Coping with Comp Week: Basic Tips for Roped Setting on a Schedule

With local SCS comps well underway, I thought it would be good to go over some basics for roped setting. Setting 50 routes in a sprint is a lot to deal with. Starting with the general:

Have a plan. Re-setting most of the gym is a huge task, and one that shouldn't be played by ear. If you don't have one, designate a head routesetter to take responsibility for final decision-making. Take an hour the first day, walk around the gym, and decide what should go where. The team goal is very likely to be separating the competitors, so make sure each range of routes has a mixture of terrain, style, length, setter, etc. For an onsight comp, the plan will need to be much more comprehensive, including setting up isolation, organizing the routes so that competitors can't see other routes in their category, and a mixture of other challenges. Onsight comps are a topic in themselves which deserve a focused post.

Stick to the plan. Don't let setters get off track by making ad hoc decisions about what should be done. Include a work plan for each day - when to strip which walls, what will be set, and even by whom and when. There will always be exceptions, but those decisions should be made by the head routesetter and not on the spot.

Work complex tasks first. For instance, deciding where large volumes should go and getting them on the wall is a task that can require teamwork and time. Waiting until there are routes up can be limiting. If you're creating any custom features, best to do it early in the week when complications won't threaten the comp schedule. Decide where they will go, how to integrate them, needed materials, and estimates of cost and time. Creating an interesting and unique comp atmosphere is crucial, but it shouldn't (and doesn't need to) threaten the setting schedule.

Prioritization is crucial in competition setting. When you have a lot of routes to set, focus on skeleton setting. Get the ideas up, then come back and tweak them. When you've been setting all day for several days in a row, it can be daunting to do the hard work: I've seen many setters make the mistake (myself included) of constantly tweaking the opening boulder problem of a route as a means of delaying roping up. Set the skeleton, discuss what needs to be fixed, and execute with fair attention to each sequence of each route.

Prioritize your effort on sequences. Are you so dead set on forcing your flashy crux sequence that you blitzed through the rest of the route? Each move builds on the last. Routesetters care about that specific cool sequence - gym climbers and competitors care about the experience of the whole route. You need to be the first, and think like the second. Especially with route climbing, "flow" can be more important than style points. Save the boulder problems for learning how to force a tricky new move - then you can put it up your sleeve for the next route.

There is always another move. If you're having a hard time forcing a move, drop the ego and set something else. Sometimes it can be frustrating when an innovative sequence just won't work out for you; instead, set something you know and move on. If the sequence needs tweaking later, it'll be tweaked later. Set a move, change the body position, and you have a fresh chance to be creative.

There is always another route. If you're dead set on a hard sequence, don't sandbag an easy climb because you can't step up and adjust. It makes ordering and forerunning the routes a nightmare. Similarly, if you're feeling tired, you might feel like setting something easier than you have to. Maybe this means hopping off the ladder and setting a different route right now - not always an option for routesetters who operate on a fixed schedule. But it might also mean saving up that inspiration, setting the route in front of you, and having that extra creative gas in the tank for the next route.

Stay organized. When there's a lot of setting to do, something as mundane as making a list of minor tasks / tweaks can feel like a waste of time. In reality, keeping a running task list can drastically alter how well a setting sprint goes. Anyone with downtime or facing setter's block can refer to the list and check off a few quick items. These tasks might be setting-related: adding a new foothold, adding or removing tape, adding a set screw, or forerunning and tweaking a sequence for consistency or equity. They could also be event related tasks - routesetters are often expected to follow through on creating route placards, printing scorecards, setting up seating and safety lines, or helpful secondary tasks like printing out a map of the gym for visiting competitors.

Manage the mundane tasks. Some of the most important things that happen during hectic setting are forgotten by most setters. And yep, that means doing jobs everyone hates. If there isn't someone designated to keep a load of holds in the wash at all times, there probably should be. Organizing holds for better access. Keeping the task list and route plan updated.

Communicate well, especially on small tasks like holds in the wash. This helps with sharing of gear. Keep track of your tools - if you're borrowing someone else's ratchet or drill, or taking a hold from their pile, let them know so they don't spend 15 minutes looking for it. And for the love of red wrenches, write down which routes are being set! Nothing says disorganization like an inexplicable 51st route on the last day. Communication is also crucial when tweaking, which I'd like to talk about more - for now, read the forerunning primer.

Distribute resources. In a smaller gym, aid gear and ladders might be in short supply. Set in rotation to maximize their usage. Setters should never be waiting for gear; there's always something to forerun, tweak, holds to wash, etc. If holds or bolts are at a premium, set up a ration. Set clear limitations and expectations for route length. Strategically save holds, but don't allow hoarding. If absolutely necessary, consider a lottery for choice holds. It can be tough to remember that the primo holds are better spent on a route that'll see a lot of traffic than the hardest route.

Delegate to save time and energy. If you're working from a plan, either delegate routes to specific setters, or let them pick.  Be flexible, but have a plan ready. Don't expect one setter to handle steep terrain several days in a row - mix up terrain to keep ideas and muscles fresh. Newer setters may be expected to set the easiest routes, handle secondary tasks, and assist the setters, so that those with experience can work faster - just like any other workplace.

Work in batches. This should be rote for any serious routesetter by now, but never make a trip twice. If you're heading up to finish setting a route, ask yourself what else you might be able while roped up. Check the task list to see if routes on the same anchor need any edits, set screws, tape, etc. Check with setters of nearby routes. And of course, bring extra feet, bolts, screws and tape. Need to grab a hold from the pile? Check for what else you might need, and save yourself a trip across the gym. Better yet, if you're setting from a pile or set, bring them all over from the get go. Setting from a ladder and need a tap? Grab your harness and aid gear for when you rope up later. Heading to lunch? Grab everyone else a burrito... okay, that last one is dubious.

Small efficiency is big efficiency. Learn from your mistakes. Try to set every route faster and better than the last one. Use fixed lines, jumars, and other aid devices to save muscular effort for forerunning. Tweak by directionality, not by changing holds. Practice, practice, practice. Proper setup seems like a lot of extra work, but it saves more time in the long run. Check this list of basic efficiency tips to brush up on the basics.

That covers a good chunk of it. I'll make a specific post about forerunning for sport comps. For now, what did I miss? Share your secrets to a smooth comp week either here on the Facebook page.

Difficulty Analysis: The Ingredients of Movement

"That hold is tweaky."
"That foot is too high."
"That move is huge."

Is it so simple? What makes movement hard? It's easy to try a move, "feel" how hard it is, and simply end your analysis there. However, climbing is a technical activity, and the levels of complexity are almost endless. Many of the best routesetters simply intuitively know what's hard about a move, and over time that skill can be developed. But it will help to have some of the basics down to make off-the-cuff setting, tweaking and offering forerunning advice easier. Here's a few of the basics of understanding what makes a move feel hard.

Mechanical Advantage

Mechanical advantage is the term used to describe a move that can be altered in difficulty, significantly or subtly, by a subtle tweak in body position. Here are the major points of mechanical advantage, and the type of moves for which they might apply.

Straight arms - The quintessential example can be found in every coaches' rallying cry to "straighten your arms!" Straight arms use the musculoskeletal structure as a support system, rather relying on the inferior lactic-acid-vulnerable forearm muscles. Any method that allows the climber to achieve straight arms can provide considerable rest opportunities. Three of the easiest contributors to a rest position are: Holds facing straight up and down with feet directly below them; holds facing inward in a dihedral; and holds facing outward on an arete. These rest spots can be quickly tweaked or eliminated by changing the directionality of the restable hold to something less mechanically preferable.

Hold factors - the "incutness" or depth of a hold can allow for significant mechanical advantage, by giving the climber more breathing room in their body position. Larger holds, even slopier ones, provide some mechanical advantage by letting the climber's larger hand and arm muscles do the work without having to redirect their energy and tension through the smaller muscles of the fingers.

Plumb line potential via body position - a mouthful, but the best way of describing what is essentially "ideal body positioning." The best way to understand is simply to look at two angles when considering a move. Angle 1 is the angle of the climber's arm when holding the hold, or more accurately, the angle of a line drawn from the climber's center of gravity to the center of the hold. Angle 2 is the plumb line of the hold. The smaller the difference between these two angles, the more mechanical advantage exists in the route. Often moves with massive discrepancies between these two angles end up feeling "tweaky" or just plain difficult. Plumb line is without question the fastest way to make a route more difficult. A tiny twist in the directionality of a hold takes only a few seconds (compared to at least a minute to change out a hold or foothold) and can change a move from comfortable to desperate instantly.

Ankles - One sometimes overlooked mechanical advantage is the ankle. The larger the foothold, the easier it is for a climber to use the big muscles of their leg, rather than redirect tension through the complicated and smaller muscles of the foot. Huge feet with bad handholds is a great way to test or train finger strength, but simply won't force the climber to engage their core as much as vice versa. In dihedrals, this mechanical advantage can be a nightmare, as feet usually considered completely awful can be enough for the climber to relax their ankle.

Traveling

Travel is my catchall word for the physical movement factors of a move. A frequent complaint among shorter climbers is that moves are too big. Being able to watch a climber try a move and understand specifically which part of the move is giving them difficulty can be a powerful asset for a routesetter. Working efficiently with forerunners for competitions and being able to communicate with and appease a gym community will both require cultivating the ability to understand why a move is "big."

Travel time - the duration of time that the climber must maintain or create body tension or momentum to execute a move. Some moves are better done quickly, and some slowly. Generally speaking, more vertical or slabby routes will be forgiving and allow longer duration movement; simply because of the imposed demand on the body to maintain tension, steeper walls require more alacrity. In some cases, such as unwinding from a deep cross through on a steep wall, the movement must be executed in a manner many climbers refer to as being simultaneously slow and fast. In many cases, a move will have a tipping point, where the move can be executed in a static manner up to that point, and the climber must alter their position to create momentum and complete the move.

Travel distance - simply the physical size of the move - but notably, not as it appears to many climbers. For instance, if the left hand is low on an undercling at waist height, and the right hand on a crimp above head height, moving to the next hold a few feet above the climber can be a body-height-sized move. However, if the crimp allows for a match, the size of the move is cut in half. This principle is why matchable holds are a huge no-no for forcing sequences (unless the match is the intended sequence) - and, due to the size of kid-fingers, why it is more difficult to set problems that are equitable for children and adults.

Body Position - the effects of body position on travel can't be easily summarized, but the most prominent effects are:

• Twisting during travel - some moves will require the climber to twist in or out while making momentum in another direction. This allows the climber to maintain hip-wall proximity, maximize reach, and prepare to create tension in the body position that the next hold necessitates.
• Traveling with the lower body - ankle, knee, and hip extension are all different factors in creating more distance in a reach during travel. Some moves will necessitate or favor different methods of reach - for instance, with big footholds, many climbers neglect to fully extend their ankle, because it is comfortable in the relaxed position. Climbers who are unused to slab climbing often don't have the trust and tension necessary to extend their ankles all the way. And, contrarily, many climbers on a steep wall will lack the body tension to extend through the knees and hips fully while moving upward.
• Traveling with the upper body - reaching by extending the shoulders and elbows is a given, but for some moves, proper posture can affect a climbers reach. Often the trunk can be rotated one way at the hips, and another at the shoulders, to provide a bit more reach. This occurs frequently during heel hook moves on aretes and during the opening movement of a big barn door move. Other times, the two work in tandem.

Momentum

Momentum is a crucial part of any move, no matter how static. Even an extremely secure, slow move requires generating force on a vector. Being a successful climber requires having a robust knowledge of generating, controlling and canceling momentum. Being a good routesetter depends upon being able to force the climber to call on that knowledge.

Generation through the elbows - necessary for some moves, but far fewer than the average climber thinks. There's a good chance if a climber thinks a move feels hard, they're starting with their elbows and following with their legs. Getting climbers out of this habit is an age-old problem for routesetters. For hard undercling moves, elbow generation becomes a necessity, as the legs will often be fully extended just to be in position.

Generation through the shoulders and back - for gym rats with chronic burl-itis, #2 after elbows. On the steepest walls, creating swing before a move, performing come-in moves and many forms of foot cutting movement necessitate shoulder momentum. Often flexing at the elbows first is not possible, as the holds are poor and it will result in a loss of body tension.

Generation through the hips - hip extension is a popular way to start moves, especially moves that trend sideways. Pulling in with the hips to rock over a foot before pushing off of it is also a common use of hip momentum.

Generation through the knees - generally speaking the most powerful momentum generation tool in a climber's toolbox. Many moves start at the knees. Placing feet to the side, angling them obtusely, or otherwise hindering vertical footwork can help to cancel out knee momentum.

Other methods - the "nod" move, notably, is used by some strong climbers with great success. The pogo or "moon kick" would also be a great example of an unorthodox method of momentum generation.

Setting a problem that requires multiple types of momentum is a good challenge for a setter, and can provide a well-rounded power testpiece for climbers.

Accuracy and Precision

How "accurate" a move must be can be a huge factor in discerning why the move is difficult. Major players in the precision requirements of a move can be:

• Speed and momentum - the more momentum a climber has during a move, the harder it is to hit a hold perfectly, without over- or undershooting.
• Body positioning - coming out of or in to very specific body positions can be stressful on the accuracy of a move. Hitting gastons can be notoriously picky on body position, and getting the shoulder and hip positioning right can be mentally complex enough that hitting the fingers right on the hold becomes difficult.
• Hold size, obviously, is a factor in precision. Slapping enormous feature-slopers doesn't usually require a ton of precision, except in cases where overshooting will bring the climber off of their launch hold. Outdoors, slopers can require precision down to the individual grains in the rock. Indoors, requiring that level of precision on slopers is difficult (but possible.) When setting for precision, many setters will automatically retreat to pockets, and the benefits for that tactic speak for themselves.

Other factors

Obviously there are myriad other elements that come into play for movement difficulty - to name a few, I've ignored balance, breath control, endurance factors, and only glossed over the basics like hold size and distribution, countless aspects of foothold placement, etc. But this should be a good start to being able to analyze what makes a move 'hard.'

Summary

Morphology in combination with the factors in this article makes the entire topic exponentially more complicated than can be covered in a blog post. Climb with a morphologically diverse group of climbers and you will quickly recognize patterns to which moves each body type struggles on. Developing that intuition is the only way to learn how to do some of the most basic tasks required of a routesetter:

1. To set movement that is equitable for different body types, and still performed the same (or similarly)
2. To understand, without having to ask or watch someone try it, what makes a move feel difficult
3. To be able to accurately and quickly look at, analyze and constructively criticize a boulder problem (an extension to #2 in that it requires actual communication)
4. To be able to change a move to add or remove difficulty in the most efficient possible manner.

I will probably return to this overwhelmingly complex topic some time in the future. For now, happy setting!

Video Inspiration #1

A lot of the time, it doesn't take much to spark inspiration for setting. I get a lot of my inspiration from watching other climbers - through media, in person outside, or playing add-on in the gym. In that spirit, I'll be uploading videos of routes in our gym(s) here, that have fun or noteworthy moves. I'll try to include one harder move and one easier move in these kind of videos.

Here's a video that has two sequences for inspiration.



The first sequence is a moderate problem. The goal was to set a rose-through on a steep wall. Originally I got this idea from Andy Mann's photos of Nagual V13. I also wanted to set a hard swinging barn door as the climber came out of the rose.

Things to watch out for if you try to set a similar move:

- Roses are easier to set in concave terrain (dihedrals), but this one was actually on convex terrain. The rose lockoff was deep and could feel shoulder-tweaky.
- The hold to rose off of should be the minimum size and angle to reduce the likelihood of a match. In the end, this particular sequence wound up being matchable (although it could still be altered, it would start to make the problem harder and the rose tweakier..)
- I used a heel hook sequence just before gaining the rose hold. The size of that hold as a foothold also offered some assistance for matching.
- Ideally, you would traverse into the rose sequence with a big move, giving the climber less to work with in terms of big feet.
- For the feet, you want a gap or smaller feet under the rose hold itself, with a lot of feet under the target hold. Because this wall was convex, I found the move actually felt easier if I flagged my left foot away from the wall. In concave terrain it's natural to stem for a rose move (which makes it feel substantially less awkward.)

The second sequence is on an easy route, about 5.8, on an arete. When setting less difficult routes, sometimes it's easy to forget that simple things make a big difference to new climbers. Being able to pull different directions on holds and learning about plumb lines is a crucial lesson.

Things to consider for this move:

- Do as much as possible to make sure foot movements stay necessary. If the next left hand move is too small, it gets easier and easier to not use the right hand undercling.
- Aesthetics matter. This move in particular uses two similar holds (Gingivitis, by So Ill) It looks nice, and it's a subtle hint to the climber.
- This move would be just as good to try on a hard route. Small, simple sequences like this are enjoyable and encourage natural movement.

I'll post more cryptic and unique moves in further videos, but I intend to always show an easy move with a hard move. After all, the bell curve of your climbers aren't doing V8s - and easy moves can be just as interesting.

If you have any thoughts on setting these or similar moves, post 'em. In the meantime, happy setting!

Movement is Body Position

I think if you reduce all climbing to its basest elements, you'll find that body position is the prevailing factor.

Balance can be important on a route, but only because having the right balance or the right points of contact allows proper body position. Finding balance literally IS body position.

Distance is a function of difficulty on a route, but only because it means the climber must create a change in body position to find success. You can see this every time a novice climber "slaps" at a hold they can't reach, or a more adept climber turns their shoulder out and shoves their hip in the wall on a big lockoff.

Bad holds are frequently thought of as a good barometer of difficulty. But often body positions with better feet, different hip turnout, or more relaxed stances can make bad holds feel "restable." A good example of this is sloping crimps. On an overhang, sloped holds without the use of toe or heel hooks usually means keeping the feet lower will increase traction on the holds. When the climber goes to move their feet up, the holds become more difficult to hold on to - because of a change in body position.

Footholds are also used as a route's yardstick. Our local bouldering area has a lot of granite pebble smearing, which requires the foot to stay at a certain angle. This angle means the leg stays pointed in towards the wall, and your butt stays pointed out. If you pull your hips in too close, you might gain distance for a move, but the body position will compromise foot traction and cause you to fall. Again, body position is the building block of movement. If I were going to try to duplicate one of these routes, I know I'd need to keep the feet pretty awful. Solid feet that you can edge on allow the hips to come in farther, the heel to be raised further, and in general just allow the climber to do more.

It is functional to set routes that force movement based on balance, distance, hold type, etc. But I think setting by forcing moves that require specific body position is the most effective way to really make a climber solve a puzzle.

Applying this to routesetting is difficult. It's one of the things I try to think about most when I'm setting. If a route feels "classic," it's usually because the body position shifts a) feel natural, b) are not dramatically harder from one to the next and c) are less body-dependent.

I'll talk more about body position in a future post. For now, happy setting!

The Answer to Most Setting Questions

This might feel like obvious knowledge, but I still like to think about it. Basics are powerful.

Defined crux, or consistent difficulty?

Cryptic, beta-intensive climbs, or flash fodder?

Aggressive power moves or delicate footwork?

Big moves or small moves?

High feet, low feet, slopey feet, edging feet?

The short answer to this line of questioning is yes. Not all at the same time, not all on the same route, but yes.

If you're worried a route is too much of any one thing, don't - as long as they're not all that way.

Contrarily, if you're starting to feel like your setting is one-dimensional then you already know what to do - expand your scope. We get comfortable setting one style, and tend to neglect the others. My gym has a lot more steep bouldering than not, so it's easy to get stuck in a rut.

I went through a phase recently of setting more technical sequences on vertical terrain. Not exactly my usual style, so it felt good. For me, at least, it takes a different headspace to climb a hard compression problem in a roof than it does to climb a technical lead up dead vertical. Similarly, the techniques and obstacles for setting in varied terrain requires distinct mindsets. These skills need to be developed to be a well-rounded routesetter.

It's something I know I could do more of as a setter - work the weaknesses. Set things you suck at climbing. If you crush at Smith Rock, you might want to set in the steep for a while. If you're more of a Red River Gorge kind of climber, try getting techy. It might take some getting used to, but you (and your climbers) will be happier for it.

Happy setting!

Definitions of Forcing Movement

As a preface, for this post general terms like "stronger climber," "better climber" etc. are interchangeable terms for what is really a vague system of measuring more factors than I could list. To simplify things, just assume that I'm referring to a climber who, for the relative grade, has an average ability in all areas of climbing: power, lockoff strength, technical aptitude, mental acuity, etc. I'll try not to use definite phrasing, because all things in climbing are relative.

One big question that will be discussed a lot on this blog is this: when routesetters talk about forcing a move, what are we really talking about?

There's several perspectives. As with all things climbing-related, the talking points of each point of view will vary wildly with the difficulty of the climb being discussed. Forcing a move on a V10 being climbed by a V10 climber, and forcing a move on a V3 being climbed by a V10 climber are different propositions with distinct obstacles; greater technical aptitude, raw power and breadth of experience allows V10 climbers to visualize, attempt and perform sequences that, regardless of the routesetter's intended method, will result in a successful climb. The subject is further muddled by another major issue, organic diversity between climbers: weight, height, finger strength, finger size, body tension, ape index, hip turnout flexibility, and a vast number of other factors.

One perspective of "forcing" a move is creating a choice for the climber. The choice will affect the climber's relative chances of success on the climb through what I see as a reward/punishment system. Successfully choosing the correct sequence will reward the climber with better body position, a better hold, or an opportunity to move to the next choice; choosing the wrong sequence will punish the climber with a poor body position, a bad hold, and often either necessitate retreating and making the choice again, or result in a failure. I'll talk more about the choice-reward system in climbing in a different post.



To illustrate one perspective of "forcing" a move, here's a simple graph. The line of probability reflects the point at which a climber should be able to climb a route. The colors indicate a routesetter's relative ability to force a move. As a climber's raw ability increases, their ability (and number of options) on a route increases. Thus, the green area on the graph is a point where a routesetter may find it easier to get the climber to do the intended sequence. A red area on the graph indicates that a routesetter might find it very frustrating to try and get a climber to do the intended sequence.



As a way of understanding this concept, here's a simple example. Joe, a V3 climber, arrives at the crux of a boulder problem at his absolute physical limit. Matched on a crimp rail with high feet, he must lock off and make what is, for him, a big right hand move to a slot. He barely makes it, and then is able to move his left hand to a good jug hold slightly higher. Exhausted, he completes the sequence and goes on his weary way. Tim, a V10 climber, wanders up to the problem and quickly climbs into the same move. His better lockoff strength and higher body tension allows him to move all the way directly to the jug. He finishes, drops off and moves on.

In this example, one difference between the two climbers was Tim's greater reach due to being a stronger climber. Another way of looking at the example is that Tim's climbing ability and experience offered him a wider variety of choices. He had the ability to reach the bigger hold, but still could have chosen to do the intended sequence. His ability and instincts were more developed than Joe's.



One critical element of this example is this: the red area must represent not the ability to do ONE move, but the relative difficulty of all possible choices that the climber could make that would result in a successful rock climb. In other words, if Tim finds the lockoff to the jug just as hard as Joe finds the 2-move sequence, the routesetter has done an effective job forcing the sequence. (Not that V3 will feel hard for Tim - but as long as it feels V3 to both of them, the routesetter has still succeeded.)

Therefore, from this perspective, forcing a sequence can be looked at as: a) limiting the number of choices that a climber can make from any given point in the route, regardless of organic discrepancies between climbers, and b) ensuring that the reward/punishment system involved in those choices will cause a successful attempt to have the same number of rewards (rest points, good body positions, etc.) and a failed attempt to be a result of the same potential wrong choices (i.e. a short climber should not run into five potential stopper moves when a tall climber runs into two.)

Looking again at the graph, you could use the gradient as a vague gauge of how consistent, or "classic" it is. If a move on a moderate climb lands in the red area for a climber, and they still do the intended sequence, the move was pretty well set. If they do a different sequence, that's okay too - as long as it feels consistent to them. Routes where climbers of different grades do the same sequence naturally are often considered classic. When I say naturally, I mean when they are not intentionally trying to skip moves and make the route harder than it is.

This is, based on my limited understanding of the science of routesetting, the most meager introduction to forcing a move that I could pare into words. Further posts will get more specific.