Filter cues into driving decisions
Generated from
content/lms/mental-game-ii-perceptual-science/01-build-your-perceptual-map/02-separate-relevant-from-noisy-information.md; edit the source file, not this page.
Source path: content/lms/mental-game-ii-perceptual-science/01-build-your-perceptual-map/02-separate-relevant-from-noisy-information.md
Course: See sooner and decide faster at speed
Module: Build the map your brain drives from
Estimated duration: 65 minutes
The skill in one sentence
You filter track information by asking one question: will this cue change what I do with the car?
If the answer is yes, the cue earns attention. If it changes your brake release, your steering rate, your throttle pickup, your track placement, your mirror plan, your passing plan, or your after-session diagnosis, keep it. If it only makes you feel busy, impressed, worried, or technically sophisticated, let it pass.
This lesson sits between two neighboring skills. It is not mainly about your total brain bandwidth, and it is not mainly about keeping the next cue loaded. Those matter, but this lesson is about value. You already receive more information than you can consciously process: visual flow, track edge, surface changes, steering weight, g-load, vibration, engine sound, traffic, mirrors, lap time, segment time, instructor comments, and your own emotional reactions. Intermediate drivers often improve their awareness and then become flooded by it. The goal here is not to notice everything forever. The goal is to notice enough, then sort the useful from the noisy fast enough that the useful information changes the drive.
A relevant cue has three qualities. It is tied to a clear objective. It arrives early enough to affect a decision. It points to a specific action or a specific piece of evidence for the debrief. A noisy cue may still be real. It may even be interesting. But if it does not change the drive, it does not deserve prime attention while the car is moving.
Why filtering matters
Driving quickly is a constant sequence of compromises. The ideal line can vary from lap to lap because the track changes, the car changes, and the situation around you changes. Rubber build-up, oil, competitors, fuel load, tire condition, and race strategy can all change the best choice. The winning driver is usually not the driver who collects the most raw impressions. It is the driver who chooses the best compromise from the information available.
That is why cue filtering starts with decision quality, not with sensory volume. Better sensory input helps you sense speed and traction more accurately. Visual information helps you judge speed by the way objects enter and leave your field of vision. Kinesthetic information helps you sense what the tires and chassis are doing through balance, feel, touch, g-forces, vibration, pitch, and roll. Hearing adds another channel. But input only becomes performance when it improves output. In this context, output means the actual things you do: where you look, when you brake, how you release the brake, how much steering angle you ask for, when you pick up throttle, how fully you use the track, and how you adapt to traffic.
A useful cue is not always a command to change immediately. Sometimes it is a diagnostic cue. A segment time may not tell you what to do at the apex, but it can tell you whether the last change was worth keeping. A mental visualization lap timed against your real lap can tell you whether your internal map of the circuit is accurate enough. A new vibration or steering feel may tell you the tires are near a limit. A mirror cue may tell you that your objective for the corner has changed from normal exit speed to defending or setting up a pass.
The mistake is to treat all cues as equal. They are not equal. Track-out space left unused is not just scenery; it can mean you are leaving speed on the table. Higher entry speed that delays throttle pickup is not automatically progress; it may be costing you exit. A competitor moving to the inside is not just a distraction; it can change your line and throttle plan. A vivid feeling that the car is wrong is not proof that the setup needs changing; it may be a technique problem, especially if your braking, steering, and throttle requests are asking more from one end of the car than the tires can give.
The four-gate filter
Use four gates to decide whether a cue deserves attention. The gates are objective, action, timing, and evidence.
Gate one is objective. Before you can make a quality decision, you need to know the primary objective for the activity. That objective can be broad, such as learning a new track, or narrow, such as getting back to throttle earlier in one corner. It can also change with the situation. In a clear HPDE session, the objective may be to improve entry speed control into a particular braking zone. In traffic, it may become maintaining awareness of the car behind while still placing your own car safely. In a race, it may become setting up exit speed because another driver has moved inside to block.
The objective gate keeps you from collecting information for no reason. If the objective is to improve corner entry, track-out video might matter later, but brake release feel, turn-in speed, steering weight, and whether early entry speed delays throttle pickup matter right now. If the objective is traffic management, mirror checks and relative car position move up the priority list. If the objective is learning a new track, broad sensory intake is useful, especially visual information, surface irregularities, horizon references, and peripheral cues.
Gate two is action. Ask what changes if the cue is true. If the cue changes your brake release, keep it. If it changes steering angle, keep it. If it changes throttle pickup, keep it. If it changes how much track you use, keep it. If it changes whether you pass, defend, or leave margin, keep it. If it changes only your inner commentary, drop it until the debrief.
This gate is where a lot of intermediate drivers improve quickly. They stop using attention as a museum and start using it as a control system. A steering wheel that gets lighter or heavier near the limit is a cue because it can change how quickly you add steering, how gently you release brake, or how soon you unwind. A track edge that you are not reaching at exit is a cue because it can change entry speed, apex placement, or throttle timing. A lap time by itself is not a driving cue in the middle of the corner, but it becomes evidence after the lap. A feeling that the car is busy is not yet useful until you connect it to a cause: too much steering while still braking, too aggressive throttle while still asking for cornering, or unnecessary control movement.
Gate three is timing. A cue must arrive early enough to affect the decision it belongs to. Seeing the exit curb after you have already pinched the exit is useful for the next lap, not this one. Feeling that you carried too much speed after you have already delayed throttle is evidence for the next approach. Checking mirrors at the wrong moment can steal attention from turn-in, but checking them often enough to know where everyone is keeps traffic from becoming a surprise. Timing does not make late cues useless. It changes where they belong: now, next corner, next lap, or debrief.
Gate four is evidence. After the run, decide whether the cue actually helped. Bentley advises working on problem areas, leaving strong points alone, recording lap times, and using segment times to find where you gain and lose. He also warns against trying to go faster everywhere at once because the mind cannot handle too much information at one time. That is a filtering rule. If you are testing a cue, isolate it. Pick two or three places where the biggest gains seem likely, work those only, and then judge with segment time, consistency, car balance, and your ability to explain what changed.
Evidence also protects you from pretending. Not every car change is noticeable. Not every vivid sensation means the setup is wrong. Do not make major setup conclusions before you know the track, have found a flow, and can drive consistently at the limit. If you cannot repeat the driving well enough, the cue may be real but your interpretation may not be reliable yet.
What counts as a driving cue
The easiest way to filter is to sort cues by the job they do.
Speed cues answer whether the car is arriving at the next task at the right speed. Visual flow is a major speed cue. The rate at which objects on and off the track enter and leave your field of vision gives you a sense of speed, and that sense improves with better visual input and experience. Entry speed is especially important because setting speed for a corner is harder than squeezing on throttle at exit. If more entry speed delays the point where you can accelerate, the cue is telling you to trade a little entry speed for earlier throttle.
Traction cues answer whether the tires can accept the next request. Steering weight, vibration, tire chatter, g-force, chassis pitch, and roll are all part of the sensory input picture. If you ask for too much steering angle while also asking for too much braking or acceleration, you can exceed the traction limit at one end of the car and create understeer or oversteer. That can trick you into blaming the car when the issue is technique. The cue is useful only when it changes the request you make of the tires: ease off the brakes as steering increases, unwind steering as throttle increases, or reduce the combined demand.
Placement cues answer whether the car is using the road available. Unused track at exit matters because every inch not used can cost speed. Outside tires nibbling at curbing, riding the curb, or reaching the edge are not cosmetic details; they tell you whether your line, speed, and throttle timing are allowing the car to open its radius. If you consistently finish a car-width inside the edge, the cue should trigger a question. Did you turn in too late? Apex too early? Wait too long on throttle? Hold too much steering? Over-slow? The cue matters because it starts a useful investigation.
Traffic cues answer whether your objective has changed because of another car. Mirrors must be checked often enough that you know where other drivers are. A car spinning ahead, a driver moving inside to block, or a competitor appearing where you expected open track all change the drive. The cue may require patience, altered line, earlier throttle, or a pass planned for corner exit instead of corner entry. Traffic information is noisy when it becomes fear or fixation. It is relevant when it changes strategy.
Change cues answer whether the conditions have shifted. Rubber, oil, fuel load, tire condition, and handling changes all affect the best compromise. These cues are not excuses to constantly reinvent the lap. They are reasons to monitor, compare, and adjust. A track has its own personality, and two similar layouts can still feel different. You learn the personality by gathering sensory input, then selecting which parts of that input change how you drive.
Debrief cues answer whether the last attempt worked. Lap time, segment time, video, instructor feedback, and your own mental replay are not always immediate control cues. They are evidence cues. They tell you whether to keep a change, refine it, or drop it. If your mental visualization lap is close to your real lap time, your map of the track is likely becoming accurate. If your segment time improves when you slow slightly at entry and pick up throttle earlier, that cue has earned trust.
The on-track technique
Before the session, choose the objective. Do not choose five. Do not choose every corner. Pick one to three places where the largest gains seem likely. A good objective is specific enough that you can name the cue and the action. For example: in the braking zone for Corner A, I will use brake release feel and steering weight to keep from asking too much of the front tires. At exit of Corner B, I will use track-out width to judge whether I am opening the wheel and adding throttle early enough. In traffic, I will check mirrors on the straights and before commitment zones so I know whether my corner objective has changed.
Then define the if-then. If I reach turn-in and need a big steering jab, I probably arrived with the wrong speed or timing. If the steering gets heavy and the car refuses to rotate, I may be asking too much of the front tires. If extra entry speed delays throttle pickup, I will give back a little entry speed. If I finish short of the outside edge with no safety reason, I will investigate line and throttle rather than congratulating myself for being tidy. If a car moves inside, I will stop treating the normal apex as the only plan and look for exit speed.
During the lap, take in information through the main channels, but keep passing it through the action gate. On approach, speed cues and braking references matter because they set the corner. At turn-in, brake release, steering rate, and front tire feel matter because you are transferring the tire workload from braking toward cornering. At midcorner, balance cues matter because they tell you whether the car is near the cornering limit. At exit, throttle timing, steering unwind, and track-out placement matter because they tell you whether the car is converting the corner into speed down the next straight.
Keep the controls quiet enough that the cues remain readable. Flailing arms, jerky steering, stabbed pedals, and banged shifts can feel fast while making the car unbalanced and slower. Smoothness is not decoration. It protects the signal. The more unnecessary movement you add, the harder it is to tell whether the car is responding to the track, to the tires, or to your own abrupt input. Less control drama gives you cleaner feedback.
After the session, debrief immediately. Do not let the whole session dissolve into a general feeling of good or bad. Sort what you noticed into three bins: changed the drive, useful for review, and noise. Changed the drive means the cue altered a control, line, timing, or strategy decision. Useful for review means it did not change the current lap but may guide the next plan, such as segment time, video, or a repeated sensation. Noise means it did not help you decide and did not produce evidence. Noise may still be real. It simply does not get priority.
Sub-skills that make the filter work
The first sub-skill is naming the objective. Many drivers say they are working on being smoother, faster, cleaner, or more confident. Those are outcomes. A better objective names the driving problem. Carry five more mph at entry is still incomplete unless you know whether that helps or hurts throttle pickup. Earlier throttle is incomplete unless you know whether it causes you to add steering or run out of track. A useful objective points to a cue and a decision.
The second sub-skill is separating sensation from interpretation. The steering got heavy is a sensation. The car has understeer is an interpretation. The car needs a setup change is another interpretation. The filter slows that jump down. What else was happening? Were you still braking? How much steering angle had you added? Had you increased throttle before unwinding? The same sensory input can lead to different actions depending on context.
The third sub-skill is converting cues into control language. Do not stop at the phrase I need to be better there. Say what you will do. Release the brake more gradually as I add steering. Turn in with less initial steering speed. Wait half a beat on throttle until I can begin unwinding. Slow the entry slightly so I can accelerate earlier. Use the full exit if the car is stable and the track is available. These are practiceable actions.
The fourth sub-skill is limiting the experiment. Work on one thing at a time, or at most two or three places. This is not laziness. It is how you keep evidence clean. If you change braking, line, throttle, and vision everywhere on the same lap, you may improve, but you will not know why. You want to become the driver who can explain why a lap was better or worse. That requires smaller experiments.
The fifth sub-skill is building the cue into a mental program. Once a useful cue has proven itself, you should not need to debate it every lap. With repetition, the cue-action link becomes automatic. The point of filtering is not to make you think more forever. It is to think clearly while learning, then let the right program run when the car is at speed.
Calibration: how you know the filter is improving
The first sign is that your debrief becomes more specific. Instead of saying the car felt loose or the session felt messy, you can say that the rear stepped out when you added throttle before unwinding steering, or that the extra entry speed moved throttle pickup later by half the corner. You are not just reporting sensations. You are linking cues to actions.
The second sign is that segment times start matching your explanations. If you work on two corners and the segment shows improvement where you expected it, the cue is probably useful. If the lap time improves but the target segment does not, your explanation may be wrong. If the segment improves but the full lap does not, you may have moved the problem elsewhere. This is why evidence matters.
The third sign is that your controls become calmer. You are still driving quickly, but you are doing less unnecessary work. The car feels more balanced because your inputs are not constantly asking the tires for incompatible jobs. This is consistent with the larger driving principle that smooth, gentle, finesse-based control gives the car a better chance to stay at the limit.
The fourth sign is improved speed sensing. You begin to know, before the data confirms it, whether you need a little more speed, a little less, or a different release shape for the corner. This is not magic. It comes from better sensory input and repeated comparison between what you saw, felt, heard, and what the car actually did.
The fifth sign is that increased awareness no longer scares you. As awareness improves, many drivers briefly think their performance is getting worse because they can now feel flaws they previously missed. Treat that as useful. You have become more discerning. The filter turns that new awareness into a plan rather than self-criticism.
The sixth sign is that visualization becomes more accurate. If you can mentally drive the lap with vivid enough detail that the timing is close to your real lap, your perceptual map is improving. The point is not daydreaming. The point is rehearsing cues, decisions, and strategies until they are familiar before they happen at speed.
What to keep, what to discard
Keep cues that change a driving decision. Keep cues that warn you a tire is near or past the useful limit. Keep cues that reveal unused track, delayed throttle, poor speed setting, traffic risk, or an objective change. Keep cues that help you prove or disprove a technique change after the session.
Discard or defer cues that only make you feel busy. Defer judgments that cannot yet be supported by consistent laps. Defer setup conclusions until you are driving consistently enough to separate the car from the driver. Discard emotional labels that do not point to an action. Nervous, sloppy, fast, slow, aggressive, and tentative are not useless words, but they are not finished analysis. Convert them into what happened and what you will do next.
The mature version of this skill is quiet. You do not narrate every curb, every sound, every flicker of the car. You notice, sort, and act. You know when a cue belongs to this corner, the next lap, the debrief, or the trash. That is how perception becomes speed.
Worked example: Trans-Am trail-brake entry
Bentley describes learning straight-line braking first, then gradually learning trail braking, and later needing to improve it in a Trans-Am car because it was the only way to go fast in that car. Use that situation as a cue-filtering example.
The unfiltered version of the problem sounds like this: I need to brake later and carry more entry speed. That may be true, but it is too crude. It gives you speed as an objective without telling you which cues decide whether the speed is usable. The filtered objective is sharper: arrive at turn-in with enough speed to use the tire, then release brake as steering demand increases so the front tires are not asked for too much at once.
Now sort the cues. Brake marker is a setup cue. It starts the experiment, but it does not prove the experiment worked. Steering weight is a traction cue. If the wheel gets heavy, light, vague, or starts communicating tire chatter as you add steering, that is relevant because it can change your brake release or steering rate. G-force and pitch are kinesthetic cues. They tell you whether the car is still loaded from braking while you are trying to corner. Track-out placement is an exit cue. If the earlier or faster entry makes you late to throttle and shortens the exit, the entry gain may not be a gain.
The action gate keeps you honest. If more entry speed means you cannot pick up throttle until later, slow the entry slightly and rebuild the release. If the car exceeds the front tire limit as you turn, do not jump immediately to setup blame. Check whether you are combining too much steering angle with too much braking. If the car rotates but you must add a quick correction because the rear is overworked, check whether the release and steering rate are asking too much too abruptly. The cue is useful because it changes how you release, steer, and transition to throttle.
The evidence gate is segment time and repeatability. A good trail-brake entry should not just feel dramatic. It should let you carry useful speed, keep the car balanced, and reach throttle without paying for the entry later. If the segment is better and you can repeat the sensation, the cue-action link is worth keeping. If the sensation is exciting but the segment does not improve, downgrade the cue. Movement is not action, and drama is not speed.
Worked example: Formula Ford exit pass against an inside block
Bentley also describes Formula Ford competitors spending hours discussing passing moves, alternatives, and what could have happened if the situation had been different. They were mentally practicing racing strategy until decisive passes became easier in real races. That is a different kind of cue filter: the objective changes because another driver changes the corner.
Imagine a driver ahead moves to the inside to block the entry. If you are filtering poorly, the cue becomes emotional noise. You stare at the block, get irritated, turn the corner into a contest of bravery, and try to force the pass where the other driver has already taken away space. If you are filtering well, you name the objective change. The normal line is no longer the only plan. The new objective is to set up acceleration early and pass on exit if the situation allows it.
The relevant cues are the other car's position, your mirror and peripheral awareness, the open space at corner exit, and whether your own line allows earlier throttle. The noisy cues are frustration, the fact that the other driver is a friend or rival, and any urge to make a move just because the opportunity looked possible for a moment. The action is not simply pass. The action is to change the compromise: protect your own entry enough to keep control, avoid pinching yourself behind the inside car, and prioritize exit speed.
This is why visualization belongs in the lesson. When you have already rehearsed the situation, the cue does not arrive as a surprise. A car moving inside becomes an if-then branch you have practiced. If the inside is blocked, prepare the exit. If a car spins ahead, react to the actual path and available space. If the other driver parks the apex, avoid letting their compromised line force you into the same compromised exit. The filtered driver is decisive because the cue has already been connected to a strategy.
Common mistakes
The first mistake is cue hoarding. You try to notice every surface change, every sound, every mirror flash, every corner-worker station, every vibration, and every data point with equal priority. The result is overload. Good looks like choosing two or three target places, naming the cues that matter there, and letting the rest wait unless it affects safety.
The second mistake is chasing vivid sensations. A slide, a tire noise, a steering twitch, or a busy correction feels important because it is loud in your body. It may be important, but only after you connect it to cause and action. Good looks like asking what request you made of the tire at that moment. Were you braking, steering, and accelerating in a combination the tire could not accept? Did the cue change your next input, or only your mood?
The third mistake is entry-speed pride. You carry more speed into the corner and treat that as progress even when it delays throttle pickup. Good looks like comparing entry speed with the full corner result. If the extra speed prevents early acceleration, give some entry speed back and work on the release, rotation, and exit.
The fourth mistake is setup theater. You feel something and immediately decide the car needs a chassis or aero change. Good looks like first proving that you know the track, can drive consistently at the limit, and can repeat the sensation. Not every change is noticeable, and not every handling complaint starts with the car.
The fifth mistake is confusing control movement with useful action. Fast hands, stabbed pedals, and rushed shifts can make the session feel intense while unbalancing the car. Good looks like smoother, gentler, more deliberate inputs that let the car's feedback stay readable.
The sixth mistake is awareness panic. As you become more aware, you may think your driving is getting worse because you now notice flaws that used to be invisible. Good looks like treating that as progress. More discerning awareness gives you better raw material for improvement, as long as you filter it into one practice plan.
The seventh mistake is mirror neglect followed by mirror fixation. Some drivers do not check often enough and get surprised by traffic. Others check at moments that steal attention from the corner task. Good looks like checking often enough to know where everyone is, especially before commitment points, while keeping corner-entry and limit cues available when the car needs them.
Drill: three-session cue filter progression
Do this at your next event across three sessions, or across three clean 10-minute windows if your run groups are long. The purpose is not to become more distracted. The purpose is to gather sensory input in a structured way, then filter it into action.
Before session one, choose two corners or track sections. For each, write one objective and one likely action. Example: improve entry release in Turn 3 by using steering weight and throttle timing, or improve exit in Turn 8 by using track-out placement as evidence. Session one is visual. Your job is to notice visual information that could change the drive: surface irregularities, horizon references, peripheral motion, track-out width, traffic position, and whether the car is using the road available. After the session, write at least six visual cues. Circle only the cues that changed or should change a driving action.
Session two is kinesthetic. Use the same two corners. Focus on steering weight, tire vibration or chatter, g-force, pitch, roll, and how the car feels as braking becomes cornering or cornering becomes acceleration. After the session, write at least six body-feel cues. Circle only the ones that changed brake release, steering rate, throttle pickup, or line.
Session three is auditory and integration. Take in what you hear, but also combine it with the strongest visual and kinesthetic cues from the first two sessions. After the session, sort all cues into three bins: changed the drive, useful for review, and noise. Pick one cue-action link to carry into the next session.
Success criterion: by the end of the drill, you should have at least three cues that are tied to specific actions, at least one segment or lap-time check that helps judge whether an action worked, and at least one cue you deliberately downgraded because it was interesting but did not change the drive. If you collected twenty observations and cannot name one action, the drill failed usefully. You gathered input but did not filter it yet.
When the principle bends
There are moments when you temporarily widen the filter. A new track, a new car, or a new setup deserves broader sensory intake because you do not yet know which cues matter. Bentley's sensory input sessions are built for that situation: visual information, kinesthetic information, and auditory information are each given attention so the driver becomes more sensitive to the limit and learns the track or car faster.
Even then, the widening is temporary. You soak up information, debrief, and then narrow it into a plan. Staying wide forever creates clutter. The goal is to build a more accurate perceptual map, not to drive every lap like a tourist cataloging details.
Traffic and safety also bend the filter. A spinning car ahead, a sudden block, or a nearby competitor can instantly change the objective. In that moment, traffic cues outrank a technique experiment. That does not mean the experiment was wrong. It means the primary objective changed.
Finally, some cues belong to learning rather than immediate speed. A mental visualization lap, a recurring sensation, or a segment-time comparison may not change the corner you are in, but it can change the next session. Keep those cues, but put them in the right place. The filter is not a delete button. It is a routing system.
Author Review
No quiz questions are attached to this lesson.
Sources
| # | Document | Chunk | Pages | Score | Collection |
|---|---|---|---|---|---|
| 1 | Ultimate Speed Secrets - Ross Bentley | 47e12692-bbb7-6e53-8b0e-97e81f1dc537 | 305 | 1 | uio_books_raw_v1 |
| 2 | Ultimate Speed Secrets - Ross Bentley | 13d5ad27-440c-a690-f470-907b60dcfb22 | 476 | 1 | uio_books_raw_v1 |
| 3 | Ultimate Speed Secrets - Ross Bentley | 1750225d-715d-f86c-ef73-8320407cd5e3 | 491 | 1 | uio_books_raw_v1 |
| 4 | Ultimate Speed Secrets - Ross Bentley | c21b9aec-19ec-713b-f58f-b40fe13cc069 | 376 | 1 | uio_books_raw_v1 |
| 5 | Ultimate Speed Secrets - Ross Bentley | 8a59dd5c-bd92-7571-3b97-879bd28ffbf5 | 109 | 1 | uio_books_raw_v1 |
| 6 | Inner Speed Secrets - Ross Bentley | ac79dd94-d916-3f8f-3176-97849b421fe0 | 145 | 1 | uio_books_raw_v1 |
| 7 | Inner Speed Secrets - Ross Bentley | 5e0b1782-7a4b-985f-79c7-740f10fa0c30 | 144 | 1 | uio_books_raw_v1 |
| 8 | Ultimate Speed Secrets - Ross Bentley | 536ffcb0-b4fd-90e0-b1a6-b29d29b9de0f | 217 | 1 | uio_books_raw_v1 |
| 9 | Ultimate Speed Secrets - Ross Bentley | d6d3fbc0-ae54-55f2-46f0-ed0f529764a7 | 24 | 1 | uio_books_raw_v1 |
| 10 | Ultimate Speed Secrets - Ross Bentley | 7b584e87-cd53-ce7d-23d2-a2804465b5b5 | 324 | 1 | uio_books_raw_v1 |
| 11 | Ultimate Speed Secrets - Ross Bentley | f351b8a9-9447-6a83-63f0-c517627d92c6 | 35 | 1 | uio_books_raw_v1 |
| 12 | Inner Speed Secrets - Ross Bentley | 99f6bb64-a187-8d5d-eea4-a145add7b3f0 | 108 | 1 | uio_books_raw_v1 |
| 13 | Inner Speed Secrets - Ross Bentley | 7a1e5fa9-cd1f-1a05-3258-5215475b490e | 128 | 1 | uio_books_raw_v1 |
| 14 | Inner Speed Secrets - Ross Bentley | 84688c44-9714-5f70-19a9-b7503c7b7482 | 186 | 1 | uio_books_raw_v1 |
| 15 | Inner Speed Secrets - Ross Bentley | a4147ea3-257f-67b9-5fef-f56d4cfb427f | 134 | 1 | uio_books_raw_v1 |
| 16 | Inner Speed Secrets - Ross Bentley | 42cd9797-25c1-9bbb-d1f4-7aa50b893094 | 189 | 1 | uio_books_raw_v1 |
| 17 | Ultimate Speed Secrets - Ross Bentley | e9015a89-2e62-4173-722b-05cf47341f6d | 343 | 1 | uio_books_raw_v1 |
| 18 | Ultimate Speed Secrets - Ross Bentley | 47f6de8d-9d56-5b6d-547a-f1e7bb92faaf | 152 | 1 | uio_books_raw_v1 |