-11 to a draw.
Lesson 46: Variation 3 (Off Trunk)
… 22-17(A) (V4); 11-15(B) 25-22(C); 8-11(D) 17-13(E); 11-16(F)
24-19(G) 15-24 28-19(H); 4-8(I) 22-18(J); 8-11(K) 18-9; 5-14 29-
25(L); 16-20(M) 25-22(N); 11-16(O) 22-18(P); 14-17(Q) 21-14;
10-17 [Diagram 125] … even position

Diagram 125: Pioneer

QRRRRRRRRS
TEA1EA2EA3E 4U
T 5EA6EA7E 8EU
TE 9E !0E !1EA!2U
TB!3E !4E !5EA!6EU
TEA!7EB!8EB!9EA@0U
T @1E @2EB@3E @4EU
TE @5EB@6EB@7E @8U
T @9EB#0EB#1EB#2EU
VWWWWWWWWX
White to Play

A: A good reply which imposes a slight cramp on Black’s double-

Richard Pask 139

corner. Derek Oldbury favoured it over 22-18 because of the

increased scope it affords.
B: Natural and best. Edward Lasker writes, ‘It is hard to tell
whether this move or 11-16 or 5-9 is the best.’ I’m afraid this
is nonsense. Moving to the side with 11-16 gives White the
edge as he is able to get to the centre first. Continue: … 25-22;
8-11 (16-19, the Double-Corner Dyke, is more punchy but also
favours White slightly) and now 22-18!; 16-20 18-9; 5-14 is Key
Landing #1. Contrast this with the main line where control of
the centre is shared equally. Also, the unnatural 5-9 creates an
issue in Black’s double-corner and is a handicap move typically
only encountered under the 3-move ballot.
C: Again the natural development. Instead, 23-19 transposes
into freestyle openings arising from 11-15 23-19; 9-14 22-17 and
is addressed in Lesson 48.
D: The Double-Corner Dyke, mentioned in Note B, can also be
formed here with 15-19. Some players take virtually every op-
portunity to dyke, some only doing so when forced. The advan-
tage of dyking is that it sets in motion a highly defined, active
formation; the disadvantage is that the dyking player reveals
his hand. By contrast, the text, which leads to a development
known as the Pioneer, is passive and preserves the triangles of
both sides. It’s all a matter of style. In passing, note that a
mistaken attempt to transpose into Lesson 31 with 6-9?! 17-13;
2-6?? is crushed by the 3 for 1 with 23-18! Stranger things have
happened!
E: This is restrictive and typical of the 2-move era. Instead,
23-19 transposes into Lesson 31 as does 29-25; 4-8 23-19; 6-9
17-13; 2-6 but at a later stage.
F: Played to gain some freedom of movement. Instead, 3-8 is
quite good, but 4-8 is inferior after 23-19 in reply, transposing
into Lesson 28, Note G.
G: Against 24-20 Black replies with the key 3-8 20-11; 7-16
after which 29-25; 16-19 23-16; 12-19 22-17; 8-12 27-24; 4-8 32-
140 Checkers for the Novice

27 is about equal. In addition, 29-25 can lead to an exciting

man-down line after 16-20 24-19; 15-24 28-19; 4-8 22-17 (22-18
reverts to the main line); 14-18! (Who would play this on a
first try?) 23-14; 8-11 26-23; 11-15 32-28; 15-24 28-19; 5-9! 14-
5; 10-14 17-10; 6-24 and it is White who must carefully plot a
drawing continuation. Note that the ‘daring’ 14-18! sacrifice is
also the safest continuation for Black.
H: No doubt 27-11 will draw, but the text is invariably played
as it keeps White’s position intact.
I: Clearly best.
J: Declining the centre with 22-17 (Or 29-25; 8-11 22-17) is
sound, but predictably gives Black the edge. Continue: … 22-17;
8-11 29-25; 11-15 25-22; 15-24 27-11; 7-16 23-19; 16-23 26-19 (A
similar grip, but with the colours reversed was demonstrated in
Lesson 43, Note F); 2-7! (3-8 will also draw but is very delicate,
running into a classic late midgame position given in Book 3)
and now White needs to avoid 31-27?? and play 30-26 instead
to draw. Can you see why?
K: Natural and best. In a must-win situation the 14-17 ex-
change would be worth a try, but the 5-9 fill-in cramps Black’s
position horribly and should lose.
L: Clearly best.
M: 11-15, taking the centre, leads to a quicker resolution after
25-22; 15-24 27-11; 7-16 and 22-18 whereas the text invites more
involved play.
N: The 19-16 exchange is good here, as the man on 16 cannot be
forced into the dust hole. Continue: 11-15 25-22; 15-19 and the
position is even with winning chances for both sides. The text
forms Key Landing #3. Despite its ‘boring’ appearance—both
triangles are intact—hundreds of wins, with both sides, have
been scored from this point!
O: 11-15 is equally good, but this is my preference.
P: This is natural and the most popular move. On White’s
Richard Pask 141

two main options. First, 22-17 gives Black the advantage after
7-11 26-22; 11-15 23-18; 14-23 (15-24 is more complex and also
good) 27-11; 16-23 and now 31-27 is essential to draw, with 11-
8? eventually losing to 10-15! Secondly, the odd-looking 30-25
leads to equality after 14-17 21-14; 10-17 13-9!; 6-13 25-21; 2-6
21-14 and 1-5.
Q: The 1-5 exchange also draws; this is more aggressive. In
reply, 18-14 is best, whereas the 26-22 exchange is inferior for
White after 7-10 22-17; and 2-7!
Lesson 47: Variation 4 (Off Variation 3)
… 24-20(A) (V5); 5-9(B) 28-24(C); 11-15(D) 23-19(E); 7-11(F)
22-17(G); 3-7(H) 26-23(I); 1-5(J) 17-13(K); 15-18(L) 31-26(M);
11-16(N) 20-11; 8-15 26-22(O); 4-8(P) [Diagram 126] … Black
has the edge.

Diagram 126: 3-8 Ayrshire Lassie

QRRRRRRRRS
TE 1EA2E 3E 4U
TA5EA6EA7EA8EU
TEA9EA!0E !1EA!2U
TB!3EA!4EA!5E !6EU
TE !7EA!8EB!9E @0U
TB@1EB@2EB@3EB@4EU
TEB@5E @6EB@7E @8U
TB@9EB#0E #1EB#2EU
VWWWWWWWWX
White to Play

A: Less forceful than 22-18 but equal in strength.

B: Both 11-15 and 11-16 are decent alternatives, but this con-
servative move is best.
C: White has 8 possible moves. As usual, we’ll look at all of
them, using the process of elimination to home in on the better
ones. Clearly both 21-17?? and 20-16?? are ridiculous: these
142 Checkers for the Novice

will never be played in a serious game under any circumstances.

The 23-18 exchange significantly disrupts White’s position and
gets nothing in return, although both 23-18; 14-23 27-18 and
23-18; 14-23 26-19 could be adopted in a do-or-die situation.
Moving on, 23-19 and 27-24 can be considered together, and
run into play previously studied. Continue: … 23-19 (27-24;
11-15 24-19 is the same thing); 11-15 27-23; 15-24 28-19; 8-11
22-18; 11-16! 20-11; 7-16 and it has transposed into Lesson
40, Note I but with the colours reversed! If you have a second
board handy, set it up and play 10-14 24-19; 6-10 22-17; 9-13
28-24; 13-22 25-9; 5-14 26-22; 11-15 22-17 and you’ll see what I
mean. After the 11-16 20-11; 7-16 exchange, White could either
play 25-22; 4-8 30-25; 8-11 32-27; 1-5 and the play of Lesson 40,
Note J with the colours reversed, or 26-22; 4-8 22-17; 16-20 31-
27 and 8-11. In both cases Black is best. Of course, White can
always play 22-18 and transpose into Lesson 45. Indeed, this is
what most players do. This leaves the text move, which cedes
the centre to Black, and 22-17. Again, these two moves can be
considered together as they invariably run into the same play.
Continue: … 22-17 (Allowing Black to take the centre); 11-15!
17-13; 1-5! (Black is now ready to meet 25-22?! with 14-18!)
28-24; 8-11 23-19; 15-18 26-23 (25-22??; 18-25 29-22 would be
catastrophic after 14-17! 21-14; 9-25 30-21 and the 11-16 3 for
1); 3-8 and back into the main line at the 13th move.
D: Naturally!
E: ‘Covering up’: a natural flanking move.
F: The natural 8-11 is fine too, but this is more restrictive as it
effectively prevents White from playing 27-23.
G: This works in tandem with White’s previous move: flanking
on the other side of the board.
H: Consolidates Black’s position by filling in the hole on square
7. In freestyle play this arose as follows: 11-15 24-20; 8-11 28-24;
3-8 23-19; 9-14 22-17; 5-9 – the 3-8 Ayrshire Lassie.
I: 17-13; 1-5 26-23 (25-22 is well met with the 14-17 double-
Richard Pask 143

exchange) comes to the same thing.

J: An excellent waiting move. The 11-16 exchange is another
good option, but the immediate 9-13 loses. This is because it
allows White to gain a tempo with 30-26; 13-22 25-9; 6-13 26-
22, after which the 11-16 exchange is unavailable on account of
the 23-18 3 for 2 in return and 1-5 falls to 23-18; 5-9 and 27-23.
K: Should White play 30-26 now however (32-28; 9-13 30-26
comes to the same thing), Black can safely continue with 9-13
(Drawing out the man on 32) 32-28; 13-22 25-9; 6-13 (Slightly
better than 5-14) 19-16 (26-22? now loses to 5-9!); 12-19 23-16;
8-12 27-23; 12-19 23-16; 15-18 16-12; 18-23 26-19; 11-16 20-11;
7-23 24-19; 5-9 after which White has to exercise some care.
L: 14-18 23-14; 9-18 is another good option .
M: 30-26? is met with the overpowering 14-17 double-exchange.
N: A case of knowledge being power: the natural 11-15 loses to
26-22!; 8-11 30-26!; 11-16 20-11; 7-16 21-17!; 14-30 23-7; 30-23
19-1; 2-11 27-18; 9-14 18-9; 5-14 13-9 and Black can resign.
O: The only move.
P: Ditto and forms Key Landing #14. After this, White may
continue with 21-17 or 22-17 but must exercise caution.
Lesson 48: Variation 5 (Off Variation 4)
… 23-19(A) (V6); 11-15(B) 22-17(C); 7-11(D) 25-22(E); 11-16(F)
26-23(G); 5-9(H) 17-13(I); 3-7(J) 29-25(K); 1-5(L) 22-17(M); 8-
11(N) 31-26(O); 4-8(P) 25-22(Q); 16-20(R) [Diagram 127] …
slight edge to Black
144 Checkers for the Novice

Diagram 127: Whilter

QRRRRRRRRS
TE 1EA2E 3E 4U
TA5EA6EA7EA8EU
TEA9EA!0EA!1EA!2U
TB!3EA!4EA!5E !6EU
TEB!7E !8EB!9EA@0U
TB@1EB@2EB@3EB@4EU
TE @5EB@6EB@7EB@8U
T @9EB#0E #1EB#2EU
VWWWWWWWWX
White to Play

A: Quite a good move inasmuch as there are no really strong

replies and a few weak ones.
B: Logical and best, this transposes into Lesson 34.
C: 27-23 is safest; this is less restrictive but is also good. No
other moves are worthy of consideration.
D: Although I mentioned the Whilter in earlier lessons, this
move forms the opening at the earliest possible point. This
dynamic 7-11 move should be compared with its white coun-
terpart, 26-22, as featured in Lesson 38. Of course 8-11 is also
good and was covered in Lesson 31.
E: Natural and best: White doesn’t need to commit 17-13 yet.
F: Applying pressure to White’s double-corner.
G: The best move, although 27-23 is perfectly sound and may
be met with 5-9 17-13; 8-11 29-25; 3-8 31-27 (32-27!? is interest-
ing); 16-20 19-16; 12-19 23-7; 2-11 26-23 and an even game with
opportunities for endgame complications. The reader will note
that, with 7-11 played instead of 8-11, Black is in a position to
jump back towards the centre should White play the inferior
24-20; 16-23 27-11 or 29-25; 16-23 27-11 or 17-13; 16-23 27-11:
Point 1.
H: A good move which forces White’s reply. Instead of 5-9,
Richard Pask 145

16-20 is also strong and requires all-star play from White if he

is to survive. Continue: … 30-26!; 2-7 and 23-18! to a draw:
very unlikely to be found on a first try. To be avoided is the
premature 3-7? which loses to 22-18!; 15-22 and 19-15.
I: Compulsory: the 23-18 break-up looks quite promising, but
analysis has shown that it loses.
J: Best and forms Key Landing #11. Instead, 16-20 played at
this point is inferior when met with 30-26!
K: White has 3 plausible alternatives. Both 22-17; 8-11 31-26;
4-8 29-25; 1-5 and 31-26; 8-11 22-17; 4-8 29-25; 1-5 return to
the main line, while 24-20; 15-24 20-11; 8-15 28-19; 15-24 27-20;
4-8 gives Black the playing edge.
L: An effective waiting move. Black also has 7-11 24-20 (31-
26 transposes into Note G); 15-24 28-19 after which he can
command the centre with the 11-15 break-up: Point 2. Note
that 8-11? would not have the same effect, White applying a
fatal cramp with 24-20!; 15-24 28-19; 1-5 (Black cannot play
11-15 now) 22-18!
M: 31-26; 8-11 22-17 comes to the same thing, while the 24-20
break-up is inferior now that Black has consolidated his double-
corner with 1-5.
N: The only good move, but a strong one!
O: The only move to draw: 24-20?; 15-24 28-19 loses to 14-18!
23-14; 9-18.
P: 16-20 is also good, but more complicated. This is extremely
forceful.
Q: The only one.
R: Ditto. After 16-20, White replies with the forced 23-18,
removing 6 men at a sweep, after which a typical continuation
runs: 11-16 17-14; 10-17 21-14; 16-20 19-15; 7-11 23-19!; 20-24
14-10 and 24-27 to a draw.
146 Checkers for the Novice

Lesson 49: Variation 6 (Off Variation 5)

… 24-19(A); 11-15(B) 22-18(C); 15-24(D) 18-9; 5-14 28-19; 8-
11(E) 25-22(F); 11-15(G) 32-28(H); 15-24 28-19; 7-11(I) 22-
18(J); 1-5(K) 18-9; 5-14 29-25(L); 4-8(M) [Diagram 128] … Black
has a slight edge

Diagram 128: 9-14 Second Double-Corner

QRRRRRRRRS
TE 1EA2EA3E 4U
T 5EA6E 7EA8EU
TE 9EA!0EA!1EA!2U
T !3EA!4E !5E !6EU
TE !7E !8EB!9E @0U
TB@1E @2EB@3E @4EU
TEB@5EB@6EB@7E @8U
T @9EB#0EB#1E #2EU
VWWWWWWWWX
White to Play

A: Duplicating Black’s initial move and typically leading to very

evenly balanced games. For the sake of completeness, I must
also make brief mention of the radical 23-18 exchange here. Af-
ter 14-23 27-18 (26-19? has been shown by analysis to lose
after the 11-16 squeeze), the White double-corner is severely
damaged. A common continuation runs as follows: 12-16 (At-
tacking the double-corner) 18-14 (Essential); 10-17 21-14; 6-9
(Forceful) 14-10 (32-27 is equally hard); 7-14 22-18; 14-23 26-12
and White has a very hard road ahead.
B: Black is slightly better by virtue of getting to the centre first:
clearly the best move available.
C: White has 7 possible moves: 3 of them played regularly and
4 of them hardly ever used. Let’s see why. Obviously 21-17??
can be rejected out of hand. Secondly, 22-17; 15-24 28-19 allows
Black to play 8-11 25-22; 11-15 with a clear advantage. Thirdly,
23-18; 14-23 27-11 and now both 8-24 and 7-23 disrupt White’s
Richard Pask 147

position considerably while leaving Black’s substantially intact.

Finally, there is the 19-16; 12-19 23-16 exchange. If you refer
back to Lesson 37, Note C, you will see that this is the same as
9-14 22-18; 14-17? 21-14; 10-17 but with the colours reversed
and with a move in hand. As such, one holds out little hope
for White after 8-12 27-23; 12-19 23-16; 4-8 32-27; 8-11 16-12
and 11-16 (Building on White’s dust hole man). Moving on to
White’s 3 decent options, we first encounter 27-24. This trans-
poses into the Defiance and was covered in Lesson 34. Next,
there is 28-24 after which Black gains the edge with 8-11 22-18
(22-17 is quite good after 11-16 24-20; 15-24 20-11; 7-16 27-11;
3-7 25-22; 7-16 23-19!; 16-23 26-19: a restrictive defence which
more commonly arises from the Glasgow. See also Lesson 46,
Note J) 15-22 25-9; 5-14 29-25; 11-15 25-22 and 6-9 forming
Key Landing #25. Finally, there is the text move: in keep-
ing with the counterpart theme and permitting only the tiniest
advantage for Black.
D: Better than 15-22 25-9; 5-14 after which White may play
26-22; 8-11 22-18 and take the centre himself.
E: Logical and best: the only advantage Black has in this coun-
terpart position is that he can get to the centre first. This forms
a position which arose in freestyle days from 11-15 24-19; 15-24
28-19; 8-11 22-18; 9-14 (11-16 is stronger) 18-9; 5-14 same.
F: 26-22 also draws after 11-15 22-18; 15-24 18-9; 6-13 27-20;
4-8 23-18! (If not forced, then certainly best); 8-11 18-14; 10-17
21-14; 12-16 25-22 and 16-19.
G: Of course!
H: White has other moves which draw, but this is the logical
choice.
I: My preference, but 4-8 is also good. Instead, the 10-15 ex-
change virtually forces matters to a drawn conclusion after the
22-18 2 for 2 in reply.
J: Naturally.
148 Checkers for the Novice

K: The cover up with 6-9 26-22; 3-8 27-24; 1-5 30-25 is also
playable.
L: Universally played, although 26-22 will also draw.
M: 11-15 25-22; 15-24 27-20; 4-8 22-18; 6-9 26-22; 8-11 is also
good, but this unexpected waiting move has proved to be effec-
tive on many occasions. Continue: … 25-22; 11-15 22-18; 15-22
26-17; 8-11 30-26; 6-9 and now the natural 17-13? loses.
Richard Pask 149

Summary
When Playing White
Trunk
11-15(V9) 23-19; 8-11(V6) 22-17; 4-8(V1) 17-13; 15-18 24-20;
9-14 28-24; 11-15 26-23; 8-11 31-26; 6-9 13-6; 2-9 26-22; 1-6 …
Variation 1 (Off Trunk)
11-16(V2) 24-20; 16-23; 27-11; 7-16 20-11; 3-7 28-24; 7-16 24-20;
16-19 25-22; 4-8 29-25; 10-15 …
Variation 2 (Off Variation 1)
9-13(V3) 17-14; 10-17 21-14; 15-18 24-20; 4-8 27-23; 18-27 32-23;
11-15 19-10; 6-15 23-18; 15-22 25-18 …
Variation 3 (Off Variation 2)
9-14(V4) 25-22; 6-9 17-13; 2-6 29-25; 4-8 24-20; 15-24 28-19;
11-15 27-24; 14-17; 21-14; 9-18 26-23; 18-27 32-23; 10-14 19-10;
6-15 13-9; 14-17 …
Variation 4 (Off Variation 3)
3-8(V5) 25-22; 11-16 27-23; 7-11 24-20!; 15-24 28-19; 10-14 17-
10; 6-24 22-18; 1-6 21-17; 6-10 17-13; 24-27 …
Variation 5 (Off Variation 4)
15-18 19-15; 10-19 24-8; 4-11 17-14; 11-15 28-24; 12-16 26-23;
16-20 30-26; 9-13 32-28 …
Variation 6 (Off Trunk)
9-14(V7) 27-23; 8-11 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22;
4-8 24-20; 15-24 28-19; 10-15 19-10; 6-15 …
Variation 7 (Off Variation 6)
7-11(V8) 27-23; 9-14 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22;
8-11 22-18; 15-22 26-17; 11-15 24-20; 15-24 28-19; 4-8 30-26 …
150 Checkers for the Novice

Variation 8 (Off Variation 7)

9-13 22-18; 15-22 25-18; 10-14 18-9; 5-14 27-23; 8-11 26-22; 6-10
22-18; 1-5 18-9; 5-14 29-25; 11-15 25-22; 4-8 30-26; 8-11 …
Variation 9 (Off Trunk)
9-14(V10) 22-18; 5-9 24-19; 11-15 18-11 8-24 28-19; 4-8 25-22; 8-
11 22-18; 11-16 29-25; 7-11 25-22; 1-5 27-24; 16-20 32-28; 20-27
31-24 …
Variation 10 (Off Variation 9)
11-16(V11) 24-19; 8-11 22-18; 4-8 26-22; 16-20 22-17; 9-14 18-9;
5-14 25-22; 11-15 30-26; 15-24 28-19; 8-11 22-18 …
Variation 11 (Off Variation 10)
10-15(V12) 21-17; 11-16 17-13; 16-20 23-18; 8-11 26-23; 7-10
25-21; 9-14 18-9; 5-14 29-25; 4-8 30-26; 11-16 24-19; 15-24 28-19
…
Variation 12 (Off Variation 11)
10-14(V13) 24-19; 6-10 22-17; 9-13 28-24; 13-22 25-9; 5-14 26-22;
11-15 29-25; 7-11 23-18; 14-23 27-18; 11-16 18-11; 8-15 31-27;
16-23 27-11; 3-8 11-7; 2-11 22-17 …
Variation 13 (Off Variation 12)
12-16(V14) 24-20; 8-12 28-24; 3-8 23-18; 9-13 18-14; 10-17 21-
14; 6-10 25-21; 10-17 21-14; 16-19 24-15; 11-25 29-22; 1-6 30-25
…
Variation 14 (Off Variation 13)
9-13 22-18; 12-16 24-20; 8-12 27-24; 3-8 24-19; 11-15 18-11; 8-24
28-19; 10-14 20-11; 7-16 25-22; 4-8 22-18; 6-10 18-9; 5-14 29-25;
8-11 25-22 …
When Playing Black
Trunk
9-14 22-18(V3); 5-9 25-22(V1); 11-16 18-15; 10-19 24-15; 7-10
27-24; 10-19 24-15; 16-19 23-16; 12-19 22-17; 14-18 17-14; 9-13
29-25; 3-7 31-27; 1-5 …
Richard Pask 151

Variation 1 (Off Trunk)

… 24-19(V2); 11-15 18-11; 8-24 28-19; 4-8 26-22; 8-11 27-24; 1-
5 22-18; 9-13 18-9; 5-14 25-22; 11-15 32-28; 7-11 24-20; 15-24
28-19; 11-15 …
Variation 2 (Off Variation 1)
… 24-20; 11-16 20-11; 8-22 25-18; 4-8 28-24; 8-11 29-25; 10-15
25-22; 7-10 24-20; 3-7 27-24; 1-5 32-28; 9-13 18-9; 5-14 …
Variation 3 (Off Trunk)
… 22-17(V4); 11-15 25-22; 8-11 17-13; 11-16 24-19 15-24 28-19;
4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22; 11-16 22-18; 14-17
21-14; 10-17 …
Variation 4 (Off Variation 3)
… 24-20(V5); 5-9 28-24; 11-15 23-19; 7-11 22-17; 3-7 26-23; 1-5
17-13; 15-18 31-26; 11-16 20-11; 8-15 26-22; 4-8 …
Variation 5 (Off Variation 4)
… 23-19(V6); 11-15 22-17; 7-11 25-22; 11-16 26-23; 5-9 17-13;
3-7 29-25; 1-5 22-17; 8-11 31-26; 4-8 25-22; 16-20 …
Variation 6 (Off Variation 5)
… 24-19; 11-15 22-18; 15-24 18-9; 5-14 28-19; 8-11 25-22; 11-15
32-28; 15-24 28-19; 7-11 22-18; 1-5 18-9; 5-14 29-25; 4-8 …
Chapter 7

Lesson 50: Elimination & Visualization

Elimination
As mentioned on several occasions in Chapter 6, in the opening
and early midgame in particular, experts make such efficient
use of elimination that they are barely even aware of it. First,
they eliminate moves which lead to the immediate loss of ma-
terial without compensation (quite easy to do). Secondly, they
eliminate those which are strategically awful (harder). Thirdly,
from the remaining moves they identify those which are in keep-
ing with the needs of the position (requires good judgement).
And finally, from these candidate moves, they use their powers
of visualization in combination with static evaluations to choose
the actual move to be played.
Two specific uses of the process are worthy of note. First, when
defending a weak or losing position, it is sensible to first elimi-
nate clear-cut losing moves: better to play a move which might
lose (can’t tell) than one which does lose. And secondly, when
in a strong or winning position, it is sensible to first eliminate
moves which permit your opponent clear-cut draws: better to
play a move which might win (can’t tell) than one which doesn’t
win. Quite clearly, this approach is not foolproof. However,
used in a very disciplined way, it is extremely powerful.

153
154 Checkers for the Novice

Visualization
As the late, great Derek Oldbury once pointed out, some play-
ers develop exceptional powers of visualization, but never reap
the benefit because they don’t understand the needs of the po-
sition and are looking in the wrong direction! In other words it
is a technical skill which needs to be supported by understand-
ing. Granted this understanding however, and the right type of
position, it may be possible for a skilful practitioner to look 30
or more moves ahead. Then again, when a position possesses
vast scope for both sides, it may be impractical for anyone to
look more than 3 or 4 moves ahead.
Certainly in quiescent positions, where the number of contact
points between opposing pieces is limited, tactical opportunities
will be limited; whereas in the mixed formation of which Lesson
43 is an example, there are many contact points and tactical
considerations will run high. Working through the advanced
tactical devices featured in Books 2 through 5 will prove invalu-
able in these positions: developing both the armoury required
and the associated visualization skills.
In the meantime, to enhance your visualization powers, keep in
mind the following:

• Try to picture only the 32 playing squares rather than the

entire board.
• Half close your eyes to allow partial retention of the cur-
rent position while ‘looking’ at new ones. (This is much
favoured by grandmaster Richard Hallett.)
• Use the notation system to aid in recalling where partic-
ular pieces are during your analysis.
• Use a simple scoring system to ensure any tactical ex-
changes are equitable. For example, let’s look at the
Glasgow opening, with you playing Black. 11-15 23-19;
8-11 22-17; 11-16 24-20; 16-23 (1-0) 27-11 (1-2); 7-16 (2-
2); 20-11 (2-3); 3-7 28-24; 7-16 (3-3): all square. Trust
Richard Pask 155

me, accurate counting is important: in the 1985 Scottish

Open Championship, I lost a game which I should have
won when I threw away an ‘extra’ man which I didn’t
have! This cost me the title.

• Rather than carrying out extended jumps in your head,

with experience you’ll find it simpler to just ‘move’ the
pieces into their new positions.

• Once you’ve developed a working repertoire of ideas, try

to solve draughts problems in your head.

• Finally, when you feel you’ve looked as far ahead as you

can, force yourself to look just one move further!
About the Author

Richard Pask, BSc (Hons), PGCE, NPQH, MA

Draughts Grandmaster since 1989

English Match Champion: 1995-2006 (40-0 & 34 draws)

British Open Championship: 2nd in 1984, 1986 and 1990

(23-2 & 35 draws)

Board 1 for England: 1984 and 1988 Home Internationals

(6-0 & 26 draws)

UK and Ireland v USA: 1983 and 1989 (2-3 & 35 draws)

County Championships (Avon): 1984-1997 (10-1 & 33

draws)

Avon Open Champion: 1987-1989 (35-2 & 25 draws)

Total score between 1984 and 2002: 161 wins, 13 losses

and 334 draws (65%)

Books written on the game: 35

Mr. Pask was born in Weymouth, on the south coast of England,

on 1st December 1961, and apart from spells at Bath University
and the University of the West of England in Bristol, has lived
there all of his life.
Coming from a musical family, but one with no background in
checkers, his interest in the game was only sparked when, at the
age of 11, he stumbled across books by Willie Ryan and Tom
Wiswell in his local library. However, it was not until he was 17,
when he joined the EDA (English Draughts Association) and
ACF (American Checker Federation), that he began to study
the game seriously. Benefitting from regular practice with lo-
cal expert Harry Gibson, and helpful advice received from Tom
Wiswell, with whom he carried on extended correspondence for

157
158 Checkers for the Novice

many years, Mr. Pask made steady progress, and in 1983 be-
came the youngest player ever to compete in the UK & Ireland
v USA international series.
Following this great match, he began corresponding with Rich-
ard Fortman (over 200 letters during their friendship) and visit-
ing Derek Oldbury (around 30 times in 11 years). These associa-
tions assisted in enabling him to establish himself as a seasoned
player during the years from 1983-1991. Although he lost his
1990 match for the British Championship with Mr. Oldbury by
the score of 0-3 and 13 draws, he was not at all discouraged,
and believes that subsequent matches might well have turned
out differently.
Becoming a full-time teacher in 1993 largely crimped Mr. Pask’s
crossboard ambitions, although he successfully competed for
the English Match Championship five times between 1995 and
2006, and forced him to concentrate on his book writing activi-
ties. For a year he wrote a weekly series of beginner’s articles in
his local paper, and in 2001 and 2013 was successful in reaching
a worldwide audience with Starting Out in Checkers/Draughts
and How to Play Checkers/Draughts. He is most grateful to
Bob Newell for making many more of his productions available
to the general public through his excellent Checker Maven web-
site.
Given that hundreds of thousands of checkers sets are sold
throughout the world every year, and that only a tiny percent-
age of people are aware of the skilful game which ‘lies beneath,’
the vast majority not even knowing the correct rules, Mr. Pask
contends that checkers may legitimately lay claim to being the
world’s most underrated game.
Mr. Pask is married to Kathy, a flautist and retired primary
school teacher, and has a son, Robert, born in 1994, a trum-
peter, who is just completing a history degree. Outside of the
game, Mr. Pask loves singing, having studied under local profes-
sional James Davis for 12 years, classic films and, with his son,
watching football (soccer), boxing and darts. He also follows
Richard Pask 159

chess closely and has played hundreds of games of backgammon

against the excellent GNU Backgammon program. Having nar-
rowly avoided death on three occasions, he is ever grateful for
the opportunity to give something back to the game which he
loves.

Photo of Richard Pask by Kathy Pask