Dave. There should be a curve to the right combined with the sway to the right. Here lies the probelem, does the lady take her L.F. back on the same line as the man. Or does she step off line more towards the centre with the first step of the heel turn. This needs to be looked at very carefully if you have a disk to watch or a tape. The disk will always be better than a tape for obviouse reasons.

Nod. First,they both dance their own tracks which are parallel. Second, The lady goes where the man leads her and not on a different track. Many lady
's turn their foot out on the second step to help with getting the hip out of the way,I am not saying this is correct but even the top pro's do this.

Dave. once again we go to the way that the first step R. F. heel turn lady is being taught. Right off the tape. at the end of the second quick on the count of 4 (and), my feet are in a nuetral position. I turn my hips towards the new alignament and i don't particularly care where my right leg or my left, if it is a Natural goes. If this is done that way i can tell right here and now that the lady is not on the same line as the man. If the lady is on the same line there will be a difficult balance problem on the second, and third step for the man. If it comes to a momentory stop right there something is wrong. The Foxtrot must appear to be seamless. Like two pieces of metal welded in such a way that the seam is invisible.These are of course on the balance points which is on every fourth beat. It is good practise to stop at the end of the fourth beat on the Feather. Then the stop on the next fourth beat of the Reverse. Then on the Feather Finish, Three Step and so on. This will tell how good the balance is. If it is not then something is amiss. It takes a while, but in our studio this is what we have to do. By the way , there has been a curve to the right on a Feather Step which coincides with the sway to the right ever since it was first intoduced 1920

I'll say it again, beat four is way to early to be collecting after the second quick. It's perhaps too early to even have your weight on that foot.

And don't stop there - this is the point when your motion must be the fastest, most continuous. If you can stop, you are not dancing with body flight.

Stopping to check for good balance is an excellent exercise. Yes, when you're dancing 'for real' ,the body flight would make this impossible, But body flight can cover up, to some extent, lack of control and balance (i speak from first-hand experience!!)
Similar techniques (i.e. practising at different speeds, even very slowly)are used when learning to play an instrument, and for the same reason - to develop good fundamental technique. If a dancer CAN'T stop with good balance at the end of a feather step, then there is a problem

My timing of the feather step is to feel and dance the rise with the body on beat three and four and to arrive with the body just in time to lower on beat one so that I can drive off into the next figure whatever it may be,the point is to have a continual not continuous flow . I like to think that I have put my body into cruise control and the motion should be as smove as silk as far as the basic foxtrot is concerned.

Fine, but you shouldn't have weight on the 2nd quick until sometime around the & after 4. You'll collect even later than that.

Suomynona. Maybe you should take this up with John Wood or Anne Lewis who are both exponents of a collection point on Four (and). As I think you have pointed out yourself, the foot arrives slightly before the beat, so what do you do with the time that has been gained. Nobody has suggested that there is a stop there. As we all know the Foxtrot is a linear dance and the balance point must seem to be seamless. There has to be a point though where both feet are under the body. I have been told that it is a good idea if both parties count aloud, including any (and) count that needs to be included in any dance. Waltz is another which is now counted in six half beats and not just three full beats. See Richard Gleave and John Wood. for more infomation on this.They both recomend that the counting by the man and the lady be aloud when in training. Isn't this a wonderful sight where differences of opinion can be argued, maybe we should observe the rules of debating and not just ignore, but prove a statment not to be correct if it is at all possible. For instance find me any person of some standing who doesn't agree with any of the above.

"There has to be a point though where both feet are under the body."

Ideally there will not be, as the body should have already moved slightly past the standing foot by the time the free foot draws parallel to it.

Many dancers mistakenly dance with agressive foot timing and lazy body; while this is easy to do it creates a forced look and forces the dancers to either have a gap between their bodies or arch their backs to make space for the eager moving leg.

Of course this does not apply to fully risen steps where travel pauses, such as 3 in waltz.

I would not say there is a pause at the top of the swing that should be detected . You would have a hard time seeing at what point in time a child on a swing in the park changes direction?