The On-Ball L set from the baseline.

Baseline out-of-bounds situations offer good opportunities to score, but given the limited number of such situations per game and the precious minutes of practice available per week, basketball coaches are forced to limit their formations and focus on just one set with a variety of options.

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This simplifies the teaching and allows the players to concentrate on execution.

As a middle school girls coach, I have always looked for ways to simplify every aspect of game preparation, particularly the creation of easy opportunities to score. This is essential at the lower levels where most skills are not fully developed.

My search for a formation that would deliver a high percentage conversion rate on baseline plays failed to produce results--until I ran into Rainer Wulf, the basketball coach at Trabuco Hill High School. It was at a clinic in which he outlined his On-Ball Set and its first option as a late-shot clock play ("Touch"). You can check the plays out in Diags. 1 and 2.

Once the basics were in place, the rest of the series simply grew out of necessity. It was just what I was looking for. We wound up with a simple, workable, set of inbounds plays with a high conversion rate.

Play names, numbering, and flexibility in the placement of the players became a season-to-season task based on strength of roster and the experience of the team. I didn't give the set a name, other than the way we line up for the baseline plays.

DIAG. 1, ON-BALL L:

The inbound passer is either your 1 or 2, your best combination of shooter-passers.

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The 5 is always ball side on the low block.

The 3 is always ball-side vertical from the 5 at the elbow.

The 4 is always on the free-throw line in line with the basket.

The 2 or 1 depends on your roster. He is always on the elbow opposite the ball.

DIAG. 2, FIRST OPTION ("TOUCH"):

Signified with a tap to the head. It is a touch-timing pass from 1 to 5 at the circle in the key. 5 screens up to the elbow and then pivots back to the circle in the key. The 1-5 hook-up makes a touch pass almost like a set in volleyball.

This is a solid first option because it depends on the concept of "think players, not plays." Success rests on the timing between the passer and receiver, and having an aggressive player at 5 who wants to score, rather than merely jump.

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Given that many teams look to zone baseline inbounds, there is often a gap or soft spot in the zone as the center looks to point the ball and the cutters. This leads to silly fouls on the defense as they attempt to react.

DIAG. 3, "BOUNCE, FACE CUT":

The second option, "Bounce," is signaled with the palms down. It counters the defense's tendency to defend the play or pass in zone, or start to man-up to take away the lob pass. The 4 make the usual hard basket cut after screening for the 1-2, looking to face-cut the defender or to "Pin" him under the basket, as show in Diag. 4.

The 1-2 looks to deliver a face-high a sharp bounce pass to the 4.

The first two options should lead to quick shots and put-back opportunities. They can be run as set plays or as automatics, depending upon the experience of your guards.

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DIAGS. 5 & 6: "SWING":

The third option is "Swing," signaled by crossed arms. If the defense will adjust to the first two options, "Swing" will be open and provide opportunities for open jump shots, but, more importantly, exploit the lower levels of opportunities for rebounds and put-backs, given the rebounding positions gained by 4 and 5.

Thel-2 looks to the middle, then hits the 3 in the outlet corner. The 3 looks to reverse the ball to 2, who will attack quickly across the top of the defense--as can be easily spotted in the diagrams.

Number 1 also looks to make a quick pass to the other guard (1) coming off the screen set by 4. In this sequence, the guards look to catch and shot while the other three players look for the opportunity to rebound for the score.

DIAGS. 7-8, "BACK":

The last option is simply a continuation of "Swing" (back-signaled with the hands pressed together). It counters the anticipation of ball-reversal by running the 1-2 inbound passer off a strong-side double screen (3/5).

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The 1-2 hit the inbound outlet and put their heads under the basket, fake hard off the single screen by 4, then cut hard off the double screen by 5 and 3. Numbers 1 and 2 are in good position for screening, rebounding, and shooting, while 5/4/3 does the rebounding for them.

Inbound plays are a difficult area of the game when dealing with limited practice time and coaching young inexperienced players. A balance must be struck between the striving for a high ratio of quality shots per baseline out of bounds and the practice time devoted to achieving that ratio. On Ball L and this series have been very effective, easy to teach, and implements the concept of "players, not plays" by keeping the cuts simple and 4, 5, and 3 in excellent rebounding position.

By Ed Eldridge, Masuda Middle School, Fountain Valley, CA