Pre-play your lap and replay your best work
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Course: The Mental Game
Module: Visualization Techniques
Estimated duration: 55 minutes
The skill in this lesson is simple to say and demanding to do well: before you drive, pre-play the work you intend to do; after you drive, replay the best work you actually did. The point is not to daydream about a perfect lap. The point is to give your brain a clean program before the car moves, then update that program with real sensory evidence after the session.
For an intermediate driver, this is where visualization starts becoming a performance tool instead of a confidence trick. You are no longer just imagining that things go well. You are using mental imagery to learn the track faster, to rehearse a specific technique, to prepare for likely decisions, to recover focus when something interrupts you, and to carry the feeling of a good session into the next one. The pre-play lap prepares the next drive. The replay lap repairs and improves the pre-play.
The principle: imagery is practice when it is specific enough.
Bentley is clear about why mental practice matters. Your brain treats imagined performance as useful programming, so the lap you run in your mind can influence the lap you run with your hands and feet. That is useful because the mental lap is safe, free, repeatable, and adjustable. You can slow a corner down in your mind. You can rehearse a pass that only appears once in a race. You can practice a full-throttle commitment that your right foot has not accepted yet. You can rehearse losing focus and immediately returning to the next reference point. You can run more clean laps in your head than your tires, brakes, budget, or event schedule will ever allow on track.
But mental imagery only becomes useful when it has driving content inside it. A vague mental lap gives you a vague program. A lap with the correct visual references, sound changes, load changes, brake-release timing, throttle pickup, traffic decisions, and emotional state gives you something you can actually execute. The quality of the imagery depends on the quality of the input you feed it. That is why this lesson treats pre-play and replay as a loop, not as two separate tricks.
Pre-play is the forward-looking half of the loop. It asks: what am I about to do, where will I do it, and what state of mind do I want while I do it? Replay is the backward-looking half. It asks: what did I just do well, what did I learn through my senses, and what should I carry into the next pre-play? If pre-play is a program, replay is the update.
This lesson intentionally does not replace the sibling lessons on building mental laps or building a visualization practice. Those lessons cover the broader habit. Here the narrower skill is the session cycle: prepare, pre-play, drive, download, replay, then pre-play again with better information.
Why this works on a track day.
A track session gives you a limited number of laps, and many of those laps are compromised by warm-up, traffic, flags, mistakes, cooling, or fatigue. If you wait until the green flag to decide what you are practicing, you waste the first part of the session. If you wait until the evening to remember what happened, you lose detail. Pre-play and replay put mental work around the driving session, so the on-track laps are not carrying the whole learning load by themselves.
Before the session, mental imagery gives your mind a job other than nervousness. Bentley describes the useful state as calm, relaxed, and focused, not hyped up. That matters because excitement and stress slow decision making and clutter attention. You do not need to whip yourself into a heroic mood. You need to make the next lap feel familiar before you enter pit lane.
After the session, replay prevents your best work from disappearing. Drivers often remember the big mistake, the traffic, or the lap time. The best brake release, the cleanest throttle pickup, the moment when the car balanced correctly at the limit, and the exact curb or pavement mark that made the exit obvious can fade quickly. If you replay that good work while it is still fresh, you strengthen the program you want, not the mistake you happened to notice most loudly.
That last distinction is important. Repeating the wrong thing in your mind is still practice. If your post-session story is only the moment you missed the apex, locked a tire, got blocked, or lost focus, you are rehearsing the error. Replay the success first. You still diagnose mistakes, but you anchor the next program in what correct performance looked, sounded, and felt like.
The five-part loop.
The working loop has five parts. First, collect useful input. Second, pre-play the next session. Third, drive with sensory awareness. Fourth, download the session immediately. Fifth, replay the best work and update the next pre-play.
Collecting useful input starts before you arrive at the track. Use a track map, in-car video, simulation, written lap descriptions, and local advice to learn the direction of the course and likely references. The goal is not to copy another driver's brake markers or turn-in points as fixed truth. Bentley warns against setting too much in stone from an in-car video, because the car, tires, pace, and driver may not match yours. Use another driver's references as possible reference objects, not as commands. If they turn in near a sign, that sign may still help you, but you may use it before, at, or after the point they used.
Once you have driven a session, collecting input becomes more concrete. Make notes on a track map. Record where you began braking, where you ended braking, where you shifted, where you returned to full throttle, and what references you noticed. Add pavement cracks, curb shapes, worker stations, signs, bridges, surface changes, and marks on the surface. You are building the raw material for the next mental lap.
Pre-play uses that raw material before the next session. Sit or stand quietly. Breathe slowly enough to settle. Recall a past success if you need a performance-state trigger. Then mentally drive the next lap, but do it with a specific purpose. Do not try to improve everything. Choose one driving behavior, one decision pattern, or one focus recovery. You might pre-play a smoother brake release in one corner group, earlier eyes to the exit in a specific section, or a calmer response to traffic. The mental lap should contain where you look, what the car feels like, what you hear, what your hands and feet do, and what the successful state feels like.
Driving with sensory awareness is the bridge between the mental and physical lap. During the session, do not stare inward at your plan so hard that you stop driving the car. Bentley's track-learning guidance eventually points you back to driving the car, not just the track. Your plan reduces mental load; it should not freeze you. As you drive, stay open to information. Be a sponge. Notice visual references, balance, g-loads, tire slip, and sound. The better your sensory input, the better your next program becomes.
Downloading happens as soon as practical after the session. This is not a novel. It is a track-map and reference-point capture. Write enough that you can run the lap again in your mind later. If your brake release finally made the car rotate cleanly, write where you started releasing and what you saw next. If you found a better full-throttle point, mark it. If a corner was still fuzzy, mark the fuzziness. The blank spot matters because it tells you where the next pre-play needs better input.
Replay completes the loop. Mentally drive the parts that worked. Recreate the sensory detail of your best work: the car's attitude, the sound, the visual flow, the steering weight, the throttle application, and your state of mind. Then add the corrections. The next pre-play should not be based on yesterday's guess. It should be based on the last session's evidence.
Sub-skill 1: build the lap from real references.
Good pre-play starts with references that will still be there when you arrive at speed. A track map gives shape. Video gives direction, elevation clues, and possible visual anchors. A simulator can help the basic sequence become familiar. Your own notes give the highest-value information, because they came from your car, your pace, and your senses.
The discipline is to separate reference objects from reference decisions. A sign, curb end, patch, seam, bridge, or worker station is an object. Braking at that object is a decision. Turning at that object is a decision. Returning to throttle at that object is a decision. In pre-play, use the objects to make the lap vivid, but keep the decisions adjustable until your car confirms them. That lets the mental lap reduce confusion without trapping you inside another driver's exact technique.
This is especially important at a new track. Many drivers spend the first sessions trying to learn only which way the corners go and where the line is. Bentley's track-learning material pushes you to absorb more than that: visual, kinesthetic, and auditory information. You are not just memorizing a map. You are building a multisensory lap.
A useful pre-play lap names the references in order. It also names what each reference does for you. The brake marker does not exist to be admired; it starts the slowing phase. The end-of-curb reference does not matter by itself; it cues where your eyes move and where the car begins to open. The sound change does not matter by itself; it tells you whether the gear and throttle pattern match what you expected. When you can explain what each reference triggers, you are closer to a usable mental lap.
Sub-skill 2: enter the right state before the imagery.
Pre-play is easier when the mind is calm enough to hold detail. Bentley presents relaxation as a preparation for mental programming, and he separates the ideal performance state from being psyched up. That is practical advice. If you sit in the paddock trying to force confidence, you often create noise. If you use the pre-play lap to settle attention, you turn the same few minutes into useful preparation.
Start with breathing. Let your body get quiet enough that the lap can run without interruption. If you are too sleepy, take a few deeper breaths and return to an awake relaxed state. Then bring up a remembered successful performance. It does not have to be racing. Bentley notes that a great past performance in another sport, business, hobby, or personal experience can trigger a positive, calm, energized state. The point is not the trophy. The point is the felt state that allowed good performance.
Once the state is present, attach it to the lap you are about to pre-play. You are teaching yourself that this is how you approach the car: not frantic, not passive, but ready. Some drivers can use a word, gesture, walk to the car, or short routine as the trigger. Keep it simple. The trigger exists to recover the state, not to become a ritual you depend on mechanically.
Sub-skill 3: make the imagery multisensory.
Bentley and Langford emphasize that drivers have preferred learning styles, but should use more than one. For this lesson, that means your pre-play lap should not be only a silent picture from above the car. You want the view through the windshield, the sound of the engine and tires, the feel of weight transfer, the balance change as brake pressure releases, the tire slip building, and even smell if that sense helps make the experience vivid for you.
The visual layer answers where the car is going and what reference appears next. The auditory layer answers whether the engine, tires, wind, and surface sound match the lap you intend. The kinesthetic layer answers what the car is doing under you: loading, rotating, slipping, squatting, unwinding. The emotional layer answers whether you are calm enough to choose. A lap that contains all of these is more useful than a lap that only says brake here, turn here, throttle here.
This matters because the real car will not speak in words. It speaks through sight, sound, and feel. If your mental lap does not include those languages, you are not fully rehearsing the task. You are rehearsing a route description. Route descriptions help, but they do not carry enough information for performance driving.
Sub-skill 4: program one behavior, not a whole personality.
Mental imagery can be used to perfect skills, familiarize yourself with a track, trigger a performance state, program behavior, preplan situations, and refocus after problems. That range is broad enough to become sloppy. In a real track-day session, narrow it. Pick one main behavior for the pre-play.
For example, if the next session is about brake release, do not also make it about passing, throttle patience, curb use, data collection, and lap time. Pre-play the brake release in the most relevant corners. Imagine how the car feels when you release too abruptly, then replace that with the feel of the correct release. See the car accept the steering without a spike. Hear the tires stay loaded rather than complain. Feel your eyes already moving to the next reference.
If the next session is about full-throttle commitment in a corner you know can take it, pre-play the right foot doing what your mind already understands. Bentley uses this kind of example directly: sometimes you know a corner can be taken full throttle, but your foot refuses. Mental imagery is where you build that program before asking the physical car to do it. The imagery still needs knowledge behind it. You do not imagine blind bravery. You imagine a correct, supported action that you have reason to believe is possible.
If the next session is about focus recovery, pre-play the interruption. Imagine missing a reference, encountering traffic, or catching yourself thinking about the last corner. Then immediately see yourself returning to the next task. This is not negative thinking. It is programming the recovery. Bentley specifically includes refocusing as a use of imagery: form the image of dealing with a concentration problem, then continuing.
Sub-skill 5: preplan decisions before they arrive.
Not every useful mental lap is a clean solo lap. Some of the most valuable pre-play work is scenario work. Bentley describes preplanning race-start possibilities, a spinning car ahead, and a blocker moving inside so you set up to accelerate earlier and pass on exit. The mechanism is the same for HPDE, time trials, and club racing: if you have rehearsed the decision, the real decision costs less attention.
For an intermediate driver, decision pre-play should be conservative and concrete. If you are in HPDE traffic, pre-play staying patient when a slower car appears before the corner where you planned to practice. If you are in open passing rules or racing, pre-play how you respond when a car protects the inside. If you are working with an instructor, pre-play receiving a cue and applying it once, not arguing with it in your head for three corners.
The key phrase is likely scenario. You do not need to invent a hundred dramatic possibilities. Pick the scenarios that often disrupt your driving: traffic at the wrong point, a missed shift, a late point-by, a faster car appearing in the mirror, a yellow flag, a lockup, or losing focus after a good lap. Pre-play the correct response. That way the event is not the first time your mind has handled it.
Sub-skill 6: replay success before analysis.
After a session, your mind may run straight to the mistake. That is natural, but it is not always useful. The replay skill begins by finding the best work you did. It might be a full lap. It might be one corner entry. It might be one clean pass or one disciplined lift. Replay that first.
Successful replay is not self-congratulation. It is preservation. You are saving the exact program you want to run again. What did you see before the good corner? What did your hands do? How much brake release did the car accept? What did the tire sound do? When did the car let you go back to throttle? What did the correct state feel like? If you cannot answer those questions, the good lap may remain an accident. If you can replay it, it becomes teachable.
Only after that do you analyze the mistake. Even then, do not rehearse the mistake as the final image. Replace it. If you turned in too early, replay the better visual pickup and later patience. If you breathed off the throttle at the wrong time, replay the steady foot and the supporting reference. If you lost focus, replay the moment of noticing and returning to the next reference. End the mental loop on the desired program.
Calibration: how you know the loop is working.
The first calibration cue is timing accuracy. Bentley liked to time his visualization laps with a stopwatch, and when he knew a track well his mental lap was within a second of the real lap. You can use the same idea without turning it into a game. If your mental lap is wildly faster than your real lap, you are skipping details. If it is much slower, you may be hesitating or filling in uncertainty. As your imagery becomes more accurate, the mental lap should feel closer to real time.
The second cue is sensory density. Early mental laps often have blank stretches. You know the track turns left, then somehow you are at the next straight. That is not enough. Improvement sounds like more detail: you know what reference comes before braking, what the car feels like as the brake releases, where the exit opens, and what the engine note does when you can commit. Blank spots tell you where to gather input next session.
The third cue is state control. Before useful pre-play, you may feel rushed, nervous, overexcited, or scattered. After useful pre-play, you should feel calmer and more directed. Bentley's performance-state material points toward positive, energized, calm readiness. If your visualization leaves you tense and desperate, you are probably turning it into pressure instead of preparation.
The fourth cue is on-track decisiveness. Bentley's Formula Ford story is a clean example: he and a competitor spent hours talking through passing moves and alternate situations, effectively rehearsing many races in their minds. On track, the passes became quick, aggressive, decisive, and easy because the decisions had been practiced. In your own driving, look for the smaller version: you stop being surprised by routine traffic, your focus returns sooner, and the chosen technique appears earlier in the session.
The fifth cue is the quality of your notes. A driver who is really using replay will make more specific notes after each session. Instead of writing good lap or bad traffic, you write where you braked, where you released, where full throttle came, what reference worked, and what still felt fuzzy. Your notes become the bridge between physical laps and mental laps.
Worked example: new-track pre-play without over-programming.
Imagine you are driving a track for the first time, but you have watched video and studied the map. The weak version of pre-play copies the video driver's brake markers and treats them as rules. The better version uses the video to learn direction and find reference objects, while leaving the exact decisions open.
Before the first session, you run a mental lap with simple structure. You know where the major straights are. You know which corners follow each other quickly. You know several signs, curb ends, bridges, surface changes, or worker stations that may become references. You do not tell yourself that you must brake exactly where the video car did. Instead, you tell yourself what each object might help with. This sign may help me judge the brake zone. This curb may help me identify the exit. This surface change may help me know where the car is in the corner.
During the session, your job is to be a sponge. You still drive the car safely and within the session's rules, but you are actively collecting visual, kinesthetic, and auditory input. Maybe the curb is more visible than the sign. Maybe the pavement mark appears too late to be useful for braking but perfect for turn-in. Maybe the surface change gives a feel cue that the video never communicated. Those discoveries are not failures of the pre-play; they are exactly what the first session was supposed to produce.
After the session, you download the lap onto the map. You mark the references that worked and cross out the ones that did not. Then you replay the lap with the corrected references. The next pre-play is now based on your car and your senses, not just someone else's video. By the second or third session, the mental lap should feel less like memorizing directions and more like driving a place you know.
Worked example: Formula Ford pass rehearsal.
Bentley's Formula Ford story is the clearest racecraft example in the bond. He and a competitor were friends who raced each other hard because they trusted each other. After races, they spent hours talking through passing moves, other drivers' moves, and what they could have done if the situation had changed. At the time, they did not label it as visualization training, but that is what it was. They mentally practiced thousands of passes and hundreds of races. When real passing situations appeared, the choices came quickly and decisively.
For your own use, the lesson is not that you should sit around telling heroic pass stories. The lesson is that scenario replay and pre-play make decisions feel familiar. After a session, choose one traffic or passing situation. Replay what happened. Then pre-play two correct alternatives. If a car protects the inside, you might pre-play setting up for earlier acceleration and an exit move. If a car spins ahead, you pre-play eyes up, space management, and the safe escape path. If you are not racing, the same structure applies to HPDE traffic: where will you be patient, where will you create space, and how will you return to your objective after the interruption?
The win is not drama. The win is calm speed of decision. A situation you have pre-played is less likely to steal your whole attention when it happens.
Common mistakes.
The first mistake is running fantasy laps. A fantasy lap is all result and no mechanism. You picture a perfect lap time, a pass, or a win, but you do not feel the brake release, see the references, hear the throttle commitment, or know what your hands and feet do. Good pre-play is not result worship. It is process rehearsal.
The second mistake is rehearsing the mistake as the final image. You come in from a session and mentally repeat the missed apex ten times. That makes the error more available. Good replay recognizes the error, replaces it with the desired behavior, and ends on the corrected program.
The third mistake is copying video too literally. Video is useful input, but another driver's exact points may not match your car. Good pre-play uses video to reduce confusion and identify possible references, then lets your driving update how those references are used.
The fourth mistake is staying visual only. Many drivers call the work visualization and then only picture the track. Bentley's mental imagery guidance is broader: use sight, sound, feel, and whatever sense makes the lap more real. Good pre-play includes the car's balance and sound, not just the shape of the pavement.
The fifth mistake is using imagery as a substitute for knowledge. Bentley warns that mental imagery cannot make up for lack of knowledge, hard work, or practice. If you have no idea what the correct technique looks, feels, or sounds like, your imagery will be weak. Good pre-play is fed by instruction, notes, video, actual driving, and honest sensory input.
The sixth mistake is trying to program too much. If every pre-play lap contains ten objectives, none of them gets clear. Good pre-play selects one primary behavior or decision pattern for the next session.
The seventh mistake is getting psyched up instead of focused. If your routine leaves you overexcited, you may feel fast before you drive but make slower decisions once the car is moving. Good pre-play leaves you calm, relaxed, focused, and ready.
Drill: the three-session pre-play and replay loop.
Use this at your next event. Do it for three consecutive sessions. The count matters because one cycle teaches the method, but three cycles show whether your mental lap is improving.
Before session one, spend six minutes on pre-play. For the first minute, breathe and settle. For the second minute, recall a past successful performance and bring back the calm, positive, energized state. For the next three minutes, mentally drive one lap with your main objective. Keep it narrow: one technique, one section, or one decision pattern. For the last minute, mentally rehearse one likely interruption and the recovery.
After session one, spend eight minutes downloading. Mark the track map with braking starts, braking ends, shift points, full-throttle points, useful references, and blank spots. Then replay only the best piece of work from the session. Do not start with the mistake.
Before session two, spend six minutes again. This time, update the lap with the references you actually found. Keep the same objective unless the first session proved it was the wrong priority. If the objective remains valid, make the imagery more detailed rather than changing goals.
After session two, repeat the download and replay. Add one timing check if you know the track well enough: run a mental lap with a stopwatch and compare it to a representative real lap. Do not force it. Use the difference as feedback. If the mental lap is too short, you are skipping detail. If it is too long, you may be hesitating in the imagery.
Before session three, run the cleanest version of the pre-play. It should contain better references, better sensory detail, and a calmer state than session one. After session three, replay the best work of the day and write the one image you want to carry into the next event.
Success criteria are specific. You complete three pre-play laps and three downloads. Your notes include at least five usable references or action points from the day. Your third pre-play lap has fewer blank spots than your first. If you already know the track, your timed mental lap moves toward the real lap time, with Bentley's one-second standard as the high bar for a well-known track. Most important, you can name one on-track behavior that appeared sooner or more calmly because you pre-played it.
When this principle breaks down.
Pre-play and replay break down when the mental lap is not grounded. If you are missing the look, feel, and sound of the technique, you need more input. That may mean asking an instructor to describe the skill more concretely, watching video for reference objects, collecting your own notes, or driving a conservative session focused on sensory information.
The method also breaks down when you use it to avoid physical practice. Mental imagery is powerful partly because it lets you practice perfectly and safely, but it does not replace the track, the car, the instructor, or the work. It prepares you to use those better.
It can also break down when the replay turns into rumination. Rumination keeps returning to the problem without building a next action. Replay should end with a usable program. If you cannot turn a mistake into a specific image of what good looks and feels like, stop the mental loop and gather more information.
Finally, it breaks down when the driver confuses confidence with readiness. A good mental lap is not a guarantee that the physical lap will be perfect. It is preparation. You still adapt to traffic, weather, grip, car condition, flags, and your own limits. The mental lap gives you a starting program; driving still requires awareness.
How to use this across the module.
Use the broader mental-lap lesson when you need to build a complete corner-by-corner visualization. Use the visualization-practice lesson when you need routine and frequency. Use this lesson when you are standing between sessions and need to know what to do next: pre-play the next lap, drive it, download it, replay the best work, and update the next pre-play.
That is the practical promise of this skill. You get more laps than the schedule gives you. Not imaginary lap times. Not pretend bravery. More useful repetitions of the exact state, references, decisions, and car-control actions you want to carry onto the track.
Worked example: new-track pre-play without over-programming
Before the first session at a new track, use the map and video to learn direction and find possible reference objects, but do not turn another driver's exact brake and turn-in points into rules. Pre-play the course with adjustable decisions: this sign may help the brake zone, this curb may help the exit, this surface change may cue location. During the session, drive safely while soaking up visual, kinesthetic, and auditory information. Afterward, mark what actually worked on the track map and replay the lap with the corrected references. The second pre-play should be based on your car and your senses, not only on someone else's video.
Worked example: Formula Ford pass rehearsal
Bentley's Formula Ford story shows replay and pre-play as racecraft practice. He and a trusted competitor talked through passing moves, alternate choices, and what they could have done differently after races. That became mental rehearsal of many passes and many race situations. Use the same pattern at your level: after a traffic or passing situation, replay what happened, then pre-play two correct alternatives. If a driver blocks the inside, rehearse setting up exit speed. If a car spins ahead, rehearse eyes up and the safe path. The goal is not drama; it is making the decision feel familiar before it appears again.
Drill: three-session pre-play and replay loop
Run this for three consecutive sessions at your next event. Before each session, spend six minutes: one minute settling your breathing, one minute recalling a past successful performance state, three minutes mentally driving one lap with one objective, and one minute rehearsing a likely interruption and recovery. After each session, spend eight minutes downloading the lap on a track map, then replay the best piece of work before analyzing mistakes. By the third cycle, your mental lap should contain more real references, fewer blank spots, and a clearer state than the first. If you know the track well, time one mental lap and compare it to a representative real lap.
Common mistakes
The common failures are predictable. Fantasy laps picture the result without the mechanism. Mistake loops replay the error as the final image instead of replacing it with the desired behavior. Video copying treats another car's references as fixed instructions. Visual-only imagery ignores sound, balance, tire slip, and body feel. Overloaded pre-play tries to program too many objectives at once. Psyched-up preparation creates excitement without clean attention. Good work looks different: one objective, real references, multisensory detail, calm state, and replay that ends on the behavior you want next.
Calibration cues
You are improving when the mental lap approaches real time, especially on a track you know well. You are improving when the lap has fewer blank stretches and more concrete sensory detail. You are improving when pre-play leaves you calm, relaxed, focused, and ready rather than frantic or inflated. You are improving when the chosen behavior appears earlier in the next session, when traffic or mistakes steal less attention, and when your post-session notes become more specific about braking starts, braking ends, shift points, full-throttle points, and useful references.
When this principle breaks down
The loop breaks down when imagery is not grounded in the look, feel, and sound of the real skill. It also breaks down when you use it instead of knowledge, instruction, and practice. If you cannot imagine the correct technique with useful detail, gather better input before forcing the mental lap. Ask for a clearer explanation, study video for reference objects, drive a sensory-input session, or make better notes. Replay should not become rumination. It should preserve best work, correct the program, and prepare the next physical session.
Author Review
No quiz questions are attached to this lesson.
Sources
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| 1 | Ultimate Speed Secrets - Ross Bentley | 2af57d36-ecd8-46db-991a-753478b5b0e7 | 323 | 1 | uio_books_raw_v1 |
| 2 | Ultimate Speed Secrets - Ross Bentley | 7b584e87-cd53-ce7d-23d2-a2804465b5b5 | 324 | 1 | uio_books_raw_v1 |
| 3 | Ultimate Speed Secrets - Ross Bentley | a340c388-3d62-32bb-ff63-14464628bb2d | 331 | 1 | uio_books_raw_v1 |
| 4 | Ultimate Speed Secrets - Ross Bentley | a9a648d9-5c51-dce8-aed0-7835e25db48e | 211 | 1 | uio_books_raw_v1 |
| 5 | Ultimate Speed Secrets - Ross Bentley | 6ed5a221-3ddc-b723-f630-f8e637080726 | 208 | 1 | uio_books_raw_v1 |
| 6 | Ultimate Speed Secrets - Ross Bentley | 0a61558b-5a10-1225-f51f-f058f81f3c61 | 209 | 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 | ba9227f3-4f1a-c6ad-6c11-4470035ddbc1 | 351 | 1 | uio_books_raw_v1 |
| 10 | Ultimate Speed Secrets - Ross Bentley | 8fabe895-ec0f-7e6d-3e6b-de0eef6b936a | 352 | 1 | uio_books_raw_v1 |
| 11 | Inner Speed Secrets - Ross Bentley | 1230073c-a147-2110-c1b7-63251bf601e0 | 49 | 1 | uio_books_raw_v1 |
| 12 | Inner Speed Secrets - Ross Bentley | faf47214-2619-0395-43b8-f1f6523e5a80 | 32 | 1 | uio_books_raw_v1 |
| 13 | Inner Speed Secrets - Ross Bentley | 42cd9797-25c1-9bbb-d1f4-7aa50b893094 | 189 | 1 | uio_books_raw_v1 |
| 14 | Inner Speed Secrets - Ross Bentley | 1f89d950-4532-a2f9-3f06-33a6a39f92d6 | 24 | 1 | uio_books_raw_v1 |
| 15 | The Mental Imagery Guide for Drivers - Ross Bentley | 4a558b86-9594-e96c-1784-8d39317f3bc7 | 12 | 1 | uio_books_raw_v1 |