Page 28 - Demo

to orient the track in the field. We refine the scene with details as we plot the track: the time we began plotting, the precise location of the track (using landmarks) and descriptions of terrain the track passes through. We add a description of environmental conditions and weather just before we begin to run the track with our dog, and further details may become apparent while we’re actu- ally on track.
Finally we are able to tell the story. Our story begins when we approach the start flag. Our story ends when we’ve finished for the day and have marked our dog’s route on the map, along with any other information that had an impact on the way our dog performed on this track—the way we handled at certain junctures, distractions, and so on.
Many stories have an epilogue. Is there a lesson or moral to the story? How did the characters’ lives change? Epilogues lend value to our training records. Did our track accomplish our goal? What did we learn? What did our dog learn? How did the weather condi- tions and terrain affect the way our dog worked? Is our dog still happy and motivated? What should we work on next time?
Let’s draw a map
Last time we designed a track to work with an inex- perienced dog on turns. As you may recall, the dog was a very fast worker that often overshot turns. It searched frantically when it overran track scent and had major problems self-correcting. Because of its speed the dog was difficult to read and handle.
We developed a concept to improve turns by present- ing a scenario in which the dog can learn to be more deliberate. We designed a track on which the dog was likely to overshoot some of the turns.
The outline for our story was a track with multiple turns in a “stair step” pattern so the dog would have room to overshoot without running into an adjacent leg of the track.
We began to set the scene when we decided to orient parts of the track in a tailwind to increase the chances the dog would overshoot at least some of the turns, and figured out how to orient the track in the field. We ended up with the outline pictured below.
We’ll continue to set the scene when we physically plot the track. Because space is limited, we’ll use a por- tion of this track—the start and the first two turns—to illustrate how to mark the map to set the scene and
26 The Australian Shepherd Journal May/June 2005
to tell part of the story. Each example builds upon the previous example. The maps are marked in tracking shorthand. The cryptic symbols are defined in the list provided. An interpretation follows each map.
The first map shows the landmarks used to orient the track. The tracklayer began at 9 AM, and with the wind at his back paced off 100 yards toward a bare tree in the distance. The track turned left—toward the peak of a brown house and away from a lone pine tree. The total leg length was 75 yards, with a bait drop 35 yards after the first turn. The track turned right—toward the right end of a tree line, and away from a rock that lined up with a thistle. The total length of this leg was 80 yards, with an article drop (sock) 45 yards after the second turn. A clump of grass was the reference landmark for the next turn.
Terrain directly affects the way scent moves and behaves. Therefore, major land features along the track route have been added so we can assess how this terrain affected scent during the time the track aged, and how this scenario might affect our dog’s performance. The track is situated on an upward slope. There is a cover change after the article drop on the third leg.
The date, start time, location and a description of the current weather conditions and ground cover have been added. Each either directly influences scenting condi- tions on the track or may influence the dog’s reactions to the challenges on the track. Important variables:
• Wind strength and direction—wind relocates scent.