CASTING THE ARTIFICIAL FLY 
WHEN LEARNING TO CAST AN ARTIFICIAL FLY—THE BEGINNER 
SHOULD MAKE EVERY EFFORT TO CULTIVATE A GOOD STYLE 
T HE art of fly-casting, like that of 
painting a picture, is more rapidly 
acquired by observation and prac¬ 
tice, after a careful study has 
been made of the rules and theories laid 
down by the eminent experts who have 
during long years brought it to its 
present perfection. It is by far, much 
better to watch an expert actually fish¬ 
ing on the stream, quite unconscious 
of your observation. You will then 
gain that naturalness of action, im¬ 
possible to get from the stiff and postur¬ 
ing attitude all teachers assume, and 
cannot avoid, while teaching a pupil. I 
shall endeavor to explain the five dis¬ 
tinct syles of casting in a simple manner 
easily understood,—using as a base the 
methods described in books by various 
British experts,—notably F. M. Halford 
and Fred. G. Shaw, and others from 
whom I shall quote, in addition to my 
own experience and practice of forty 
years on American streams. 
Years of practice will be required to 
perfectly master these five styles. They 
are, the ordinary, or overhand cast, the 
steeple cast, the switch or spray, the 
horizontal or underhand, and the down- 
ward cut. Immense advantage is at¬ 
tained if each style is learned to cast 
with either hand,—because it will enable 
you to fish up and down stream, on both 
sides in face of all impediments,—in ad¬ 
dition to resting the right arm and 
shoulder during a long day’s sport. 
Different rivers, and parts of them, re¬ 
quire different styles of casting. Ex¬ 
perienced casters will use the one most 
suited to a certain locality that would 
be almost useless in another, and further¬ 
more, these styles of casting apply with 
By LOUIS RHEAD 
equal force to drvfly as to wetfly fish¬ 
ing. 
The beginner should make every ef- 
for to cultivate a good style from the 
commencement, as it is no easy matter 
to correct an ungainly style when once 
acquired. I have seen many anglers 
throw long and accurate casts, but in a 
blundering, awkward style—due partly 
to the arm-motion not being properly 
timed—or, the absence of exact force 
to be used. It is not elegant casting to 
extend the fore-arm from the body. 
The cast must be made alone with the 
wrist, in a stately and deliberate manner 
so that the rodtip does the work unde 
control of the line. 
'T’HE amateur must start in first t 
thoroughly understand the “over 
hand,” or ordinary cast. Grasp the ro- 
tightly with the four fingers and th 
thumb extended up the butt. Hold th 
fly in the left hand with a short part o 
the line out from the reel, with a mov 
of the wrist work the rod back in 
curve till the tip forces the fly and k 
go. The short line, say twenty fee 
should have full time to get out behin 
before making the forward cast, jus 
when the hand is perpendicular and yd 
feel the rodtip is back of you, retur 
it forward with a little more power i 
the swing, avoiding anything in th 
nature of a jerk, and slightly chec 
it. The line will fly out in front c 
you and the end of your leader will fa 
on the water before any other par 
this slight check is to cause the fly to fa 
light without splash. 
Halford says, “Carefully note the tiir 
of casting, like music, counting 1, 
back—3 forward. It will be found th; 
the time will vary but little for sho: 
or long casts, but the longer the ca 
the farther the line will extend bad 
wards and the loop turning over it fo: 
wards will also be longer.” 
Casting the Fly 
Beginners are apt to smack the lir 
like a whip, and the fly is likely to crac 
off; this is caused by not pausing 
second or two between the backward an 
forward casts. The longer the line 
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