Build a visualization practice that changes your driving
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Course: The Mental Game
Module: Visualization Techniques
Estimated duration: 55 minutes
The point of the practice
Visualization only becomes useful when it stops being daydreaming and becomes practice. You are not trying to sit quietly and hope you feel faster. You are deliberately programming how you want to drive, how you want to notice, and how you want to respond when the car, the traffic, or your own nerves make the session untidy.
That distinction matters. The bonded material is very clear that ordinary visualization, in the narrow sense, is too small a word for the skill. Mental imagery uses more than vision. You build an imagined driving experience from what you see, what you hear, what you feel through the seat, hands, feet, and belts, and what state of mind you are in while it happens. The closer the mental run feels to the real run, the more useful it becomes as programming.
For an intermediate driver, the practice has two jobs. The first job is technical. You rehearse the line, braking release, throttle pickup, awareness, passing choice, start scenario, or recovery action you want to execute. The second job is state control. You rehearse being calm, relaxed, focused, confident, and ready instead of excited, distracted, angry, or overloaded. If you only rehearse the lap shape and ignore the state, you may know what to do and still be too cluttered to do it. If you only rehearse confidence and ignore the actual technique, you are just making yourself feel good without changing the driving.
This lesson is not the same as the sibling lesson on pre-playing and replaying a lap. That skill is the before-and-after loop around a session. This lesson is about building the practice itself: how to choose the target, set the mental state, make the imagery multisensory, keep it accurate, measure whether it is improving, and avoid programming the wrong thing.
The principle
Mental imagery works as practice because your mind can use imagined driving to build and refine a mental program. The corpus describes mental programming as the software behind performance. Better sensory input, faster processing, and better programming lead to better output. Mental imagery is one way to change the program without spending tire, fuel, brake pad, track time, or risk.
That does not make it magic. It also does not make it a substitute for real driving knowledge. A useful mental image needs raw material. You need some idea of what the car, track, skill, or race situation looks like, feels like, and sounds like. If you have never seen a track, never driven a similar car, and have no trustworthy reference, your imagery can become confident nonsense. Worse, it can program an error. If you mentally repeat turning in too early, getting greedy with the throttle, staring at the apex instead of the exit, or freezing during a race start, you are still practicing. You are just practicing the thing you do not want.
The rule is simple: mental imagery should be accurate, multisensory, deliberate, and successful. Accurate means it is built from track maps, video, notes, observation, coaching, previous laps, or other trustworthy input. Multisensory means it includes sight, sound, physical feel, and emotional state. Deliberate means you know exactly what you are programming before you start. Successful means the scene ends with you executing the right behavior, not rehearsing the mistake.
The practice starts before you close your eyes
A strong imagery session begins with preparation. Before you mentally drive, decide what the session is for. Do not sit down with a vague wish to be faster. Choose one target. It may be technical, such as releasing the brake as steering angle rises, opening your eyes toward corner exit, or applying throttle once the car is pointed. It may be strategic, such as staying patient behind a blocker, preparing a pass on corner exit, or being ready for a race start that does not unfold the way you hoped. It may be state-based, such as entering the session calm, relaxed, and focused.
The target needs to be narrow enough to hold. Many drivers cannot stay with a mental imagery scene for more than a minute or two at first. That is normal, not failure. Your first job is not to force a one-hour movie. Your first job is to complete one clean, vivid, accurate scene and then repeat that quality often enough that your attention grows.
Write the target before you begin. A full narrative is useful if the scene is complex, but a few bullet points are enough for most driving work. The writing keeps you from drifting into outcome fantasy. Instead of thinking only about winning, taking the pole, or driving a perfect lap, write what creates the result: where your eyes go, how your breathing feels, how the brake pedal comes off, what the front tires tell you, when you choose patience, and what you do if the first plan closes.
Use the four-part target
A dependable imagery target has four parts.
First, name the driving action. This is the behavior you want the car to see from you. It must be visible or feelable. Release the brake while adding steering. Look through the exit before turn-in. Keep the throttle neutral until the car accepts load. Breathe and scan mirrors at the start instead of locking onto the bumper ahead. Do not use a target such as be better. That gives your mind nothing to rehearse.
Second, name the sensory evidence. What will tell you the action is happening? You might feel the car load the outside tires smoothly. You might hear the engine note stabilize before it rises. You might see the exit curb arrive earlier in your field of view. You might feel less hurry in your hands. The corpus repeatedly ties performance to the quality of sensory input, so your imagery has to include the input, not only the command.
Third, name the mental state. The right state is calm, relaxed, and focused. You do not need to be psyched up. Excess excitement can slow decisions and clutter attention. A useful scene includes the feeling of being ready without being tight.
Fourth, name the successful end. The end is not always a lap record. It may be a clean exit, a controlled response to a blocked line, a full-throttle commitment through a corner you know is possible, or a correct abort when the pass is not there. End the image with the program you want installed.
Build the raw material
If you are preparing for a track you know, start with your own memory. Draw or look at the track map. Mark the corners where you know your references. Add brake zones, turn-in points, apexes, exits, surface changes, and traffic decision zones. Then replay the last clean lap you actually drove. Do not clean it up yet. First recall it accurately. Where were your eyes late? Where did the car take a set? Where did you hesitate? Where did the engine note tell you that throttle application was late?
If you are preparing for a track you do not know, use the learning inputs you actually have. Track maps, video, notes, observation of other drivers, simulator work, technology, and local advice are all legitimate inputs. The corpus presents track learning as a repeated loop: gather information, use mental imagery, add more observation, make notes, then use mental imagery again. That matters because your first image of a new track is provisional. After your first real session, revise it. After your second session, revise it again. The imagery improves as your sensory database improves.
If you are preparing a technique you have never done successfully, do not pretend you already own it. Slow the image down. Use coaching notes, video, and the known look and feel of the technique. The corpus gives the example of a driver who knows a corner can be taken at full throttle but cannot make the right foot cooperate. That is exactly where mental imagery can help. You are not lying to yourself that you already did it. You are building the mental program for doing it correctly before asking your body to execute it at speed.
Set the state
The best imagery starts from a quiet mind. You want the mind awake but not busy. Sit where you will not be interrupted. Let your breathing slow. Let your shoulders, hands, jaw, and legs release. If you feel yourself drifting toward sleep, bring yourself back with a few quicker deep breaths, then settle again.
This is not decorative relaxation. It is part of the programming. A nervous mind burns attention on nerves. A calm mind can use the image. The corpus also notes a side benefit: before a race or session, the practice gives your brain something useful to do instead of rehearsing anxiety. That is one reason the pre-session version of this practice is valuable even when the imagery is short.
Do not confuse calm with soft. You are building a performance state, not taking a nap. The state you want is relaxed enough to process information and focused enough to respond. Picture yourself as ready for anything. That phrase matters especially for starts, traffic, and unfamiliar conditions. You cannot predict every possible scenario, and trying to do so can make the image brittle. You can, however, program yourself to make the right move when the inside closes, when the outside opens, when the first half of the lap does not go your way, or when another driver changes the problem.
Make it multisensory
Now build the scene from the cockpit outward.
Start with vision. See the track from your normal driving viewpoint, not from a floating highlight reel, unless you are deliberately using a camera-like view to study a pattern. See where your eyes go. See the far reference, not only the nose of the car. If the target is a corner exit, see the exit before the car gets there. If the target is race traffic, see mirrors, peripheral movement, and the open space, not only the car directly ahead.
Add sound. Hear the engine load. Hear the shift, the constant throttle, the rise in revs, the sound of the tire, the change in wind, or the quiet moment when you are waiting on the car to finish rotating. The corpus even describes drivers recording in-car sound and replaying it during imagery. You do not need to do that every time, but the idea is useful: sound can make the image more real and can reveal whether your imagined lap timing is honest.
Add feel. This is where mental imagery becomes driving practice instead of visual entertainment. Feel the brake pedal under your foot. Feel the steering load build. Feel weight transfer. Feel tire slip. Feel the seat belt as the car slows. Feel the outside tires accepting load. Feel the moment when the car is balanced at the limit instead of being shoved past it. If you cannot feel any of that in the image, the scene is not ready to program a fine technique yet. Go gather more real input or simplify the target.
Add emotion. This does not mean drama. It means the felt state attached to the skill. If the target is a new full-throttle commitment, include the feeling of confidence and calm as the right foot stays down. If the target is a pass, include the feeling of decisiveness without aggression. If the target is a recovery from a mistake, include the feeling of staying composed instead of arguing with the previous corner. The corpus emphasizes that tying emotions and feelings to the session helps make the program easier to trigger later.
Use associated and dissociated views on purpose
Associated imagery means you are behind the wheel, seeing, feeling, and hearing from your own driving position. That should be your default for programming a driving action. You need the cockpit view because that is the view you will have when the program runs.
Dissociated imagery means you see yourself from outside, like a camera view or an overhead view. That can help when you are studying shape, spacing, or strategy. For example, if you keep turning in early, an outside view may make it easier to see that the car arrives at the apex too soon and runs out of exit road. Once you understand the shape, return to associated imagery and drive the corrected version from the cockpit.
Do not argue about which view is the correct one for all drivers. The corpus notes that some drivers naturally use one perspective and some the other. The practical rule is to choose the view that serves the task. Use outside view to understand. Use cockpit view to program execution.
Slow motion first, then full speed
For a new or fragile skill, begin in slow motion. Slow imagery gives you time to notice each detail: where the eyes move, where the brake begins to release, how steering rate builds, how the car takes load, and where the throttle starts. You are using the mind to rehearse the sequence without the time pressure of the real corner.
After the slow run is clean, bring it toward real speed. Do not rush this. A mental lap that looks perfect only because it skips the hard parts is not practice. At real speed, the timing should feel like the track. If you know the track well, use a stopwatch. Bentley describes mental lap times that were within a second of real lap times as a sign that the visualization was accurate. That is a powerful calibration tool because it catches fantasy laps. If your mental lap is ten seconds quicker than reality and nothing feels rushed, you are probably leaving out braking zones, traffic, hesitation, or distance.
Use the stopwatch carefully. The purpose is not to win the mental lap. The purpose is to test whether your mental model has the right rhythm. A good mental lap feels complete. It includes straights, brake zones, corner entries, patience, exits, and the time it takes for the car to move from place to place. If the clock is close and the sensory detail is strong, the image is probably becoming honest.
Balance technique and state every time
Sports psychologists divide imagery into cognitive and motivational types. In driving language, that means you rehearse both the driving task and the performance state. Cognitive specific imagery is a precise skill: the line, brake release, throttle application, sensing the limit, applying what the car tells you to a setup decision. Cognitive general imagery is a strategy: the race start, traffic, pit stop, handling change, or alternate plan. Motivational specific imagery is a goal and the feeling of attaining it. Motivational general imagery is confidence, arousal control, mental toughness, and the broader state of mind.
You do not need to memorize those categories, but you do need to use the balance. A good practice session might pair one cognitive specific target with one motivational general target. For example: I release the brake smoothly as steering angle rises, and I do it with a calm, uncluttered mind. Another session might pair a cognitive general target with a motivational specific target: I handle a blocked start by choosing the open side and making a clean second-half-of-lap gain, and I feel the reward of having responded decisively.
If your imagery practice always feels technical and tense, add state. If it always feels confident but vague, add technique. The useful program has both.
Worked example: the Formula Ford passing practice
Bentley describes a Formula Ford period where he and a competitor spent hours after races talking through passing moves they had made, moves others had made, and alternate choices they could have made if the situation had been different. They did not label it formal mental imagery at the time, but that is what they were doing. They were rehearsing race strategy and technique away from the track.
The important part is not that they imagined one perfect pass. They rehearsed thousands of passing variations. That made the real decisions easier. In the race, the pass did not feel like a brand-new problem. It felt like a situation the mind had already handled many times.
To use that example in your own practice, pick one traffic problem from your last event. Maybe you caught a car at corner entry and hesitated. Maybe you had a run on exit but did not decide early enough. Maybe the inside was defended and you stared at the closed door. Rebuild the scene accurately first. Then run three correct versions. In the first, you choose patience and get a better exit. In the second, you set up earlier and complete the pass where the exit opens. In the third, the other driver changes the problem and you stay calm enough to choose the next best option. You are not scripting that every race will go your way. You are programming decisiveness, awareness, and adaptability.
Worked example: Fittipaldi and the long focus rehearsal
The corpus includes Emerson Fittipaldi spending more than three hours sitting in his car in the garage the day before the Indianapolis 500. His point was focus endurance. If he could not imagine staying in that car for the duration, he questioned whether he could drive the full race without losing focus.
You do not need a three-hour rehearsal for an HPDE session or club sprint. But the principle scales down. If you lose focus after six minutes on track, do not start by demanding a full session of perfect concentration. Train the focus in pieces. Sit in the car in the paddock or at home in your normal driving posture. Run one minute of clean imagery. Then two. Then five. Keep the image connected to breathing, sensory detail, and the actual driving task. The goal is not heroic stillness. The goal is to build the mental endurance to stay with the job.
For an intermediate driver, a practical version is a ten-minute garage rehearsal before loading the trailer or before bed during event week. The first two minutes settle the body. The next three minutes rehearse the key corner or traffic decision. The next three minutes run a full lap or session-opening sequence. The last two minutes rehearse returning to calm after a small disruption. If your attention breaks, restart at the last clean step. That is training, not failure.
Worked example: a new-track imagery loop
A new track is where drivers often misuse visualization. They watch one video, memorize someone else’s lap, then try to drive the image as if it were already true. The corpus warns against visualizing a car or track you have no real feel for and against practicing the wrong thing. So your new-track practice must be provisional.
Before the event, build a first draft from a track map, video, notes, observation, simulator work if available, and local advice. Keep the image modest. Program the order of corners, likely references, eyes up, and calm first-session behavior. Do not overprogram exact brake pressure or throttle timing for a surface you have not felt.
After session one, update the image. Add what the track actually gave you: the crest that changes sightline, the bump that unsettles the car, the brake marker that is easier to see than expected, the exit that arrives late, the place where peripheral vision matters. Now your second imagery session is stronger because it has real sensory input. By the end of the day, your mental lap should no longer be a copied video. It should be your own lap, built from what you saw, heard, and felt.
Worked example: the race start you cannot predict
Race starts tempt drivers into over-scripting. You imagine the perfect launch, the perfect gap, the perfect inside move, and then the real start gives you something else. The corpus answers that problem with open-ended imagery. You do not need to predict every possible scenario. You need to see yourself ready and making the right move no matter what opens.
Build the start image as a set of principles rather than a fixed movie. You launch and scan. If the inside is open and safe, you take it. If the inside closes, you do not freeze or force it; you look outside. If you do not gain in the first half of the lap, you stay composed and prepare the second half. If someone spins or slows ahead, you respond to the open space rather than staring at the problem.
The skill is readiness. That kind of imagery keeps you from becoming attached to one imagined outcome. It also connects to the larger mental-game principle that a clean mind reacts more naturally than a mind crowded with useless thoughts.
Calibration cues
You know the practice is improving when the image becomes both more vivid and more honest. Vivid without honest is fantasy. Honest without vivid is a checklist. You want both.
The first cue is sensory density. Early imagery may be mostly a picture. As it improves, you begin to hear the engine note, feel the brake release, sense weight transfer, and recognize the emotional state attached to the run. You can describe the lap in terms of feel, not only location.
The second cue is timing. On a known track, your mental lap begins to match real lap rhythm. A stopwatch check within roughly a second of real lap time, when the track is well known, suggests the image includes enough of the real distances and delays to be useful. If the mental lap is much faster, slow down and put back the missing reality.
The third cue is focus duration. At first, one clean minute may be plenty. With practice, you can hold a longer scene without drifting into unrelated thoughts. Do not judge the practice by whether attention ever wanders. Judge it by whether you notice the drift and return to the target.
The fourth cue is better on-track readiness. You arrive at the corner with less surprise. You have already felt the action you are about to take. You do not need as much conscious talk inside the helmet. The car still demands respect, but the first correct input comes sooner.
The fifth cue is adaptability. Good imagery does not make you rigid. It makes you ready. In traffic, starts, or changing conditions, you should feel less panic when the first plan disappears. The mental program should help you choose the next best move.
Common mistakes
The outcome poster mistake is when you imagine the trophy, the lap time, or the praise without rehearsing the actions that create it. Good looks like building the image around process: eyes, hands, feet, car response, decision, and state.
The silent movie mistake is when the image is only visual. Good looks like adding sound, weight transfer, tire slip, pedal pressure, steering load, and the emotional feel of doing the skill well.
The wrong-map mistake is when you mentally practice a track, car, or technique you do not understand yet. Good looks like gathering source material first, keeping first drafts provisional, and revising the image after real laps.
The error loop mistake is when you keep replaying the mistake with frustration. Good looks like acknowledging the error once, then programming the correct version repeatedly. Practicing an error still builds a program.
The hero-speed mistake is when the mental lap is fast because it skips the hard parts. Good looks like using real timing, slow-motion detail, and honest rhythm. The brake zones, waiting, and car placement have to exist in the image.
The over-scripted start mistake is when you imagine one perfect race-start path and become useless when it closes. Good looks like open-ended readiness: inside if it opens, outside if it opens, patience if neither opens, and calm response if someone creates a problem.
The forced-marathon mistake is when you try to hold a long image before you can hold a short one. Good looks like training duration progressively. One clean minute beats twenty vague minutes.
The psych-up spiral mistake is when the practice raises excitement instead of control. Good looks like calm, relaxed focus. You are not trying to become louder inside. You are trying to become cleaner.
Drill: the 14-day imagery practice build
Do this for two weeks before your next event. The total time is short on purpose. You are building quality first.
Days 1 through 3 are the one-scene drill. Spend five minutes per day. Settle your breathing for one minute. Rehearse one corner, one braking release, one throttle pickup, or one traffic decision for two minutes in slow motion. Spend one minute adding sound and feel. Spend one minute writing what became clearer and what was still vague. Success means you can name the target action, one visual cue, one feel cue, and the desired mental state.
Days 4 through 7 are the sensory expansion drill. Spend eight minutes per day. Settle for one minute. Run the same scene once visually, once with sound emphasized, once with feel emphasized, and once with emotional state emphasized. Then run it once with all senses together. Success means the final run feels more like driving than watching.
Days 8 through 10 are the timing drill. Spend ten minutes per day. Choose a known lap or known track segment. Run it in slow motion once, then at real speed with a stopwatch. Do not chase a faster imaginary time. Compare the mental time with your real reference. Success means the image has realistic rhythm and you can identify any missing sections that made it too quick or too slow.
Days 11 through 14 are the adaptability drill. Spend ten to twelve minutes per day. Run one normal successful scene. Then run two variations: a blocked line, a missed first opportunity, a car ahead doing something unexpected, or a corner where the right foot wants to lift even though your knowledge says the car can do it. In every version, finish with the correct response. Success means you can adapt without the image collapsing into panic or fantasy.
At the event, use the three-session version. Before session one, do three minutes: calm state, one technical target, one safety or awareness target. After session one, update the image from real sensory input. Before session two, do five minutes with the updated version. After session two, time one mental lap or segment and compare it to reality. Before session three, run one normal version and one disruption version. Success for the day is not a personal-best lap. Success is that your mental image after session three is more accurate, more sensory, and more useful than the one you arrived with.
How to review the practice
After each imagery session, write three short notes. First, what was the target? Second, what sensory detail was strongest? Third, what was missing or vague? That review matters because the missing detail tells you what to gather next. If you cannot hear the engine, listen to onboard video or record a session. If you cannot feel brake release, pay attention to pedal pressure on the next run. If you cannot see the exit, study track video or walk the viewing area if allowed. If you cannot imagine staying calm, shorten the scene and build the state separately.
After each on-track session, compare the mental image to the real lap. Where did the real car differ? Did the turn-in arrive sooner? Did the brake zone take longer? Did traffic appear earlier in the mirror than you imagined? Did the full-throttle corner still produce a lift? These are not failures of imagery. They are updates. The practice gets stronger when it learns from reality.
When this principle breaks down
Mental imagery breaks down when it is asked to replace knowledge. It can sharpen a technique you understand, prepare a response to a situation you can reasonably model, and build a state you want to trigger. It cannot tell you the grip level of a track you have never experienced, the handling of a car you have never driven, or the correct line through a corner when your source material is poor.
It also breaks down when it becomes only positive thinking. Seeing yourself successful is useful only when you focus on what led to the success: the feeling, performance state, and specific skills that got you there. If the image skips the work, it is not programming the work.
Finally, it breaks down when you use it to avoid physical practice. The corpus is direct that mental imagery cannot compensate for lack of knowledge, hard work, or practice. The point is to make your real practice better. You still have to drive, observe, take notes, ask better questions, and test whether the program holds up when the tires are loaded.
Cross-references
Use this lesson as the foundation for the sibling skill on mental laps. Once you can build accurate multisensory scenes, a mental lap becomes more than a route-memory exercise. It becomes a timed, felt rehearsal of how you want to drive.
Use it with the pre-play and replay lesson. Pre-play gives you the session plan. Replay updates the source material afterward. This practice is the method that makes both sharper.
Use it with vision work. The corpus ties good driving vision to looking where you want to go, looking far ahead, and using peripheral vision. Your imagery should include those habits. If your mental lap has your eyes pinned to the apex or the bumper ahead, it is programming the wrong visual strategy.
Use it with racecraft. The Formula Ford example shows that passing decisions can be practiced mentally many times before the real moment arrives. That does not make you reckless. It makes the right decision feel familiar enough to execute decisively.
The standard
A mature visualization practice is not long because you are trying to look serious. It is long enough to program the target and short enough to stay vivid. It is not perfect because nothing ever goes wrong. It is successful because when something changes, you remain ready. It is not separate from driving. It is one of the ways you train the driver between the laps that count.
Worked example: Formula Ford passing practice
Use a recent traffic situation the way Bentley used Formula Ford passing discussions. Rebuild the moment accurately, then rehearse several correct versions instead of one fantasy outcome. One version may be patience and exit speed. One may be an earlier setup. One may be an alternate side when the first door closes. The success criterion is not that every imagined pass works. It is that your response stays decisive, aware, and adaptable.
Worked example: Fittipaldi focus endurance
Use Fittipaldi's Indianapolis 500 garage rehearsal as a scaled-down model for focus training. You do not need three hours. Start with one clean minute, then two, then five, then ten. Sit in normal driving posture, settle your breathing, run the target scene, and restart at the last clean step if attention breaks. Success means you can hold the driving task and state without drifting into unrelated thought.
Worked example: new-track imagery loop
Before a new track, build a provisional image from track maps, video, observation, notes, simulator work, technology, and local advice. Keep it modest: order of corners, likely references, eyes up, and calm first-session behavior. After the first real session, revise the image with actual sensory input. Success means the mental lap becomes your own lap rather than a copied video.
Common mistakes
The main errors are outcome-only fantasy, visual-only silent movies, inaccurate source material, replaying mistakes with frustration, mental laps that skip the hard parts, over-scripting starts, forcing long imagery too early, and psyching yourself up instead of calming down. Good practice is process-based, multisensory, sourced from real input, successful in execution, honest in timing, adaptable, progressive in duration, and calm.
Drill: 14-day imagery practice build
For days 1 through 3, spend five minutes on one clean scene. For days 4 through 7, spend eight minutes adding sound, feel, and emotional state. For days 8 through 10, spend ten minutes timing a known lap or segment against reality. For days 11 through 14, spend ten to twelve minutes adding variations such as a blocked line or traffic disruption. At the event, run a three-session loop: pre-session image, post-session update, then a timed or disrupted image before the next run. Success means the image grows more accurate and more sensory, not merely longer.
When this principle breaks down
Imagery fails when it is used without knowledge, when it rehearses errors, when it becomes positive thinking without technique, or when it replaces real practice. Keep it connected to track maps, video, notes, observation, coaching, and actual laps. Use the mental work to improve the physical work, then let the physical work update the mental program.
Author Review
No quiz questions are attached to this lesson.
Sources
| # | Document | Chunk | Pages | Score | Collection |
|---|---|---|---|---|---|
| 1 | Ultimate Speed Secrets - Ross Bentley | 2f0b953a-8274-04ab-037d-845cbf0b5bd8 | 323 | 1 | uio_books_raw_v1 |
| 2 | Ultimate Speed Secrets - Ross Bentley | a651af91-dd22-f97b-caac-500fc841a801 | 334 | 1 | uio_books_raw_v1 |
| 3 | Ultimate Speed Secrets - Ross Bentley | df6ec961-a085-b3cb-048f-d614d68587a0 | 325 | 1 | uio_books_raw_v1 |
| 4 | Ultimate Speed Secrets - Ross Bentley | 8c18a5f0-8274-04ab-037d-845cbf0b5bd8 | 320 | 1 | uio_books_raw_v1 |
| 5 | Ultimate Speed Secrets - Ross Bentley | 25849e28-71b3-da67-8481-372e3915929d | 282 | 1 | uio_books_raw_v1 |
| 6 | Ultimate Speed Secrets - Ross Bentley | 6b803250-f94b-f31c-29e0-8f13322384a4 | 332 | 1 | uio_books_raw_v1 |
| 7 | Inner Speed Secrets - Ross Bentley | 773c9fd5-6d54-c8ba-4a3c-fe502f93bf6e | 125 | 1 | uio_books_raw_v1 |
| 8 | Ultimate Speed Secrets - Ross Bentley | 7cad5f43-f1d9-2dcc-6192-a53953845cbe | 327 | 1 | uio_books_raw_v1 |
| 9 | Ultimate Speed Secrets - Ross Bentley | 27684675-f7ae-be15-e5c1-54ad4ef10b97 | 325 | 1 | uio_books_raw_v1 |
| 10 | Ultimate Speed Secrets - Ross Bentley | 83f53d4a-558b-283e-9015-fa9b27a1d593 | 348 | 1 | uio_books_raw_v1 |
| 11 | Ultimate Speed Secrets - Ross Bentley | ba9227f3-4f1a-c6ad-6c11-4470035ddbc1 | 351 | 1 | uio_books_raw_v1 |
| 12 | The Mental Imagery Guide for Drivers - Ross Bentley | 4a558b86-9594-e96c-1784-8d39317f3bc7 | 12 | 1 | uio_books_raw_v1 |
| 13 | Inner Speed Secrets - Ross Bentley | faf47214-2619-0395-43b8-f1f6523e5a80 | 32 | 1 | uio_books_raw_v1 |
| 14 | Inner Speed Secrets - Ross Bentley | 1230073c-a147-2110-c1b7-63251bf601e0 | 49 | 1 | uio_books_raw_v1 |
| 15 | How to Learn a Track Fast - Ross Bentley | a4f9bbe3-d919-9907-6cbe-2d6d980e76a8 | 16 | 1 | uio_books_raw_v1 |
| 16 | Ultimate Speed Secrets - Ross Bentley | 4529aa26-6c5f-c7d1-13cb-5848f0afb7ab | 249 | 1 | uio_books_raw_v1 |
| 17 | Ultimate Speed Secrets - Ross Bentley | 0237a5bd-e2d4-724e-bc2e-ba13db924f66 | 11 | 1 | uio_books_raw_v1 |
| 18 | Inner Speed Secrets - Ross Bentley | 1f89d950-4532-a2f9-3f06-33a6a39f92d6 | 24 | 1 | uio_books_raw_v1 |