Hundreds of times Aiden has snagged the bottom, pulled the rod back, and either asked me if that was a fish or has told me flatly, “I think that was a fish.” This time, he finally experienced the certainty that a couple of good head shakes from a trout will give you . . .
Leader length restrictions unnecessarily limit the common angler from taking full advantage of tight line systems. Such rules force the angler to compensate with different lines, rods and tactics. And none of it is as efficient as a long, pure Mono Rig that’s attached to a standard fly line on the reel. Here’s a deep dive on the limitations of using shorter leaders and comp or euro lines.
. . . But when all of that dries up, when the travel seems too long, when dawn comes too early and when chasing a bunch of foot-long trout seems like something you’ve already done, then what’s left — always — is the river . . .
I watched the line, waiting for some indication of a strike and intently expecting a fish to eat the nymph. Then at the end of the drift I looked away, scanning for my next target upstream. When I lifted the line for the backcast, I was surprised to find a trout on the line. He bounced off quickly because I never got a good hookset.
That’s happened to you a hundred times too, right?
Nymphing is an art of the unseen, and no matter the material attachments we add to the line for visual aid of a strike, trout take our flies without us knowing about it — probably way more often than we can imagine.
That’s why it’s best to end every underwater drift with a hook set. Do this with nymphs and with streamers, at the end of every dead drift presentation, and you’ll find unexpected trout attached to your line. The short set also prepares the line and leader for your next backcast. Here’s how . . .
Good nymphing is both an art and a science. When an angler first dives into the nymphing game, the technical challenges (the science) may dominate. All the options for rigs and modifications may be confusing for a while. It might take years, but eventually we get comfortable enough that all the adjustments become second nature. At that point, I think art can take over once again.
Each of the three elements influences the others. They are interactive and woven together . . .