_ The .

“
Speed
Reading
Book
Read more, learn more,
achieve more

Tony Buzan
 The
Speed Reading
Book

BBS
 D ig itize d by th e In te rn e t A rc h iv e
in 2 0 2 2 w ith fu n d in g fro m
K a h le /A u stin F o u n d a tio n

h ttp s ://a rc h iv e .o rg /d e ta ils /s p e e d re a d in g b o o k 0 0 0 0 b u z a _ o 3 g 4

 The
Speed Reading
Book
Read more, learn more,
achieve more

Tony Buzan
Consultant Editor, James Harrison
Special Consultant, Anne Jones, World Speed
Reading Champion

PEARSON

Ia rlow, England • London • N e w York • Boston • San Francisco •Toronto • Sydney • Singapore • Hong Kong
okyo • Seoul • Taipei • N e w Delhi • Cape Tow n • Madrid • Mexico City •Amsterdam • Munich • Paris • Milan
P ublished by BBC A ctive an im p rin t o f E d u ca tio n a l P ublishers LLP pa rt o f th e
Pearson E ducation G roup, E d in b u rg h G ate. H arlow , E ssex. C M 2 0 2JE E ng la n d

First p u b lis h e d in G reat B ritain in 2 0 1 0

© Tony B uzan 2010

BBC lo g o © B BC 1996 B BC a nd B BC ACTIVE are tra d e m a rk s o f the B ritish

B ro a d ca stin g C orporation.

The right o f Tony B uzan to b e id e n tifie d as au th o r o f th is w o rk h a s b e e n a sse rte d by

him in a c co rd a n c e w ith the C o p yrig h t. D e sig n s a n d P atents A ct 1988

ISBN: 978-1-4066-4429-6

B ritish Library C ataloguing-in-P ublicauon Data

A ca ta lo g u e re co rd for this b o o k is a va ila b le fro m the B ritish Library

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All rights reserved N o part o f this p u b lic a tio n m a y b e re p ro d u c e d , s to re d in a

retrieval system , or tra n s m itte d m a n y fo rm o r b y a n y m eans, e le ctro n ic, m e c h a n ic a l,
p h o to c o p y in g , re co rd in g or otherw ise, w ith o u t either the po o r w ritte n p e rm is s io n o f
the pub lish e r o r a lic e n ce p e rm ittin g re stricte d c o p y in g in th e U n ite d K in g d o m issu e d
b y the C o p yrig h t Licensing A g e n c y Ltd. S affron H ouse. 6 -1 0 K irb y S treet. L o n d o n
EC1N 8TS This b o o k m ay not b e lent, resold, h ire d o u t o r o therw ise d is p o s e d o f b y
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w ithout the p rio r c o n se n t o f th e P ublishers.

All tradem arks use d herein are the p ro p e rty o f their re sp e ctive o w n e rs The u s e o f
any tra d e m a rk in th is text d o e s not vest in the a u th o r or p u b lish e r a n y tra d e m a rk
ow n e rsh ip rig h ts m su ch tra d e m a rks, nor d o e s th e u se o f su ch tra d e m a rk s im p ly
any affiliation w ith or e n d o rse m e n t o f th is b o o k b y s u ch ow ners.

M ind M a p ® is a re g iste red tra d e m a rk o f th e B uzan O rg a n isa tio n L im ite d 1990

R adiant T h in k in g ^ is a re g iste red tra d e m a rk o f the B uzan O rg a n isa tio n L im ite d 1994
Buzan ™ is a tra d e m a rk of th e B uzan O rg a n isa tio n L im ite d 2006 For m o re
info rm a tio n co n ta c t: BU ZA N CEN TR ES W O R LD W ID E PLC.
w w w B uza n ce n tre sw o rld w id e .co m .

10 9 8 7
15

Text d e s ig n b y D esign D eluxe

Typeset in 9 5 Swis721 Lt BT b y 30
P rinted a nd b o u n d in G reat B ritain b y A sh fo rd C o lo u r P ress Ltd.. G o s p o rt H a n ts

The p u b lis h e r's p o lic y is to u se p a p e r m a n u fa ctu re d fro m s u sta in a b le fo re s ts

To my dear, dear mum, who so lovingly
and so caringly introduced me to the
beauty and power ot the word; the
beauty and power of the mind.
Contents
Foreword Anne Jones, World Speed Reading Champion viii
Acknowledgements x
Introduction 1

Part 1 Discover and develop your

speed reading skills 15
1 Reading: a new revolutionary definition 17
2 Controlling your eye movements 35
3 Gelling the speed reading conditions right 57
4 Guiding the eyes 63
5 Expanding your visual power 77

Part 2 Focus on core speed reading

techniques 89
6 Super skimming and scanning 91
7 Power up your paragraphs 99
8 Nine ways to guided speed reading 103
9 Accelerating your reading rhythm 123

Part 3 Overcome your reading

hurdles 135
10 Troubleshooting common reading problems 137
11 Improving your concentration and comprehension 145
Part 4 Mastermind your speed
reading sk ills 153
12 The art of previewing 155
13 Mastermind your vocabulary 159
14 Speed and range reading for literature and poetry 181
15 Assimilating printed and online information 195

Conclusion: speeding into the future 213

Appendix 1: Self-test answers 215
Appendix 2 Vocabulary exercise answers 220
Appendix 3: Progress graph and progress chart 223
Appendix 4: Tony Buzan's Festival of the Mind online resources 225

Contents
Foreword

I re a d The S p e e d R e a d in g B o o k fo r th e firs t tim e in 1 9 9 6 . If a n y o n e

h a d to ld m e th e n th a t, y e a rs later. I w o u ld b e w ritin g th e fo re w o rd
fo r a n e w e d itio n o f it, I w o u ld n o t h a v e b e lie v e d it
R e a d in g th e firs t p a g e fo r th e firs t tim e , I k n e w v e ry little a b o u t
s p e e d re a d in g a n d I w a s d o u b tfu l a b o u t w h e th e r I c o u ld d o it. I
n e e d n o t h a v e w o rr ie d . J u s t o v e r a y e a r la te r. I h a d w o n m y firs t
w o rld c h a m p io n s h ip a n d I w a s s p e e d re a d in g b o o k s w ith e a s e , a t
o v e r 1 0 0 0 w o rd s p e r m in u te B a c k in 1 9 9 6 . I c o u ld n e ve r, e v e n in
m y w ild e s t d re a m s , h a v e im a g in e d w h a t w o u ld h a p p e n in 2 0 0 7 w ith
H a rry P o tte r a n d th e D e a th ly H a llo w s I w a s a s k e d to s p e e d re a d
th is e x tra o rd in a ry b o o k w h e n it w a s re le a s e d a n d w a s in te rv ie w e d
a b o u t it b y p r e s s a n d te le v is io n The s p e e d - 4251 w o rd s p e r
m in u te - w a s m y fa s te s t y e t
A s y o u e m b a rk o n y o u r s p e e d re a d in g a d v e n tu re , a rm y o u rs e lf
w ith tw o th in g s a d e e p c u r io s ity a b o u t w h a t y o u r b r a in c a n
a c h ie v e w h e n y o u p u s h it b e y o n d w h a t y o u th in k is p o s s ib le ; a n d a
b o o k th a t y o u really, re a lly w a n t to re a d . P ra c tis e w ith y o u r c h o s e n
b o o k , a s w e ll a s w ith th is o n e H o w y o u le a rn a n e w s k ill is im p o r­
ta n t. M a k e a lin k to fu n a n d e n jo y m e n t rig h t fro m th e s ta rt I d id I
u s e d to fin d a b o o k th a t I w a n te d to re a d a n d c h a lle n g e m y s e lf to
re a d it in a fa s t tim e . I w o u ld g u e s s h o w lo n g it w o u ld ta k e m e a n d
d is c o v e r w h e th e r I w a s rig h t. T h e b e n e fit o f le a rn in g th is w a y is th e
re la x e d c o n c e n tra tio n y o u w ill a c h ie v e w h e n e v e r y o u s p e e d r e a d
s u b s e q u e n tly .
F in d o u t w h a t h a p p e n s w h e n y o u re a d v e ry fa s t. A s a S ta r Trek
fa n . I th in k it is th e n e a r e s t w e c a n g e t to a m in d m e ld ' w ith th e
a u th o r (u n le s s , o f c o u rs e , w e h a v e p o in te d e a rs a n d c o m e fro m th e
p la n e t V u lc a n ). A ll o u r a tte n tio n is in th e re a d in g p r o c e s s a n d w e
a re c o m p le te ly in th e m o m e n t a n d to ta lly a b s o rb e d b y it It is v e ry
Z e n -lik e I fin d th a t I re m e m b e r in fo rm a tio n th a t I h a v e re a d a t fa s t
s p e e d s b e tte r th a n s tu ff I h a v e re a d s lo w ly M y m in d d o e s n o t h a v e
tim e to w a n d e r o ff
 T h is b o o k w ill g iv e y o u a ll th e in fo rm a tio n y o u n e e d to b e c o m e a
g o o d s p e e d re a d e r. If y o u w o u ld lik e to b e c o m e a g re a t o n e . re a d
T o n y B u z a n 's b o o k s o n M in d M a p s a n d m e m o ry (w h ic h fo rm p a rt
o f th is re v is e d a n d u p d a te d M in d S e t s e rie s ) a s w e ll L e a rn h o w to
M in d M a p b o o k s a n d a rtic le s - it tra in s th e b ra in to id e n tify k e y c o n ­
c e p ts q u ic k ly a n d h e lp s to d e v e lo p m e m o ry s k ills . B e in g a b le to
c re a te m e n ta l im a g e ry a s y o u re a d is th e k e y to im p ro v in g re ca ll.
The S p e e d R e a d in g B o o k is th e c la s s ic b o o k o n s p e e d re a d in g
Turn th e p a g e s a n d y o u w ill a c c e le ra te y o u r re a d in g s p e e d , w h ile
im p r o v in g c o m p r e h e n s io n a n d m e m o ry . T h is c o m b in a tio n d e liv e rs
a c o m p e titiv e e d g e fo r b u s in e s s a n d a p r o fo u n d s y n th e s is fo r a c a ­
d e m ic s tu d y . It is w h e re l s ta rte d - p a g e 1. to b e p re c is e

A nne Jones
S ix -tim e s w in n e r o f th e W o rld S p e e d R e a d in g C h a m p io n s h ip
M in d S p o rts O ly m p ia d re c o rd -h o ld e r
w w w .s p e e d y re a d e r .c o .u k

Forward
Acknowledgements
My heart- and m ind-felt thanks to the follow ing w h o m ade this book
p o ssible: A nne Jo n e s for her kin d fo re w o rd a n d in s p irin g s p e e d
read of over 4000 w ords a m inute w ith com prehension and enjoy­
m ent of Harry Potter! The entire Folley fam ily for p roviding m e w ith
the glorious surroundings in w hich to co m p le te the original m a n u ­
s crip t; C aro a nd Peter A yre fo r p ro v id in g th e s a n ctu a ry o f
Greenham Hall w here m uch o f th e early research w as co m p le te d ;
Robyn Pontynen of Lizard Island, Australia, w h o sim ilarly provided
m e with care and sustenance during the gestation period; and The
Brain Trust and all m em be rs o f th e Brain C lu b s fo r th e ir c o m m it­
m ent to the global goal of Mental Literacy and, in particular, to the
concept of speed reading.
B ringing The S peed R eading B ook into the tw enty-first century,
the century o f the B rain', has be e n a g lo b a l te a m e ffo rt, a n d I
w ould like to extend m y heartfelt appreciation to the entire netw ork
of Buzan Centres International now well and truly established - and
grow ing Thank you to all the Buzan M aster Trainers and Licensed
Instructo rs from Buzan W orld in c lu d in g M asanori K anda. M ikiko
C hickada Kawase. Ken Ito and Shiro Kobayashi in Japan; Henry Toi
and Eric C heung; Thum C heng C heong and the Buzan A sia team
in S ingapore Jorge O. C astaneda, President. Buzan Latin A m erica,
Bill Jarrard and J ennifer G o d d a rd at B uzan C entre A u stra lia /N Z ;
and H ilde Jaspaert at Buzan Europe.
Thank you a ls o to Brian Lee for b e in g a frie n d a n d sta lw a rt in
helping m e to bring the M ind Set series to th e p u b lic; a n d to Phil
C ham bers, W orld M ind M a p p in g C h a m p io n a n d S en io r Buzan
Licensed Instructor, for his superb M ind M ap creations and fo r his
tireless backroom input.
My thanks also to m y hom e team ' at Buzan HQ. including Anne
Reynolds. Suzi Rockett and Jenny Redm an for their superb lo g isti­
cal support and effort.
 A t P earson, th e p u b lis h e rs , I w o u ld like to th a n k R ich a rd S ta g g ,
D ire c to r, w h o w a s a p rim e fig u re in th e la u n c h in g o f th is p ro je c t;
a n d to a d d m y p ro fo u n d th a n k s to S a m a n th a J a c k s o n , m y c h e r­
is h e d c o m m is s io n in g editor, fo r h e r to ta l c o m m itm e n t to The S p e e d
R e a d in g B o o k th ro u g h o u t its lo n g g e s ta tio n ; a ls o to h e r te a m in
H a rlo w . C a ro lin e J o rd a n . C o le tte H o ld e n a n d M e la n ie C a rte r M y
th a n k s w o u ld n o t b e c o m p le te w ith o u t a c k n o w le d g e m e n t to J a m e s
H a rris o n , m y in d e p e n d e n t c o n s u lta n t e d ito r, fo r h e lp in g to s h a p e ,
s tru c tu re a n d n ail e v e ry th in g together.
F inally, m y a c k n o w le d g e m e n ts to all th o s e s p e e d re a d e rs a n d
e d u c a to rs w h o e n th u s ia s tic a lly p ro v id e d s p e e d re a d in g sto rie s an d
te s ts, b o th fo r th e firs t e d itio n a n d th is re vis e d a n d u p d a te d e d itio n
a n d w h o fo r re a s o n s o f s p a c e I h a v e e ith e r o m itte d to th a n k o r
b e e n u n a b le to in c lu d e .
L a s tly , d e a r re a d e r, a s p e c ia l th a n k s to y o u fo r jo in in g th e
g ro w in g g lo b a l c o m m u n ity o f s p e e d re a d e rs . P LE A S E d o c o n ­
ta c t m e w ith y o u r s p e e d r e a d in g -r e la te d s to r ie s a n d id e a s fo r
p o s s ib le in c lu s io n in th e n e x t e d itio n o f The S p e e d R e a d in g B o o k
a t to n y .b u z a n @ b u z a n w o r ld .c o m .

Acknowledgements
 Introduction
R e a d in g is to th e m in d a s a e ro b ic tra in in g is to th e body.

T h e re h a s n e v e r b e e n a b e tte r tim e to le a rn a n d a p p ly th e re sc u e
re m e d y of s p e e d re a d in g The te c h n iq u e will a id yo u to s u p e rc h a rg e
y o u r m in d ’s eye a n d d ra stica lly re d u ce th e tim e taken to read a ty p i­
c a l 2 5 0 -p a g e b o o k - fro m nearly te n a n d a half h o u rs to 6 0 m inutes!
F o llo w th e s p e e d re a d in g c o u rs e a n d y o u w ill b e a b le to s ca n . sift,
s o rt a n d retain the terabytes o f in fo rm a tio n tra ve llin g a lo n g the W orld
W id e W e b ’s superhighw ay, n o t to m e n tio n m a n a g e th e m o u n ta in o u s
h e a p s o f h a rd fa c ts from all k in d s o f p rin te d m e d ia . A lo n g w ith M ind
M a p s a n d o th e r m e m o ry -b o o s tin g te c h n iq u e s , m a s te rin g s p e e d
re a d in g w ill g re a tly e n h a n ce yo u r s tu d y a n d w o rk skills.

How were you taught to read?

C an you re m e m b e r b y w hich m e th o d you w ere ta u g h t to read? W as it
th e p h o n ic m ethod, o r the lo o k -s a y m ethod, o r a co m b in a tio n o f b o th 9

T he p h o n ic m eth o d
The p h o n ic m e th o d first in tro d u c e s th e c h ild to th e o rd in a ry a lp h a ­
b e t fro m A to Z . a n d th e n in tro d u c e s th e s o u n d o f e a c h le tte r so
th a t 'a ’ b e c o m e s a h ’ , ‘b ’ b e c o m e s b u h ', a n d s o o n . T h e c h ild is
th e n in tro d u c e d to th e le tte rs a n d s o u n d s in th e c o n te x t o f w o rd s .
T h u s, ‘th e c a t’ w ill firs t b e re a d tu h -h e h -e h k u h -a h -tu h ' (n o t see-
a y e -te e ', e tc .), u n til th e te a c h e r h a s m o u ld e d th e w o rd in to its
p ro p e r fo rm . W h e n th e c h ild h a s le a rn t to m a k e th e c o rre c t s o u n d s
(vo c a lis e s p ro p e rly ), he o r sh e is to ld to re a d silently. This la st s ta g e
o fte n ta k e s a lo n g tim e, a n d m a n y c h ild re n a n d even a d u lts ne ve r
g e t p a s t the s ta g e o f m o v in g th e ir lip s w h ile re a d in g T h o se w h o d o
g e t p a s t th is s ta g e m a y n e v e rth e le s s s till b e v o c a lis in g to th e m ­
s e lve s . T ha t is to say. a s th e y re a d , th e y are c o n s c io u s ly a w a re o f
th e s o u n d o f e a c h w o rd T h is is c a lle d s u b -v o ca lisa tio n .
T h e lo o k -s a y m e t h o d
The lo o k -s a y m e th o d o f te a c h in g c h ild re n to re a d a ls o re lie s o n a
w o rd or ve rb a l re sp o n s e . The c h ild is s h o w n a p ic tu re (for e x a m p le ,
a c o w ) w ith th e w o rd th a t re p re s e n ts th e o b je c t p rin te d c le a rly
b e n e a th it, th u s : 'c o w '. The te a c h e r th e n a s ks th e c h ild fo r th e c o r­
re c t re s p o n s e . If th e in c o rre c t a n s w e r is g iv e n (fo r e x a m p le ,
e le p h a n t ), th e te a c h e r g u id e s th e c h ild to th e c o rre c t re s p o n s e
a n d then m o v e s o n to th e next w o rd . W h e n th e c h ild h a s re a c h e d a
re a s o n a b le level o f p ro fic ie n c y, h e o r sh e w ill b e in a p o s itio n s im ila r
to th e c h ild w h o h a s b e e n ta u g h t b y th e p h o n ic m e th o d a b le to
read, still v o c a lis in g a n d to ld to re a d sile n tly

What is real literacy?

O n c e th e c h ild is a b le to re c o g n is e w o rd s a n d to re a d silently, it is
g e n e ra lly a s s u m e d th a t h e o r s h e h a s le a rn t to re a d a n d is th e re ­
fore literate. F rom th e a g e o f five to se ve n ye a rs o n w a rd s , v e ry little
fu rth e r in s tru c tio n is g iv e n , a s it is b e lie v e d th a t, o n c e th e s k ill o f
re a d in g ha s b e e n learnt, th e c h ild n e e d s o n ly to a p p ly it.
N o th in g c o u ld b e furth e r fro m th e tru th : fo r w h a t h a s in fa c t b e e n
ta u g h t is th e v e ry firs t s ta g e o f re a d in g . L e a v in g th e c h ild in th is
state, in w h ic h he o r sh e re m a in s u n til a d u lth o o d , is ve ry m u c h like
a s s u m in g th a t, o n c e a b a b y h a s le a rn t to c ra w l, th e p ro c e s s o f
lo c o m o tio n is c o m p le te . Yet th e w o rld s o f w a lk in g , ru n n in g , d a n c in g
a n d re la te d a c tiv itie s h a v e a ll b e e n le ft u n e x p lo re d . T h e s a m e
a p p lie s to re a d in g . W e h a ve b e e n left s tra n d e d o n th e flo o r; n o w it
is tim e to learn to w alk, run a n d d a n c e !

Tony’s speed reading journey

W hen I w as 14, m y class w a s given a battery of tests to m e a su re our
m e ntal skills. A m o n g th e m w a s a s p e e d re a d in g te st. A fe w w e e k s
later w e w ere given our results, a n d I fo u n d that I h ad s co re d an aver­
a g e o f 213 w o rd s p e r m in u te (w p m ). M y firs t re a c tio n w a s e la tio n ,
be ca u se 213 s o u n d e d like a lot. However, m y jo y d id no t last long, for
o u r te a c h e r s o o n e xp la in e d th a t th e fa s te st s tu d e n t in th e c la s s ha d
scored 314 w p m - just ove r 100 w p m faster th a n m y score.

The Speed Reading Book

 This d e m o ra lis in g p ie c e o f new s w a s to c h a n g e m y life: as so o n
a s the c la s s e n d e d , I ru sh e d u p to th e te a c h e r a n d a s ke d h im h o w I
c o u ld im p ro v e m y s p e e d . H e a n s w e re d th a t th e re w a s n o w a y o f
d o in g so, a n d th a t yo u r re a d in g s p e e d , like yo u r IQ. yo u r a d u lt h e ig h t
a n d th e c o lo u r o f y o u r e yes, w a s fu n d a m e n ta lly u n c h a ng e a b le .
This d id n o t q u ite rin g tru e to m e . W hy9 I h a d ju s t s ta rte d a v ig o r­
o u s p h y s ic a l tra in in g p ro g ra m m e a n d h a d n o tic e d , w ith in a fe w
w e e k s , d ra m a tic c h a n g e s in n e a rly e v e ry m u s c le o f m y b o d y . If
k n o w in g th e rig h t e x e rc is e s h a d e n a b le d m e to b rin g a b o u t s u c h
p h y s ic a l tra n s fo rm a tio n , w h y s h o u ld n 't th e a p p ro p ria te v is u a l a n d
m e n ta l e x e rc is e s a llo w m e to c h a n g e m y re a d in g s p e e d , c o m p re ­
h e n s io n a n d m e m o ry o f w h a t I h a d read?
These q uestions launched m e on a search that soon ha d m e cra ck­
ing the 400 w p m barrier and eventually reading c o m fo rtab ly at speeds
o f over 1000 w p m Through these investigations, I realised that, on all
levels, reading is to the m in d as aerobic training is to the body.

Where did it all begin? The development

of speed reading
S p e e d re a d in g o rig in a te d a t th e b e g in n in g o f th e tw e n tie th century,
w h e n th e p u b lic a tio n e x p lo s io n s w a m p e d re a d e rs w ith m o re th a n
th e y c o u ld p o s s ib ly h a n d le a t n o rm a l re a d in g ra te s . M o s t e a rly
c o u rs e s , how ever, w e re b a s e d o n in fo rm a tio n fro m a ra th e r u n e x­
p e c te d s o u rc e - th e R oyal A ir F orce
D u rin g th e F irs t W o rld W ar, a ir fo rc e ta c tic ia n s h a d fo u n d th a t,
w h e n fly in g , a n u m b e r o f p ilo ts w e re u n a b le to d is tin g u is h p la n e s
se e n a t a d is ta n c e . In th e life -a n d -d e a th s itu a tio n o f a ir c o m b a t, this
w a s o b v io u s ly a s e rio u s d is a d v a n ta g e , a n d th e ta c tic ia n s set a b o u t
fin d in g a re m e d y . T h e y d e v e lo p e d a m a c h in e c a lle d a ta c h is to -
s c o p e , w h ic h fla sh e s im a g e s fo r v a ry in g s h o rt s p a c e s o f tim e o n a
la rg e s cre e n . They s ta rte d b y fla s h in g fa irly la rg e p ic tu re s o f frie n d ly
a n d e n e m y a ircra ft at v e ry s lo w e x p o su re s a n d th e n g ra d u a lly s h o rt­
e n e d th e e x p o s u re , w h ile d e c re a s in g th e s iz e a n d c h a n g in g th e
a n g le o f th e im a g e s e e n . To th e ir s u rp ris e , th e y fo u n d th a t, w ith
tra in in g , th e a v e ra g e p e rs o n w a s a b le to d is tin g u is h a lm o s t s p e c k ­
like re p re s e n ta tio n s o f d iffe re n t p la n e s w h e n th e im a g e s h a d be e n
fla s h e d o n th e s c re e n fo r o n ly a five -h u n d re d th o f a s e c o n d

Introduction
 Reasoning that, if the eyes could see at this incredible speed,
then reading speeds could be dramatically improved, they decided
to transfer this information to reading. Using exactly the sam e
device, they first flashed one word in large type for as long as five
seconds on a screen, gradually reducing the size of the word and
shortening the length of each flash Eventually they were flashing
four words simultaneously on a screen for a five-hundredth of a
second, and the subjects were still able to read them.
As a consequence of these findings, most speed reading
courses have been based on this flash-card or tachistoscopic train­
ing (also known as still-screen training).

Hading spied (wpm)

(a) tachistoscopic graph; (b) measuring the relative

elfectiveness ol tachistoscopic training against natural reading speeds.

The Speed Reading Book

T h e ta c h is to s c o p ic tra in e rs u s u a lly m e a s u re d th e s tu d e n t's
p ro g re s s w ith a g ra p h g ra d e d in u n its o f te n fro m 100 to 4 0 0 w o rd s
per m in u te (F igure 1.1). W ith re g u la r tra in in g , m o s t p e o p le w e re a b le
to c lim b fro m an a v e ra g e o f 2 0 0 w o rd s p e r m in u te to an a v e ra g e of
4 0 0 p e r m in u te , p re c is e ly th e d iffe re n c e b e tw e e n th e ju n io r s c h o o l
p u p il a n d th e p o s tg ra d u a te s tu d e n t.
H ow ever, th e s u c c e s s fu l ta c h is to s c o p ic s tu d e n ts re p o rte d a g e n ­
eral d issatisfaction w ith their results after a few w eeks o f ‘postg ra d u a te
re a d in g ’. M o s t re p o rte d th a t, s h o rtly a fte r their c o u rs e h a d fin ish e d ,
their rea d in g s peed o nce again sank to its previous level. Again, this is
very sim ilar to the reversion to th e norm o f th e sta n d a rd a d u lt reader.
O n a v e ra g e , w ith th is m e th o d , an in d iv id u a l’s s p e e d rise s fro m
2 0 0 w o rd s to 4 0 0 w p m . A t first th is s o u n d s w o n d e rfu l: a d o u b lin g of
re a d in g s p e e d . H o w e v e r, if y o u lo o k a t th e m a th e m a tic s , it
b e c o m e s c le a r th a t s o m e th in g is d ra s tic a lly a m is s . If th e e ye is a b le
to r e c o g n is e im a g e s (fo r e x a m p le , a p la n e o r a w o rd ) in a fiv e -
h u n d re d th o f a s e c o n d , th e n th e e x p e c te d re a d in g s p e e d in a
m in u te w o u ld b e 6 0 s e c o n d s x 5 0 0 w o rd s p e r s e c o n d = 3 0 .0 0 0 (or
a s h o rt b o o k ) in a m in u te ! W h e re h a v e th e o th e r 2 9 .6 0 0 w o rd s
g o n e ? O r to p u t it a n o th e r w ay, if th e n o rm a l ra n g e o f re a d in g a b ility
is fro m ro u g h ly 2 0 0 to 4 0 0 w p m a n d m o s t p e o p le o p e ra te a t th e
lo w e r e n d o f th is ra n g e , th e n a ty p ic a l 2 5 0 -p a g e b o o k , w ith a b o u t
5 0 0 w o rd s p e r p a g e , w o u ld ta k e n e a rly te n a n d a h a lf h o u rs to
re a d . T he in c re a s e d re a d in g a b ility o b s e rv e d d u rin g th e ta c h is to ­
s c o p ic c o u rs e s in fa c t h a d little to d o w ith th e tra in in g . It w a s d u e
m o re to th e s tu d e n ts b e in g h ig h ly m o tiv a te d o ve r a p e rio d o f w e e ks
a n d th u s b e in g a b le to re a ch th e to p o f th e ir n o rm a l range.
A lth o u g h n o t a c o m p re h e n s iv e a p p ro a c h to s p e e d re a d in g , th e
ta c h is to s c o p e te c h n iq u e b e c a m e useful a s o n e p a rt o f a b a sic tra in ­
in g kit, a n d th e a v e ra g e s p e e d fo r a g o o d s p e e d re a d e r b e g a n to
n u d g e th e next g re a t b a rrie r - 1000 w p m . F u e lle d b y s to rie s o f th e
s p e e d re a d in g e xp lo its of su ch p u b lic fig u re s as US P resident John
F. K e n n e d y a n d th e in te re s t s h o w n b y P re s id e n t J im m y C arter, the
d y n a m ic re a d in g s c h o o ls flo u ris h e d a n d s p a w n e d m a n y v a ria n ts
A m o n g th e s e w a s p h o to -re a d in g , w h ich s im p ly fo c u s e d on th e a b ility
o f th e e ye to ‘p h o to g ra p h ’ la rg e r are a s o f p rin t th a n norm al.

Introduction
Speed reading world record-holders
Speed reading tests are based prim arily on the reading o f novels.
The reader has to read an entire novel as fast as possible, su b se ­
quently giving a speech to people w ho have already read the novel
in depth. The spe e ch has to in clu d e k n o w le d g e a b le c o m m e n ts
about all the following main areas: characters, setting, plot, p h iloso­
phy, sym bolism , language level, literary style, m etaphor, them es,
and historical context A m ong the early ‘hall of fa m e ’ speed readers
were Michael J. G elb from the USA. with a speed of 1805 w p m , and
M ithym na C orke from the N etherlands, w h o b roke the 2000 w pm
barrier w ith 2100. But C orke’s co m p a trio t Kjetill G unnarson broke
the 3000 w p m barrier w ith 3050, a n d Sean A da m fro m th e USA
cam e close to 4000 w pm w ith a ta n ta lisin g 3850. In 2007 the six
times w orld cham pion speed reader Anne Jones read Harry Potter
and the D eathly Hallows at Borders, C haring C ross Road, London
in a record-breaking 47 m inutes and 1 second - m aking an a sto n ­
ishing 4251 w pm She then reviewed the b ook for the Independent
and for Sky TV. (Anne has very g e n e ro u s ly c o n trib u te d her
C h a m p io n sh ip s p e e d reading e xperience to th is b o o k, in clu d in g
the contribution of her foreword.)
If you are interested in joining this speed reading elite, read this
book thoroughly, m ake sure you practise all the exercises, join the
Brain C lub w orldw ide, send m e your to p re a d in g s p e e d to date,
and m ake sure you enter the W orld Speed R eading C ham pionships
(for m ore inform ation, visit www.worldspeedreadingcouncil.com).

Your speed reading potential

Your own potential to im prove your reading speed to at least do u b le
your present rate, and eventually to reach 1000 w pm , is identical to
all th o se in the w o rld ’s c u rre n t to p ten. E ach o n e o f th e m w as a
reader w ho, like you and I, w as initially dissa tisfie d w ith his o r her
norm al re a d in g s p e e d and d e c id e d to p u t tim e a n d e ffo rt into
developing this m ost powerful of hum an skills. The S pe e d R eading
B ook gives you the perfect opportunity to follow in their eye-steps It
is the result of over 50 years o f practice and research in the field.

The Speed Reading Book

 G oing back to m y teenage years, by learning about the m iracle
of m y eyes and the extraordinary capacity of m y brain. I increased
m y speed, com prehension and m em ory; I also found myself able to
th in k fa s te r and m ore creatively, to m ake b e tte r notes, to pass
exam s w ith relative ease, to study m ore successfully, and to save
days, w eeks and even m onths of m y time.
In The Speed Reading Book you will be introduced to exercises that
allow you to develop precisely those skills inherent in both your eyes
and your brain, enabling you to com bine the two into a single tool that
will m ake you an intellectual powerhouse. Its pages contain the essen­
tial secrets I learnt during my speed reading journey. I hope you find
your journey exciting, and benefit as much from these mental literacy
techniques as I have done. If you follow up my speed reading pro­
gram m e w ith regular practice then 1000-2000 w pm with good
com prehension is certainly attainable. This would mean that you could
read this 250-page book in an hour! Now read on to find out how

Getting the most from The Speed Reading

Book
This book has six main purposes

1 To im prove your reading speed dram atically

2 To im prove and m aintain your com prehension

3 To increase your understanding of the function o f your eyes and

your brain, in order to help you use them far m ore effectively
w hile reading and studying, and also to use them m ore
effectively in your everyday personal and professional life

To help you im prove your vocabulary and general knowledge

5 To save you time

6 To give you confidence.

How to use this book

This bo o k w orks like a course manual, starting w ith a self-assess­
m ent o f your current reading speed and com prehension levels and

Introduction
then moving progressively, with a series of self-tests and exercises,
through a range of guided reading and m asterm inding vocabulary
techniques to strengthen your eye/brain system and to accelerate
your reading speed. Com m on reading problem s, from distractions to
dyslexia, are highlighted and tackled; and specific areas of reading
and research, in cluding new spapers a n d m agazines, a n d h o w to
deal w ith the inform ation explosion em anating fro m co m p u te r
screens, are also flagged up You will also be show n how to apply
speed reading techniques to literature and poetry At the back of the
b ook you w ill find the self-test answers, your p ro g re ss ch a rt and
graph, an index, and inform ation on the W orld S peed R eading
Council, the Speed Reading Cham pionship and Brain Club websites.

The self-tests
Seven of the c h a p te rs in The S p e e d R e a d in g B ook c o n ta in a
graded series of articles and selected readings that will give you a
continuing indication o f your progress. The self-tests at the b e g in ­
n ing o f the bo o k are d e s ig n e d to in cre a se yo u r re a d in g spe e d ,
th o se in the m id d le w ill d e v e lo p yo u r p o w e rs o f p e rc e p tio n and
vocabulary, and those at the end will enable you to achieve your full
speed reading potential. Som e of these readings deal w ith the his­
tory and theory of the m ajor areas of hum an knowledge; others are
articles on research into learning and the brain. By th e tim e you
finish the b ook you w ill th e re fo re have in c re a s e d yo u r re a d in g
speed, im proved your com prehension, and heightened your critical
and appreciative abilities; you will also have gained a w ider know l­
edge of yourself and the universe around you. These self-tests are:
The intelligence war - at the front with brain training (see page 22)

C hallenge your m em ory (see page 49)

Animal intelligence (see page 68)

Are we alone in the universe? Extra-terrestrial intelligences

(see page 115)

Baby brain (see page 127)

Your brain the enchanted loom (see pa g e 189)

Em brace creativity and w atch your profits g ro w ' (see page 206)

The Speed Reading Book

The e x e rc is es

Y ou w ill a ls o h a v e w o rk o u ts w ith s p e c ia l e x e rc is e s d e s ig n e d to
e n h a n c e y o u r v isu a l p e rc e p tio n , m e n ta l a w a re n e ss, c ritic a l fa c u ltie s
a n d th e p o w e r o f y o u r v o c a b u la ry . Like m u s c le -b u ild in g e xe rcise s,
m a n y o f th e s e e x e rc is e s w ill b e n e fit y o u e v e n m o re if y o u re p e a t
th e m several tim e s. T he first w a rm -u p sta rts below .

How to s p e e d r e a d The Speed R eading Book

The S p e e d R e a d in g B o o k is a o n e -w e e k , tw o -w e e k , th re e -w e e k o r
fo u r-w e e k c o u rs e , d e p e n d in g o n h o w s p e e d ily y o u w ish to a c c o m ­
p lis h y o u r g o a ls . R e a d th e next fe w p a ra g ra p h s , a n d th e n d ra w u p
y o u r s tu d y plans.

G o th ro u g h th e ta b le of c o n te n ts th o ro u g h ly , m a p p in g o u t th e
te rrito ry y o u w ish to co ve r

2 R o u g h ly pla n th e tim e p e rio d y o u w ill d e v o te to e a c h d iv is io n o f

th e b o o k , fin is h in g w ith a g e n e ra l o u tlin e in y o u r m in d ’s eye o f
b o th the c o n te n t a n d y o u r p ro g ra m m e o f study. This s h o u ld take
o n ly a fe w m in u te s

3 Q u ic k ly b ro w s e th ro u g h th e e n tire b o o k , fa m ilia ris e yo u rs e lf w ith

th e d iffe re n t d iv is io n s, a n d sta rt fillin g in y o u r m e n ta l p ic tu re o f
th e ‘c o n tin e n t' o f th e b o o k a n d y o u r g o a ls.

4 D e c id e w h e th e r y o u w is h to c o m p le te a c h a p te r a day, o r tw o o r
th re e c h a p te rs a day, o r w h e th e r y o u w is h to va ry y o u r p a ce.

5 O n c e y o u have m a d e th e s e d e c isio n s , re co rd y o u r s tu d y plan in

y o u r diary, m a rk in g the d a te o n w h ic h yo u w ill b e g in a n d th e da te
o n w h ic h y o u w ill fin ish th e b o o k W hen you are ca lcu la tin g this,
b e a r in m in d th a t e a c h c h a p te r is o n a v e ra g e o n ly ten p a g e s lo n g
a n d that m o s t o f the e xercise s w ill b e e a s y fo r y o u to a c co m p lish .

Introduction
Warm-up Q&A
Exploring your s p e e d s
You are about to em b ark on one of the m ost exciting journeys of
your life - to stimulate your thinking about reading an d sp eed read­
ing. follow the quiz on reading habits and skills. Answ er yes or no
for each of the 20 questions, then check your results on p a g e 11.

S peeds of over 1000 w ords per minute are possible. Yes/No

2 For better com prehension, you should read slowly and

carefully. Yes/No

3 W ord-for-word reading helps com prehension. Yes/No

Sub-vocalisation is a reading habit that slows you dow n

and should b e reduced or elim inated. Yes/No

You should endeavour to understand 100 per cent of

w hat you read. Yes/No

You should attem pt to rem em ber 100 per cent of what

you read. Yes/No

Your eye should sw eep in a continuous flowing

m ovem ent along the line as it reads Yes/No

W hen you miss something while reading, you should

skip back to m ake sure you understand it before
you m ove on. Yes/No

Reading with your finger on the page slows you dow n

and should be elim inated with training. Yes/No

10 W hen you encounter problem s of com prehension and

understanding in the text, you should work them out
before moving on to the following text in order to
guarantee your ongoing com prehension. Yes/No

11 A good or im portant book should be read p a g e by

page, never reading p a g e 2 0 until you have read
page 19. an d certainly not reading the en d before you
have co m pleted the beginning Yes/No

The Speed Reading Book

 Skipping words is a lazy habit and should be eliminated. Yes/No

13 W hen you co m e to im portant items in a text, you

should note them in order to improve your memory. Yes/No

14 Your level of motivation does not affect the fundamental

w ays in which your eyes com m unicate with your brain
and does not affect your reading speed. Yes/No

15 Your notes should always be in a neat, ordered and

structured form - mainly sentences an d organised
lists of the information you have read. Yes/No

16 W hen you co m e to a word that you do not understand,

you should have a dictionary close at hand so that
you ca n look it up im mediately. Yes/No

1 7 O ne of the dangers of reading faster is that your

com prehension is reduced. Yes/No

18 W e all read, by definition, at a natural reading speed Yes/No

19 For novels and poetry, slower reading speeds are

im portant in order to appreciate the m eaning of the
information an d the rhythm of the language. Yes/No

20 You will only truly be able to understand w hat your

eyes focus clearly on. Yes/No

A nsw ers to s p e e d r e a d in g warm-up

If you have answered only one of these questions with a ‘yes', then you
are nearly ready to becom e one of our speed reading teachers And
that one question w as the first - speeds of 1000 w pm are possible.
All the other q uestion s should h a ve b e e n an sw ered w ith a
res o u n d in g ‘n o ’. T h e s e rem ain in g 19 q uestion s co vere d the full
range of current m isconceptions about reading.
If you believe these false assumptions, then not only are you believ­
ing in som ething that is not true but also you are believing in
som ething that will actively m ake your reading habits progressively
worse, your reading speed progressively slower, and your comprehen­
sion and understanding progressively more difficult and unsatisfactory

Introduction
 A s y o u p ro g re s s th ro u g h The S p e e d R e a d in g B o o k , th e s e fa lse
a s s u m p tio n s w ill b e k n o c k e d d o w n o n e b y o n e , fin a lly le a v in g y o u
w ith a c le a r p a th on w h ic h y o u c a n m o v e to w a rd s th e a c c o m p lis h ­
m e n t o f y o u r o w n s p e e d re a d in g g o a ls.
T he firs t c h a p te r o f th is b o o k w ill h e lp y o u c h e c k y o u r c u rre n t
no rm a l s p e e d re a d in g a n d c o m p re h e n s io n levels. It is n o t a s p e e d
re a d in g ‘te s t’; it fo rm s th e fo u n d a tio n fro m w h ic h y o u c a n im p ro v e
y o u r s p e e d re a d in g s kills in le a p s a n d b o u n d s .

KOI The Speed Reading Book

Definition is the companion
of clarity; clarity is the guide
to your goals.
 Part 1
Discover and
develop your
speed reading
skills

This section explains the eye/brain process we call reading' and

breaks it down to pinpoint the ways we can improve on it - and literally
speed it up. The first of a series of self-tests helps you explore your
current reading speed and normal comprehension so you know
exactly where you are now The next chapters show you how to gain
control of those amazing eyes of yours so you can increase immedi­
ately your reading speed and improve your comprehension.
You will also learn techniques that will help you to guide your eyes
more effectively on the page, to develop advanced skimming and
scanning skills, and to arrange your environment in a way that actually
 helps your eyes and brain read faster To aid your speed reading
and comprehension, you will be given exercises and speed read­
ing tests that enable you to strengthen the muscle of your
eye,tain system and continue to accelerate your reading speed.

The Speed Reading Book

 Reading: a new
revolutionary
definition
Before you start learning the skills of speed reading, ask
yourself this simple question: what is reading? Write your
definition in the space below:

Now compare your answer with these common definitions:

• Reading is understanding what the author intended.

• Reading is taking in the written word.

• Reading is the assimilation of information.

Each of these standard definitions covers only a part of the

process. An accurate definition of reading must include the
full range of reading skills.
What is reading? A new definition
R e a d in g is a s e v e n -p a rt p ro c e s s c o m p ris in g th e fo llo w in g s te p s
(see F igure 1.1):
1 R e co g n itio n : you have to be a b le to re co g n ise the la n g u a g e , an d
w hatever lan g u a g e yo u team it's the sam e. It d o e s n 't m a tte r w here
you co m e from , w hat age. sex, ra ce o r e d u c a tio n a l level yo u are at
- the pro ce ss fo r the brain is to re co g n is e th e sym b ols, w h e th e r it's
the phonic o r look say system ; g e ttin g th e s ym b o ls into th e brain.

2 H o w d o the s y m b o ls g e t in? T h a t is a s s im ila tio n It is m o re

c o m p le x. It relates to y o u r p o s tu re , h e a lth , g e n e ra l p h y s ic a l
c o n d itio n , a n d p rim a rily y o u r e ye a n d h o w y o u r b ra in u s e s it. You
n e e d to k n o w h o w y o u r e ye fu n c tio n s a n d w h a t a c tu a lly g o e s o n
in o rd e r to w o rk it; a n d y e t n o b o d y is ta u g h t this.

3 N o w y o u have to c o m p h e re n d it: th is is c a lle d in tra -in te g ra tio n '

(m tra m e a n in g w ith in ') o r c o n n e c tin g b its o f in fo rm a tio n th e
in te rc o n n e c tio n o f th e in fo rm a tio n w ith in th e te xt to itself.

4 U n d e rsta n d in g is different from com prehension. O nce you have

com prehended, you then can integrate that inform ation w ith the
outside w orld - 'extra-integration', conn e ctin g the b o o k to the
outside universe. A very different p rocess from branch 3 (w hich is
getting the b ook totally co n n e cte d to itself in your head) This branch
is getting the b o o k com pletely related to other areas o f know ledge.

5 N ow you have learnt to sto re - to retain - th e in fo rm a tio n .

R e te n tio n is s to rin g in y o u r filin g ca b in e t, yo u r archive.

6 R ecall is fishing for th e info rm a tio n to h o o k it o u t - a n d y o u have to

kn o w how to d o that. This is generally o therw ise kn o w n as m e m o ry
D on’t co n fu se retention an d recall D o n ’t say. ‘I have a terrible
m e m o ry ’; it's not true. You have a w o n d e rfu l m e m o ry b u t yo u are
m is m a n a g in g it. You are co n fu s in g retention an d recall. For m o st
people, m em ory is recall, th e s e c o n d sta g e o f m em ory.

7 W hy recall? W hy rea d in th e first p la c e ? You w a n t to a p p ly

a n d c o m m u n ic a te th e k n o w le d g e y o u h a v e a c q u ire d in o rd e r
to c re a te fro m it. to le a rn fro m it, a n d to b u ild fo r life lo n g
fu tu re le arning

A ssim ilation is all a b o u t h o w w e g e t th a t in fo rm a tio n in to o u r h e a d s -

and that is w here all the facets o f s p e e d reading c o m e into play.

The Speed Reading Book

Figure 1.1 A seven-stage definition ot what reading is (using a standard book)
1 Recognition - your knowledge of the alphabetic symbols. This step lakes
place before physical reading begins.
2 Assimilation - the physical process by which light is reflected from the
word, received by your eye, and then transmuted, via your optic nerve, to
your brain.
3 Comprehension - 1 also call this equivalent ol basic comprehension
intra-integration, referring to the linking ol all parts of the information
being read with all other appropriate parts.
4 Understanding - the process by which you bring all ol your previous
knowledge to what you read, making appropriate connections, analysing,
criticising, appreciating, selecting and rejecting. I also call this
extra-integration.
5 Retention - the basic storage of information. Many readers will have
experienced entering an examination room, storing most of the required
information during the two-hour period and recalling it only as they
leave. Storage, then, is not enough and must be accompanied by recall.
6 Recall - the ability to gel back out of storage that which is needed,
preferably when it is needed.
7 Communication - the use to which the information is put immediately or
eventually. Communication includes written, keyed in, spoken and
representational (e.g. art, dance and other forms of creative expression)
communication.

Reading also includes that vitally important and often neglected human
function, thinking. Thinking is your ongoing intra- and extra-integration
In the light of this real definition, it can be seen that the top 30
common reading and learning problems outlined in the box below
can all be dealt with easily by the reader who has learned to re c o g ­
nise the word and to assim ilate, c om p reh end , understand, retain,
recall and com m unicate

Top 30 m ost co m m o n re a d in g p ro b lem s

age fatig u e re c all

am ount fe a r re g re s s io n
a n a ly sis im p a tie n c e re je c tio n

The Speed Reading Book

 a p p r e c ia t io n in t e r e s t r e t e n tio n

b a c k - s k ip p in g la z in e s s s e le c t io n

b o re d o m le g ib ilit y speed

c o m p r e h e n s io n lit e r a r y s ty le s t im u la t io n

c o n c e n t r a t io n n o t in g s u b - v o c a li s a t io n

c r it ic i s m m o t iv a t io n s u r r o u n d in g s

d is t r a c t io n o r g a n is a t io n t im e

... ■ ..............................■..................................... 11
R e a d in g is a m u lti-le v e l p ro c e s s . E very level m u s t b e d e v e lo p e d if
y o u are to b e c o m e an e ffe c tiv e s p e e d reader.
B e fo re y o u e m b a rk o n th e firs t s e lf-te s t b e lo w , ra n k th e s e ve n
s te p s in o rd e r, g iv in g th e ra n k in g 1 to th e s te p y o u fe e l it is m o s t
im p o rta n t fo r y o u to d e v e lo p :

R e c o g n is e

A ss im ila te

C o m p re h e n d

U n d e rs ta n d

R etain

R e c a ll

C o m m u n ic a te .

F ro m th e lis t o f re a d in g p ro b le m s , id e n tify th e o n e s y o u h a v e a n d
a re g o in g to e lim in a te .
N o w th a t y o u c o m p r e h e n d w h a t th e a c t o f re a d in g a c tu a lly
e n ta ils , y o u a re re a d y to try y o u r firs t te s t. In a n y le a rn in g o r s e lf-
im p ro v e m e n t s itu a tio n , it is e s s e n tia l to fin d th e tru e b a s e fro m
w h ic h y o u s ta rt. O n ly an a c c u ra te a s s e s s m e n t o f w h e re y o u a re
p o s itio n e d a t p re s e n t, w h a te v e r th a t p o s itio n is, w ill fo rm a s o lid
fo u n d a tio n fro m w h ic h y o u c a n s p rin g b o a rd to y o u r u ltim a te g o a l.

Reading: a new revolutionary definition

Self-testing: where are you now?
Check your normal reading speed and comprehension
This two-part test is exactly the opposite of all the other tests you
will attempt in The Speed Reading Book because this is not a speed
reading test, instead it is a test to calculate your current speed in order
to judge accurately the progress you make throughout the book.
Your comprehension level will also be tested at the end with 15
m ultiple-choice and true/false questions. W hen reading the p a s­
sage, d o n 't go for very high or very low levels of com prehension;
go for exactly the sam e kind of comprehension you would normally
expect to get when reading this type of material.
Don't worry about getting low scores in either speed or com pre­
hension. Rem ember that this book has been written for people who
want to improve their reading skills and that low initial scores are
not only common, they are expected.
So. no dashing along for higher-than-usual speeds, no plodding
for super comprehension scores, and no worrying about your result.
H ave your w atch by your side, and do your reading privately
(someone timing you or watching you inevitably interferes with your
com prehension and tends to m ake so m e people read m ore hur­
riedly or more slowly than usual).
W hen you have reached the end of the article, im m ediately
check your watch and calculate your speed. Full instructions will be
given on how to do this.
Prepare yourself, and start a normal reading of the following
passage now.

SELF-TEST 1

The Intelligence war - at the front with brain

training

New world trends

S to c k m a r k e t a n a ly s t s w a t c h , lik e h a w k s , t e n in d iv id u a ls in S ilic o n V a lle y .
W h e n th e re is e v e n a h in t th a t o n e m ig h t m o v e f r o m C o m p a n y A to C o m p a n y
B , th e w o r ld ’s s to c k m a rk e ts s h ift.

The Speed Reading Book

 T h e E n g lis h M a n p o w e r S e r v ic e s C o m m is s io n h a s p u b lis h e d a s u r v e y in

w h ic h it w a s n o te d th a t, o f th e t o p 1 0 p e r c e n t o f B ritis h c o m p a n ie s . 8 0 p e r

c e n t in v e s te d c o n s id e r a b le m o n e y a n d t im e in tra in in g ; in t h e b o t t o m 1 0 p e r

c e n t o f c o m p a n ie s , n o m o n e y o r t im e w a s in v e s te d .

In M in n e s o t a , t h e P la to C o m p u t e r E d u c a tio n P r o je c t h a s a lre a d y r a is e d th e

t h in k in g a n d a c a d e m ic p e r f o r m a n c e le v e ls o f 2 0 0 . 0 0 0 p u p ils .

In th e a r m e d fo r c e s o f a n in c r e a s in g n u m b e r o f c o u n tr ie s , m e n ta l m a r t ia l

a r t s a r e b e c o m in g a s im p o r t a n t a s p h y s ic a l c o m b a t s k ills .

N a tio n a l O ly m p ic s q u a d s a re d e v o tin g a s m u c h a s 8 0 p e r c e n t o f th e ir tra in in g

tim e to th e d e v e lo p m e n t o f p o s itiv e m in d s e t. m e n ta l s ta m in a a n d v is u a lis a tio n .

In th e F o r tu n e 5 0 0 (th e 5 0 0 t o p -e a r n in g U S c o m p a n ie s ) , th e to p fiv e c o m ­

p u t e r c o m p a n i e s a lo n e h a v e s p e n t o v e r a b illio n d o lla r s o n e d u c a t in g th e ir

e m p lo y e e s , a n d th e d e v e lo p m e n t o f in te lle c tu a l c a p ita l h a s b e c o m e th e m a in

p rio rity , in c lu d in g th e d e v e lo p m e n t o f t h e w o r ld ’s m o s t p o w e r f u l c u r r e n c y -

t h e c u r r e n c y o f in te llig e n c e .

In C a r a c a s , D r L u is A lb e r to M a c h a d o b e c a m e th e f irs t p e rs o n t o b e g iv e n

a g o v e r n m e n t p o r tfo lio a s M in is te r o f In t e llig e n c e , w it h a p o litic a l m a n d a t e to

in c r e a s e th e m e n ta l p o w e r o f th e n a tio n .

W e a re w it n e s s in g a q u a n tu m le a p in h u m a n e v o lu tio n - t h e a w a r e n e s s b y

in te llig e n c e o f its e lf, a n d th e c o n c o m ita n t a w a r e n e s s t h a t t h is in te llig e n c e c a n

b e n u r tu r e d t o a s to u n d in g a d v a n ta g e .

T h is e n c o u r a g in g n e w s m u s t b e c o n s id e r e d in th e c o n te x t o f th e m o s t s ig ­

n ific a n t p r o b le m a re a s a s d e fin e d b y th e b u s in e s s c o m m u n ity . O v e r th e p a s t 2 0

y e a r s o v e r 1 0 0 , 0 0 0 p e o p le fr o m e a c h o f th e fiv e m a jo r c o n tin e n ts h a v e b e e n

p o lle d . T h e to p 2 0 a re a s c o m m o n ly m e n tio n e d a s re q u irin g im p r o v e m e n t a re :

1 R e a d in g s p e e d

2 R e a d in g c o m p r e h e n s io n

3 G e n e ra l s tu d y s k ills

4 H a n d lin g th e in fo r m a tio n e x p lo s io n

5 M e m o ry

6 C o n c e n tr a tio n

7 O ra l c o m m u n ic a t io n s k ills

8 W r it t e n c o m m u n ic a t io n s k ills

9 C r e a tiv e th in k in g

10 P la n n in g

Reading: a new revolutionary delinition

 11 N o te -ta k in g

12 P r o b le m a n a ly s is

13 P r o b le m -s o lv in g

14 M o tiv a tio n

15 A n a ly tic a l th in k in g

16 P rio ritis in g

17 T im e m a n a g e m e n t

18 A s s im ila tio n o f in fo r m a t io n

19 G e ttin g s ta r te d (p r o c r a s tin a tio n )

20 M e n ta l a b ility d e c lin in g w it h a g e .

W ith th e a id o f m o d e r n re s e a r c h o n th e f u n c tio n in g o f th e b ra in , e a c h o f t h e s e

p r o b le m s c a n b e ta c k le d w ith re la tiv e e a s e . T h is r e s e a r c h c o v e r s :

• T h e fu n c tio n s o f th e le ft a n d rig h t c o r t e x

• M in d M a p s
• S u p e r -s p e e d a n d ra n g e re a d in g /in t e lle c t u a l c o m m a n d o u n its

• M n e m o n ic te c h n iq u e s
• M e m o r y lo s s a fte r le a rn in g

• T h e b ra in c e ll

• M e n ta l a b ilitie s a n d a g e in g .

The fu n ctio ns of th e left a n d right co rtex

It h a s n o w b e c o m e c o m m o n k n o w le d g e t h a t t h e le f t a n d rig h t c o r t ic a l s t r u c ­

tu r e s o f t h e b r a in t e n d t o d e a l w it h d if f e r e n t in t e lle c t u a l f u n c t i o n s . T h e le f t

c o r t e x p r im a r ily h a n d le s lo g ic , w o r d s , n u m b e r s , s e q u e n c e , a n a ly s is , lin e a r ity

a n d lis tin g , w h ile th e rig h t c o r t e x p ro c e s s e s rh y t h m , c o lo u r, im a g in a t io n , d a y ­

d r e a m in g , s p a tia l r e la tio n s h ip s a n d d im e n s io n .

W h a t h a s r e c e n tly b e e n re a lis e d is t h a t th e le f t c o r t e x is n o t t h e 'a c a d e m ic '

s id e a n d t h e r ig h t c o r t e x t h e ‘c r e a t i v e , in t u it iv e , e m o t io n a l ' s id e . W e n o w

k n o w f r o m v o lu m e s o f r e s e a r c h t h a t b o th s id e s n e e d t o b e u s e d in c o n ju n c ­

tio n w ith e a c h o th e r f o r th e r e t o b e b o th a c a d e m ic a n d c r e a t iv e s u c c e s s .

T h e E in s t e in s , N e w t o n s , C e z a n n e s a n d M o z a r t s o f t h is w o r l d , lik e t h e

g r e a t b u s in e s s g e n iu s e s , c o m b in e d t h e ir lin g u is t ic , n u m e r ic a l a n d a n a ly tic a l
s k ills w it h im a g in a t io n a n d v is u a lis a t io n in o r d e r t o p r o d u c e t h e ir c r e a t iv e
m a s te r p ie c e s .

The Speed Reading Book

Mind M aps
U s in g th is b a s ic k n o w le d g e o f o u r m e n t a l f u n c tio n in g , it is p o s s ib le to tra in
p e o p le in o r d e r t o s o lv e e a c h o f t h e s e p r o b le m a r e a s , o f t e n p ro d u c in g in c r e ­
m e n t a l im p r o v e m e n t s o f 5 0 0 p e r c e n t.

O n e o f t h e m o d e r n m e t h o d s o f a c h ie v in g s u c h im p r o v e m e n t s is M in d
M a p p in g .

In t r a d itio n a l n o t e -t a k in g , w h e t h e r it b e f o r r e m e m b e r in g in f o r m a t io n , f o r
p r e p a r in g w r it t e n o r o r a l c o m m u n ic a t io n , f o r o r g a n is in g y o u r t h o u g h t s , f o r

p r o b le m a n a ly s is , f o r p la n n in g o r f o r c r e a t iv e th in k in g , th e s ta n d a r d m o d e o f
p r e s e n ta tio n is lin e a r, u s in g s e n te n c e s , s h o r t lis ts o f p h ra s e s , o r n u m e r ic a lly

a n d a lp h a b e t ic a l ly o r d e r e d lis t s . T h e s e m e t h o d s , b e c a u s e o f t h e ir la c k o f

c o lo u r , v is u a l r h y t h m , im a g e a n d s p a tia l r e la t io n s h ip s , c a u te r is e th e b r a in 's
th in k in g c a p a c itie s a n d im p e d e e a c h o f th e a fo r e m e n tio n e d m e n ta l p ro c e s s e s .

M in d M a p p in g , b y c o n t r a s t , u s e s t h e f u ll r a n g e o f t h e b r a in ’s a b ilit ie s ,
p la c in g a n im a g e in th e c e n tr e o f th e p a g e in o r d e r to fa c ilita te m e m o r is a t io n

a n d th e c r e a tiv e g e n e r a tio n o f id e a s , a n d s u b s e q u e n t ly b r a n c h in g o u t in a s s o ­
c ia t iv e n e t w o r k s t h a t m i r r o r e x te r n a lly t h e b r a in 's in t e r n a l s tr u c tu r e s . U s in g
t h is a p p r o a c h , y o u c a n p r e p a r e s p e e c h e s in m in u t e s r a th e r th a n d a y s ; p r o b ­

le m s c a n b e s o lv e d b o th m o r e c o m p r e h e n s iv e ly a n d m o r e ra p id ly ; m e m o r y

c a n b e im p r o v e d f r o m a b s e n t to p e r fe c t ; a n d c r e a t iv e t h in k e rs c a n g e n e r a te a

lim itle s s n u m b e r o f id e a s ra th e r th a n a t r u n c a te d list.

S u p er-sp eed a n d ra n g e re ad in g
B y c o m b in in g M in d M a p s w ith n e w s u p e r-s p e e d a n d ra n g e re a d in g te c h n iq u e s

(w h ic h a llo w s p e e d s o f w e ll o v e r 1 0 0 0 w o rd s p e r m in u te ( w p m ) a lo n g w ith e x c e l­

le n t c o m p r e h e n s io n , a n d e v e n tu a l e ff e c tiv e r e a d in g s p e e d s o f a b o u t 1 0 , 0 0 0

w p m ) . o n e c a n fo r m 'in te lle c tu a l c o m m a n d o u n its ’.

R e a d in g a t t h e s e a d v a n c e d s p e e d s . M in d M a p p in g in d e ta il th e o u tlin e o f

t h e b o o k a n d its c h a p te r s , a n d e x c h a n g in g th e in fo r m a tio n g a th e r e d b y u s in g

a d v a n c e d M in d M a p p in g a n d p re s e n ta t io n s k ills , it is p o s s ib le f o r fo u r o r m o r e

in d iv id u a ls to a c q u ir e , in te g ra te , m e m o r is e a n d b e g in to a p p ly in th e ir p r o f e s ­

s io n a l s itu a tio n fo u r c o m p le te b o o k s ’ w o r t h o f n e w in fo r m a t io n in o n e d a y .

T h e s e te c h n iq u e s h a v e b e e n a p p lie d in t h e m u lt in a t io n a l o r g a n is a t io n s

N a b is c o a n d D ig ita l C o m p u te r s . In th e s e in s ta n c e s , 4 0 a n d 1 2 0 s e n io r e x e c u ­

tiv e s r e s p e c tiv e ly d iv id e d th e ir g ro u p s in to fo u r. E a c h in d iv id u a l in e a c h o f th e

f o u r s u b -g r o u p s s p e n t t w o h o u rs a p p ly in g s p e e d a n d ra n g e re a d in g te c h n iq u e s

to o n e o f th e fo u r s e le c te d b u s in e s s b o o k s .

Reading: a new revolutionary definition

 W h e n th e tw o h o u rs w e r e c o m p le te d , th e m e m b e rs o f e a c h s u b -g ro u p

d is c u s s e d a m o n g th e m s e lv e s t h e ir u n d e r s t a n d in g s , in t e r p r e t a t io n s a n d r e a c ­

tio n s to th e b o o k . E a c h s u b - g r o u p th e n c h o s e o n e r e p r e s e n ta t iv e w h o g a v e a

c o m p r e h e n s iv e le c tu r e to a ll th e m e m b e r s o f th e t h r e e o t h e r s u b - g r o u p s . T h is

p r o c e s s w a s r e p e a te d f o u r t im e s , a n d a t t h e e n d o f e a c h d a y 4 0 a n d 1 2 0
s e n io r e x e c u t iv e s in e a c h c o m p a n y w a lk e d o u t o f t h e ir s e m in a r r o o m w it h

f o u r c o m p le te n e w b o o k s ' w o r t h o f in f o r m a t io n n o t o n ly in t h e ir h e a d s , b u t

in te g ra te d , a n a ly s e d a n d m e m o r is e d .
T h is a p p r o a c h c a n b e s im ila r ly u s e d in f a m ily a n d h o m e s tu d y s it u a tio n s

ju s t a s e ffe c tiv e ly .

M nem onic te ch n iq u e s
M n e m o n ic ( p r o n o u n c e d ’n e m - o n - ic ’) o r m e m o r y - e n h a n c in g t e c h n iq u e s w e r e

o r ig in a lly in v e n t e d b y t h e G r e e k s . W e n o w r e a lis e t h a t t h e s e d e v ic e s a r e

s o u n d ly b a s e d o n t h e b ra in ’s fu n c tio n in g a n d th a t, w h e n a p p lie d a p p ro p r ia te ly ,

th e y c a n d r a m a tic a lly im p ro v e a n y o n e 's m e m o r y .

M n e m o n ic te c h n iq u e s re q u ire y o u to u s e th e p rin c ip le s o f a s s o c ia t io n a n d
im a g in a tio n , t o c r e a t e d r a m a t ic , c o lo u r f u l, s e n s u a l a n d c o n s e q u e n t ly u n f o r ­

g e tta b le im a g e s in y o u r m in d .

T h e M in d M a p is in f a c t a m u lt id im e n s io n a l m n e m o n ic , u s in g t h e b r a in ’s

in b u ilt fu n c tio n s t o im p r in t m o r e e ff e c tiv e ly d a t a 'in f o r m a t io n u p o n its e lf.

U s in g m n e m o n ic s , b u s in e s s p e o p le h a v e b e e n t r a in e d t o r e m e m b e r p e r ­

f e c t ly 4 0 n e w ly in tr o d u c e d p e o p le , a n d to s im ila r ly m e m o r is e lis ts o f o v e r 1 0 0

p r o d u c ts , w ith re le v a n t fa c ts a n d d a t a . T h e s e t e c h n iq u e s h a v e b e e n a p p lie d a t
th e IB M T ra in in g C e n tr e in S t o c k h o lm a n d h a v e h a d a m a j o r im p a c t o n t h e

s u c c e s s o f th e c e n tr e ’s 1 7 - w e e k in t r o d u c to r y t r a in in g p r o g r a m m e . T h e s a m e

te c h n iq u e s h a v e b e e n u s e d in th e W o r ld M e m o r y C h a m p io n s h ip s f o r t h e p a s t

fiv e y e a r s , e s p e c ia lly b y th e e ig h t - t im e s w o r ld c h a m p io n a n d r e c o r d - h o l d e r
D o m in ic O ’B rie n .

T h e re is a n in c re a s in g a w a r e n e s s t h a t le a rn in g h o w to le a rn b e fo re a n y o th e r

tra in in g h a s b e e n g iv e n is g o o d b u s in e s s s e n s e . T h is is w h y a n u m b e r o f th e

m o r e p ro g re s s iv e in te rn a tio n a l o r g a n is a t io n s a re n o w m a k in g m n e m o n ic s th e
o b lig a to ry fro n t e n d to all th e ir tra in in g c o u rs e s . S im p le c a lc u la tio n s h o w s th a t if

£ 1 , 0 0 0 , 0 0 0 is s p e n t o n tr a in in g , a n d 8 0 p e r c e n t o f t h a t t r a in in g is f o r g o t t e n

w ith in tw o w e e k s , th e n £ 8 0 0 . 0 0 0 h a s b e e n lo s t d u rin g t h a t s a m e p e rio d .

The Speed Reading Book

M em ory loss a lte r le a rn in g
M e m o r y lo s s a f t e r le a r n in g is d r a m a t ic : a f t e r a o n e - h o u r le a r n in g p e r io d ,

t h e r e is a s h o r t ris e in th e r e c a ll o f in f o r m a t io n a s th e b ra in in te g ra te s t h e n e w

d a t a . T h is is f o llo w e d b y a d r a m a tic d e c lin e in w h ic h , a f t e r 2 4 h o u r s , a s m u c h

a s 8 0 p e r c e n t o f d e ta il is lo s t.

T h e s c a le r e m a in s r o u g h ly th e s a m e re g a r d le s s o f t h e le n g th o f in p u t t im e .

T h u s , a t h r e e -d a y c o u r s e is m o r e o r le s s fo r g o tte n w ith in o n e to t w o w e e k s o f
c o m p le tio n .

T h e im p lic a tio n s a re d is tu rb in g : if a m u ltin a tio n a l f ir m s p e n d s U $ 5 0 m illio n

p e r y e a r o n tra in in g a n d th e re is n o a p p ro p r ia te re v ie w in g p r o g r a m m e d in to th e
e d u c a tio n a l s tr u c tu r e , $ 4 0 m illio n w ill h a v e b e e n lo s t w ith in c re d ib le e ffic ie n c y
w ith in a f e w d a y s o f th a t tra in in g ’s c o m p le tio n .

B y g a in in g a s im p le u n d e r s ta n d in g o f th e m e m o r y ’s r h y t h m s , it is p o s s ib le
n o t o n ly t o a v e r t t h is d e c lin e b u t a ls o t o t r a in p e o p le in s u c h a w a y a s to
in c r e a s e t h e a m o u n t le a r n t a n d re ta in e d .

The b ra in c e ll
T h e b ra in c e ll h a s b e c o m e th e n e w fro n tie r in th e h u m a n s e a rc h f o r k n o w le d g e .

W e e a c h h a v e o n e h u n d re d th o u s a n d m illio n b ra in c e lls , a n d th e in te rc o n n e c ­
t io n s b e t w e e n t h e m c a n f o r m a s ta g g e r in g ly la r g e n u m b e r o f p a t te r n s a n d

p e r m u ta tio n s . T h is n u m b e r, c a lc u la te d b y th e R u s s ia n n e u ro a n a to m is t P y o tr K.
A n o k h in , is o n e f o llo w e d b y te n m illio n k ilo m e tre s o f s ta n d a rd ty p e w ritte n ze ro s !

W ith o u r in h e r e n t c a p a c ity to in te g ra te a n d ju g g le m u ltip le b illio n s o f b its o f

d a ta , it h a s b e c o m e a p p a re n t to th o s e in v o lv e d in b ra in re s e a rc h t h a t a d e q u a te

t r a in in g o f o u r p h e n o m e n a l b io c o m p u t e r ( w h ic h c a n c a lc u la t e in o n e s e c o n d

w h a t it w o u ld ta k e IB M 's R o a d r u n n e r s u p e r c o m p u t e r - c u r r e n t ly t h e w o r ld 's

fa s te s t c o m p u te r, c o s tin g U S $ 1 3 3 m illio n - 1 0 0 y e a rs to a c c o m p lis h ) w ill e n o r­

m o u s ly a c c e le r a t e a n d in c r e a s e o u r a b ilit y to s o lv e p r o b le m s , to a n a ly s e , to

p rio ritis e , to c re a te a n d to c o m m u n ic a te .

M ental a b ilitie s a n d a g e in g
’T h e y d ie ! ’ is t h e u s u a l c h o r u s f r o m p e o p le in r e s p o n s e to t h e q u e s tio n ‘W h a t

h a p p e n s t o y o u r b r a in c e lls a s t h e y g e t o ld e r ? ’ It is u s u a lly v o ic e d w it h

e x t r a o r d in a r y a n d s u rp ris in g e n th u s ia s m .

H o w e v e r , o n e o f t h e m o s t d e lig h t fu l p ie c e s o f n e w s f r o m m o d e r n b ra in

r e s e a r c h c o m e s f r o m D r M a r io n D ia m o n d o f th e U n iv e rs ity o f C a lifo r n ia , w h o

Reading: a new revolutionary definition

h a s c o n fir m e d th a t th e re is n o e v id e n c e o f b ra in c e ll lo s s w it h a g e in n o r m a l,

a c tiv e a n d h e a lth y b ra in s .
O n th e c o n tr a r y , r e s e a r c h is n o w in d ic a t in g t h a t , if t h e b ra in is u s e d a n d

tr a in e d , t h e r e is a b io lo g ic a l in c r e a s e in its in t e r c o n n e c t iv e c o m p le x ity , i.e . th e

p e r s o n 's in te llig e n c e is r a is e d .
T r a in in g o f p e o p le in t h e ir s ix t ie s , s e v e n t ie s , e ig h t ie s a n d n in e t ie s h a s

s h o w n th a t, in e v e r y a r e a o f m e n t a l p e r f o r m a n c e , s ta t is t ic a lly s ig n ific a n t a n d

p e r m a n e n t im p r o v e m e n ts c a n b e m a d e .
W e a re a t th e b e g in n in g o f a n u n p r e c e d e n t e d r e v o lu tio n : th e q u a n t u m le a p

in th e d e v e lo p m e n t o f h u m a n in te llig e n c e .

O n th e p e rs o n a l fro n t, in e d u c a tio n a n d in b u s in e s s , in fo rm a tio n fr o m p s y c h o ­

lo g ic a l, n e u ro p h y s io lo g ic a l a n d e d u c a tio n a l la b o r a to rie s is b e in g u s e d t o s o lv e

p ro b le m s th a t h ith e rto w e r e a c c e p te d a s a n in e v ita b le p a r t o f th e a g e in g p r o c e s s .

B y a p p ly in g o u r k n o w le d g e o f t h e b r a in ’s s e p a r a t e f u n c tio n s , b y e x t e r n a lly
r e f le c tin g o u r in t e r n a l p r o c e s s e s in M in d M a p f o r m , b y m a k in g u s e o f t h e

in n a te e le m e n ts a n d r h y t h m s o f m e m o r y , a n d b y a p p ly in g o u r k n o w le d g e o f
th e b ra in c e ll a n d th e p o s s ib ilitie s f o r c o n t in u e d m e n t a l im p r o v e m e n t t h r o u g h ­

o u t life , w e re a lis e th a t th e in te llig e n c e w a r c a n in d e e d b e w o n .

STOP YOUR TIMER NOW!

Length of time:________min

N e x t, c a lc u la te y o u r re a d in g s p e e d in w o r d s p e r m in u t e ( w p m ) b y d iv id in g th e

n u m b e r o f w o r d s in th e p a s s a g e (in t h is c a s e , 1 8 5 0 ) b y t h e t im e (in m in u t e s )
y o u to o k .

W o rd s p e r m in u te (w p m ) =
t im e

W h e n y o u h a v e c o m p le te d y o u r c a lc u la t io n , e n t e r t h e n u m b e r in t h e w p m s lo t

a t t h e e n d o f th is p a r a g r a p h a n d a ls o e n t e r it o n th e p r o g r e s s g r a p h a n d c h a r t

on pages 2 2 2 -3 .

Words per minute:

Sell-test 1: C om p reh en sio n

F o r e a c h q u e s tio n , c ir c le e ith e r ‘T r u e ’ o r ‘F a ls e ’ o r t ic k t h e rig h t a n s w e r .

The Speed Reading Book

1 T h e to p 8 0 p e r c e n t o f B ritis h c o m p a n ie s in v e s t c o n s id e r a b le

m o n e y a n d t im e in tra in in g . True/False
2 N a tio n a l O ly m p ic s q u a d s a re d e v o tin g h o w m u c h o f th e ir tra in in g t im e to

th e d e v e lo p m e n t o f p o s itiv e m in d s e t, m e n t a l s ta m in a a n d v is u a lis a tio n ?

(a ) 2 0 per cent

(b ) 3 0 per cent

(c ) 4 0 per cent

(d ) 8 0 per cent

3 T h e fir s t p e rs o n to b e g iv e n a g o v e r n m e n t p o r t f o lio a s M in is te r o f

In te llig e n c e w a s :

(a ) D r M a r io n D ia m o n d

(b ) D r L u is A lb e r to M a c h a d o
(c ) D o m in ic O ’B rie n

(d ) P la to

4 N u m b e r is m a in ly a le f t -c o r t e x fu n c tio n . True/False
5 T h e E in s te in s . N e w t o n s , C e z a n n e s a n d M o z a r t s o f th is w o rld

w e r e s u c c e s s f u l b e c a u s e t h e y p r im a rily c o m b in e d :

(a ) n u m b e r w ith lo g ic

(b ) w o r d s w ith a n a ly s is

(c ) c o lo u r w ith r h y th m

(d ) a n a ly s is w ith im a g in a tio n

6 In M in d M a p p in g , y o u :

(a ) p la c e a n im a g e in th e c e n tr e

(b ) p la c e a w o r d in th e c e n tr e

(c ) p la c e n o th in g in th e c e n tr e

(d ) a lw a y s p la c e a w o r d a n d a n im a g e in t h e c e n tr e

7 U s in g n e w s u p e r -s p e e d a n d ra n g e re a d in g te c h n iq u e s , y o u s h o u ld b e

a b le t o e s ta b lis h n e w n o r m a l s p e e d s o f w e ll o v e r:

(a ) 5 0 0 w o r d s p e r m in u te

(b ) 1 0 0 0 w o r d s p e r m in u te

(c ) 1 0 . 0 0 0 w o r d s p e r m in u te

(d ) 1 0 0 . 0 0 0 w o r d s p e r m in u te

8 T h e t w o c o m p a n ie s th a t f o r m e d in te lle c tu a l c o m m a n d o u n its f o r

s tu d y in g b o o k s w e r e :

(a ) IB M a n d C o c a C o la

(b ) D ig ita l a n d N a b is c o

Reading: a new revolutionary definition

 (c ) N a b is c o a n d M ic r o s o f t

(d ) IB M a n d IC L

9 M n e m o n ic te c h n iq u e s w e r e o r ig in a lly in v e n te d b y:

(a ) th e E n g lis h

(b ) th e R o m a n s

(c ) th e G re e k s

(d ) P la to

10 A f t e r a o n e - h o u r le a rn in g p e rio d , t h e r e is:

(a ) a s h o r t ris e in th e r e c a ll o f in f o r m a t io n

(b ) a le v e llin g o f f in t h e r e c a ll o f in f o r m a t io n

(c ) a s h o r t d ro p in th e re c a ll o f in fo r m a tio n

(d ) ra p id d r o p in th e re c a ll o f in f o r m a t io n

11 T w e n ty -fo u r h o u r s a ft e r a le a rn in g p e r io d , t h e f o llo w in g a m o u n t o f d e ta il

is o fte n lo s t:

(a ) 6 0 per cent

(b ) 7 0 per cent

(c ) 8 0 per cent

(d ) 9 0 per cent

12 T h e n u m b e r o f b ra in c e lls in t h e b ra in is:

(a ) o n e m illio n

(b ) o n e th o u s a n d m illio n

(c ) o n e m illio n m illio n

(d ) o n e h u n d r e d m illio n

13 T h e IB M R o a d r u n n e r c o m p u t e r is f in a lly a p p r o a c h in g t h e c a p a c it y o f th e

b ra in in its o v e ra ll a b ility to c a lc u la t e . True/False

14 D r M a r io n D ia m o n d c o n f ir m e d t h a t t h e r e is:

(a ) n o e v id e n c e o f b ra in c e ll lo s s w it h a g e in n o r m a l a c t iv e a n d h e a lth y

b ra in s

(b ) n o e v id e n c e o f b ra in c e ll lo s s w it h a g e in a n y b ra in

(c ) n o e v id e n c e o f b ra in c e ll lo s s w ith a g e in b ra in s u n d e r 4 0 y e a r s o ld

(d ) e v id e n c e o f s lig h t b r a in c e ll lo s s w it h a g e in n o r m a l a c t iv e a n d

h e a lth y b ra in s

15 W ith a d e q u a te tra in in g , s ta t is t ic a lly s ig n ific a n t a n d p e r m a n e n t

im p r o v e m e n ts in in te llig e n c e c a n b e m a d e in p e o p le u p t o t h e a g e o f:

(a ) 60

(b ) 70

The Speed Reading Book

 (c ) 80

(d ) 90

C h e c k y o u r a n s w e r s a g a in s t t h o s e o n p a g e 2 1 5 . T h e n d iv id e y o u r s c o r e b y

1 5 a n d m u lt ip l y b y 1 0 0 t o c a l c u la t e y o u r p e r c e n t a g e c o m p r e h e n s io n .

Comprehension score:________ out of 15

________ per cent

N o w e n t e r y o u r s c o r e in y o u r p r o g r e s s g r a p h a n d c h a r t o n p a g e s 2 2 2 - 3 .

How did you do?

N o w th a t y o u h a v e fin is h e d y o u r first s e lf-te st, yo u w ill h a ve a b a s e
level fro m w h ic h to s p rin g b o a rd To fin d o u t w h e re y o u s ta n d in re la ­
tio n to re a d e rs a ro u n d th e w o rld , c o n s u lt th e ta b le b e lo w , w h ic h
g iv e s y o u a ra n g e o f re a d in g s p e e d s a n d c o m p re h e n s io n s fro m
‘p o o r ’ to ‘o n e -in -a -th o u s a n d . You c a n u s e th is ta b le to h e lp y o u
re fin e y o u r g o a ls a s y o u p ro g re s s th ro u g h th e b o o k.

I R eader S p e e d (w p m ) C o m p re h e n s io n

B e lo w a v e r a g e 1 0 -1 0 0 3 0 -5 0 %

A v erag e 2 0 0 -2 4 0 5 0 -7 0 %

F u n c t io n a lly lite r a te 400 7 0 -8 0 %

T o p 1 in 1 0 0 8 0 0 -1 0 0 0 80+%

T o p 1 in 1 0 0 0 1000+ 80+%

A n o th e r u s e fu l y a rd s tic k o n re a d in g s p e e d s re la te s s p e e d s
d e p e n d e n t o n an in d iv id u a l's e d u c a tio n a l level (se e F ig u re 1.2).

Reading: a new revolutionary definition

 8

E d u ca tio n a l During During D uring During A dult

L ev el Ju n ior School S en ior School College Po& groduate

Figure 1.2 Graph showing average reading rate throughout life

T h e re a s o n fo r th e in c re a s e w ith e d u c a tio n is d u e n o t s o m u c h to
g a m in g k n o w le d g e o f h o w to re a d b e tte r b u t to th e s im p le p re s s u re
o f h a v in g to re a d s o m u c h m o re m a te ria l in s u c h a c o m p re s s e d tim e
In o th e r w o rd s , m o tiv a tio n is a c ru c ia l fa c to r.
F u rth e r e v id e n c e fo r th is is p r o v id e d b y th e fa c t th a t th e a d u lt,
a fte r le a v in g fo rm a l e d u c a tio n , s lip s rig h t b a c k to th e ju n io r s c h o o l
le v e l, p rim a rily b e c a u s e m o tiv a tio n h a s d e c lin e d a n d th e p re s s u re
is o ff T h e a m o u n t o f re a d in g is. o n a v e ra g e , re d u c e d to a s little a s
one b o o k per year
U n lik e th e in d iv id u a ls s u rv e y e d , w h e n y o u h a v e a b s o r b e d th e
in fo rm a tio n in th is b o o k , y o u w ill n o t fa ll b a c k to y o u r p re v io u s lo w
le v e ls - in s te a d , y o u w ill m a in ta in a n d im p ro v e w h a te v e r le v e l y o u
h a v e a c h ie v e d .

Y ou r re a d in g s p e e d n o w i s : ___________

Y ou r c o m p re h e n s io n n o w i s : ___________

T h e S p e e d R e a d in g Book
 F ive a t - a - g l a n c e s p e e d r e a d i n g g u id e s

1 T h e fo r m u la f o r c a lc u la tin g w p m is:

N u m b e r o f w o rd s

t im e

2 R e a d in g s p e e d s ra n g e f r o m 1 t o 1 0 0 0 + w o r d s p e r m in u te .

3 T h e a v e r a g e re a d in g s p e e d is 2 0 0 - 2 2 0 w o r d s p e r m in u te .

4 T h e m o r e e d u c a t e d p e r s o n u s u a lly re a d s f a s t e r o n ly b e c a u s e o f

p r e s s u r e o f t im e a n d g r e a te r m o tiv a t io n , n o t b e c a u s e t h e y k n o w

h o w t o r e a d m o r e e ffe c tiv e ly .

5 E v e r y o n e ( in c lu d in g y o u ) h a s t h e p o t e n t ia l t o im p r o v e r e a d in g

s p e e d s a n d c o m p r e h e n s io n (F ig u r e 1 .3 ) .

C m prthenston

5OX comprehension (m at people)

Figure 1.3 Comprehension curve showing comprehension rate for

the general population

N o w that you have c o m p le ted the introduction w arm -up, the self­
test an d the c o m p reh e n sio n tests in this c h ap ter an d flipp ed
through all the p a g es of the book, let s learn how to control that ulti­
m a te d ig ital c a m e ra an d c o m p u te r p ro cesso r c o m b in e d - your
am azing eye.

Reading, a new revolutionary definition

 Controlling your
eye movements
In this chapter we discover some extraordinary facts about
your eyes, investigate how your eyes really move when they
read, and introduce you to five new ways to increase
instantly your reading speed and comprehension.
Each of your eyes is the optimum optical instrument
known to humankind. Each of your eyes contains 130 million
light-receivers, and each light-receiver can take in at least
five photons (bundles of light energy) per second. The
nature of this miraculous instrument can be understood, and,
being understood, can be controlled and used to your
extraordinary advantage.

Variations in pupil size

W e h a v e k n o w n fo r s o m e tim e th a t o u r p u p ils a d ju s t th e ir s iz e
a c c o r d in g to lig h t in te n s ity a n d th e n e a rn e s s o f th e o b je c t. T h e
b rig h te r th e lig h t a n d th e n e a re r th e o b je c t, th e s m a lle r th e p u p il s ize
W e s te rn s c ie n tis ts h a v e d is c o v e re d th a t p u p il s ize a ls o v a rie s w ith
e m o tio n , a n d th a t if y o u a re c o n fro n te d w ith a s ig h t th a t e s p e c ia lly
in te re s ts y o u , s u c h a s a n a ttra c tiv e m e m b e r o f th e o p p o s ite sex. y o u r
p u p il s iz e a u to m a tic a lly in c re a s e s . S u c h c h a n g e s a re s m a ll b u t c a n
b e n o tic e d w ith c a re fu l o b s e rv a tio n . J a d e d e a le rs in C h in a h a v e b e e n
a w a re o f th is p h e n o m e n o n fo r m a n y y e a rs : w h e n p re s e n tin g o b je c ts
fo r th e c u s to m e r's in s p e c tio n , th e d e a le r p a y s p a rtic u la rly c lo s e
a ttention to th e c u s to m e r's e yes, w a itin g fo r a n in cre a se in p u p il size.
W h e n th is in c re a s e h a s b e e n o b s e rv e d , th e d e a le r k n o w s th a t th e
c u s to m e r is h o o k e d a n d se ts a n a p p ro p ria te p rice .
A s a s p e e d reader, if yo u a re in te re s te d in s o m e th in g , y o u r p u p il
dilates, letting m ore ligh t in. In o th e r w o rd s , th e m o re in te re s te d yo u
are, the w ider y our brain d ra w s th e cu rta in s b e h in d your eyes, a llo w in g
itself (and you) to receive, w ith n o extra effort, m o re d a ta per s e co n d

Eyes at the back of your head

T h e p h e n o m e n a lly c o m p le x im a g e s d e c o d e d b y y o u r re tin a l lig h t
re c e iv e rs a re s e n t a lo n g th e o p tic n e rv e a n d tra n s m itte d to th e
v is u a l a re a o f y o u r b ra in - th e o c c ip ita l lo b e . T h e o c c ip ita l lo b e is,
p a ra d o x ic a lly , s itu a te d n o t ju s t b e h in d th e e y e s b u t a t th e b a c k o f
your head N o w o n d e r w e d e s c rib e v e ry o b s e rv a n t p e o p le a s
ha vin g e ye s at th e b a c k o f th e ir h e a d 1
It is th e o c c ip ita l lo b e o f th e b ra in th a t a c tu a lly d o e s th e re a d in g ,
d ire ctin g yo u r eyes arou n d th e p a g e to hunt fo r in fo rm a tio n th a t is o f
interest to your brain. This kn o w le d g e fo rm s th e b a sis o f th e revolution­
ary approach to s p e e d reading th a t will u nfold in th e next fe w chapters.
K now ing these am azing new fa c ts a b o u t th e eyes, it b e c o m e s clear
that traditional reading habits a n d re a d in g s p e e d s m u s t be a p ro d u c t
of m istraining a n d m isuse; a n d th a t if o u r e ye s w e re u n d e rs to o d a n d
trained pro p e rly their fun ctio n s w o u ld s ig n ifica n tly im p ro ve

Reading involves ‘eye-jumping’

H o w d o y o u r e y e s re a lly re a d ? A n e x tra o rd in a ry fa c t a b o u t h o w y o u r
e y e s re a lly m o v e w h e n th e y re a d is th a t th e y a c tu a lly m a k e s m a ll
a n d fa irly re g u la r ju m p s ' (F ig u re 2 .1 ). T h e s e ta k e th e e ye fro m fixa ­
tio n p o in t to fixation p o in t, u s u a lly a b it m o re th a n a w o rd a t a tim e .
S o th e eye d o e s n o t m o v e s m o o th ly o ve r th e p a g e a t all. In s te a d , it
m o v e s in s m a ll h o p s fro m left to rig h t, rig h t to left, o r u p a n d d o w n ,
d o w n a n d u p , p a u s in g fo r a m o m e n t to ta k e in a w o rd o r tw o b e fo re
m o v in g o n a n d re p e a tin g th e p ro c e s s (F ig u re 2 .2 a ).

T he Sp e ed R ea d in g Book
 Figure 2.1 How the eye reads. This Mind Map shows that the eye reads an
average ol 200 words per minute, with study (note-taking) speeds going
from 1 to 90. Comprehension is on average 60-80 % on relatively easy
reading material - and that drops after 24 hours to a memory recall ol 20%.
So, it you are worrying about 100% comprehension, why worry about
perfect comprehension? The tact is, you want 100% ol what you need from
that material, not 100% of all the material. That is a fundamental difference
and, once you grasp this, you will lose that eye-dragging’ fear of failure of
comprehension. You'll always miss something so get rid ol that worry.
The eye actually reads in a start-stop motion, stopping to photograph'
or to capture what it is seeing. The brain has to focus and the eye has to
stop. Reading movement is not like a train on a smooth-running high-speed
track but more like a chunking and shunting local rail service. It moves in
chunks or 'fixations’; it back-tracks too. So. how do you read faster?
By taking in more chunks at a time (rather than individual words).
We don ’t have to worry about comprehension because we already know
that this is much lower than is assumed.
The other branches refer to the power ol peripheral vision in helping us
to speed read and what little percentage we use for our visual power.
You might say: ‘If it’s in locus, it's either under control or too late.' One key
to speed reading is therefore to ‘uncouple’ or disengage the brain from the
clear focus and to re-read the whole page, ‘hunting’ with your wide vision.
All these aspects of speed reading are explored in detail in this book.
Remember: your eye is an amazing instrument, with 130 million
light-receivers taking in squadrons of photons - the data carriers - per
second. Ultimately, speed reading is not just about books, it's about reading
all facets of your life - social, personal, developmental - as you do when,
for example, reading people ’s faces or reading nature.

Controlling your eye movements

 Fixations

Figure 2.2s Diagram of the eye's basic progression while reading

W h ile th e eye is m o v in g a n d p a u s in g , m o v in g a n d p a u s in g in th is
w ay, th e in fo rm a tio n is a b s o rb e d o n ly d u rin g th e p a u s e s . T h e s e
p a u s e s ta k e u p m o s t o f th e tim e . A n d . a s e a c h p a u s e m a y la s t
b e tw e e n a q u a rte r a n d o n e a n d a h a lf s e c o n d s , it is p o s s ib le to
m a k e a n im m e d ia te im p ro v e m e n t in y o u r re a d in g s p e e d b y s p e n d ­
in g le ss tim e o n e a c h p a u s e

S a c k -s k ip p in g o r r eg rtssio n

Figure 2.2b Diagram of a poor reader's eye movements

F ig u re 2 .2 b s h o w s th e e ye m o v e m e n ts o f a v e ry p o o r re a d e r. T h is
reader m a k e s a b o u t tw ic e a s m a n y p a u s e s o r fixations, a s th e y are
c o m m o n ly c a lle d , a s a re re q u ire d fo r g o o d c o m p re h e n s io n . E xtra
p a u s e s are c a u s e d b e c a u s e th e s lo w re a d e r o fte n re -re a d s w o rd s ,
s o m e tim e s s k ip p in g b a c k a s m a n y a s th re e p la c e s to m a k e s u re
th a t th e c o rre c t m e a n in g h a s b e e n ta k e n in. T h e s e h a b its o f b a c k-
s k ip p in g (returning, a lm o s t a s a h a b it, to w o rd s th a t h a v e ju s t b e e n
re a d ) a n d re g re s s io n (re tu rn in g c o n s c io u s ly to w o rd s th a t th e

T he S p e ed R ea d in g Book
re a d e r fe e ls h a v e b e e n m is s e d o r m is u n d e rs to o d ) c a u s e th e p o o r
re a d e r's e x ce s sive n u m b e r o f fixa tio n s.
R e se a rc h h a s s h o w n th a t, in 80 p e r c e n t o f ca se s , w h e n re a d e rs
w e re n o t a llo w e d to b a c k -s k ip o r re g re s s , th e y d is c o v e re d th a t their
e ye s h a d a c tu a lly ta k e n in th e in fo rm a tio n , a n d a b s o rb e d it. a s th e y
re a d th e n ext fe w p h ra se s.
T he s p e e d re a d e r v e ry rare ly in d u lg e s in th e s e u n n e c e s s a ry re p ­
e titio n s . w h ic h d ra m a tic a lly re d u c e th e s lo w re a d e r’s s p e e d . If e a ch
b a c k -s k ip o r re g re s s io n ta k e s ro u g h ly a s e c o n d , a n d a s fe w a s tw o
a re m a d e p e r line, th e n o n an a v e ra g e p a g e o f 40 lines, o n e m in u te
a n d 2 0 s e c o n d s are w a s te d O n a n o rm a l b o o k o f 3 0 0 p a g e s , o n e
m in u te 2 0 s e c o n d s x 3 0 0 p a g e s - 4 0 0 m in u te s = 6 % h o u rs o f
e xtra w a s te d tim e s p e n t re a d in g (a n d n o t c o m p re h e n d in g ).

Fixating without back-skipping

F ig u re 2 .2 c s h o w s th a t th e g o o d o r s p e e d re a d e r, w h ile n o t b a c k-
s k ip p in g o r re g re s s in g , a ls o h a s lo n g e r ju m p s T h e g o o d re a d e r
a ls o ta k e s in n o t o n e w o rd pe r fixa tio n , b u t three, fo u r o r five
If w e a s s u m e fo r th e m o m e n t th a t e a c h fixa tio n ta k e s th e s a m e
tim e , a n d s e t th a t tim e at a n a v e ra g e o f h a lf a s e c o n d p e r fixa tio n ,
a n in te re s tin g p ic tu re e m e rg e s : o n a n o rm a l lin e o f 12 w o rd s p e r
lin e , th e p o o r re a d e r, fix a tin g o n o n e w o rd p e r fix a tio n a n d b a c k -
s k ip p in g o r re g re s s in g tw ic e , w ill ta k e Vfe+ xh + V2 + Vfc + Vfe + V6 +
Vfc + % + Vfc + 1/ 2 + t e + t e + yfc + f t - * 7 s e c o n d s : w h e re a s th e
s p e e d re a d e r, ta k in g in th re e o r fo u r w o rd s p e r fix a tio n w ith n o
b a c k -s k ip p in g o r re g re s s io n , ta k e s V2 + V2 + 'h + 'h = 2 s e c o n d s .

Controlling y ou r e y e m ovem ents

 The speed reader, with a minor adjustm ent in the m echanics of
the eye, has out-read and out-sped the slow reader by 3 5 0 per cent.

Comprehension: 'I don’t get it’

But wait, you say *1 have always been told that for good co m p re­
hension I m ust read ‘slowly an d carefu lly’. S urely increasing m y
speed will d ecrease my com prehension9 ’
This as su m p tio n so u n d s logical, an d yet a little investigatio n
shows it to be com pletely false R esearch is increasingly showing
that the faster you read, the better your com prehension.
To check this for yourself, read the following statem ent exactly as
it is laid out, taking it in slowly an d carefully an d going for m axim um
comprehension:

S p e ed read ing has b e en fou n d to b e bet ter for under

stand ing th an slow read ing.

Difficult? O f course! B ecause your brain is not designed to read at

such a disastrou sly slow p a c e . R ea d in g slow ly an d carefully
encourages your brain to read m ore an d m ore slowly, with less and
less com prehension an d m ore and m ore agony.
N ow look at the next sentence, this tim e reading the w ords as
they are grouped:

It has b e en discovered that the h u m an brain w ith th e help

of its e y es takes in inform ation far m o re easily w hen
the inform ation is conveniently g ro u p e d in m eaningful
bundles.

Your brain works better at speed

Your brain works far m ore com fortably at sp eed s of 4 0 0 w p m and
ab o ve . (It is interesting to note that, w h en m ost p e o p le es tim a te
their reading speed, the sp eed at w hich they m ove their finger is in
fact 40 0 w p m or m ore.) An increase m sp eed therefore leads auto­
m a tica lly to an in c reas e in co m p re h e n s io n . This is b e c a u s e the
inform ation is organised in m eaningful chunks that m a ke im m edi-

The Speed Reading Book

a te s e n se to y o u r brain. T his in c re a s e d a b ility to u n d e rs ta n d in turn
h e lp s y o u to re m e m b e r better, b e c a u s e y o u r m e m o ry is a ls o b a s e d
o n y o u r b ra in ’s a b ility to o rg a n is e in fo rm a tio n in m e a n in g fu l c h u n k s
Your first task, then, is to w o rk at elim inating th e u nhelpful habits o f

• b a c k -s k ip p in g ;

• re g re s s io n ;

• ta k in g in to o fe w w o rd s p e r fixation.

In addition to getting rid of these unhelpful habits, there is a fourth m ajor

w ay of increasing your speed If your norm al fixation tim e is on e second
per fixation, and you can increase your speed to half a second per fixa­
tio n (w h ich s h o u ld be easy, re m e m b e rin g th a t y o u r eye can take in
inform ation at one five-hundredth o f a second), then you will have d o u ­
bled your reading speed. Therefore, increase your s p e e d p e r fixation.

EXERCISE

V isual g u l p
T h e e x e r c i s e t h a t f o l l o w s is d e s ig n e d t o h e lp y o u m a k e q u i c k e r

f ix a t i o n s a n d t a k e in m o r e in f o r m a t io n p e r ‘v is u a l g u l p '. T h i s s h o u ld

g iv e y o u t h e c o n f i d e n c e a n d i n c r e a s e d m o t i v a t io n y o u n e e d t o

e li m i n a t e b a c k - s k i p p i n g a n d r e g r e s s io n . It w ill a ls o e n c o u r a g e y o u

t o t a k e in m o r e a t a g la n c e a s y o u r e a d .

T h e e x e r c i s e h a s b e e n d e s ig n e d f o r p e o p le w h o f a v o u r e it h e r t h e

le f t o r th e rig h t h a n d . U s e a c a r d to c o v e r u p th e n u m b e r s . E x p o s e

e a c h n u m b e r a s b r i e f l y a s p o s s ib l e , g iv in g y o u r s e lf n o m o r e t h a n a

s p li t s e c o n d t o s e e it. A l m o s t a t t h e s a m e t i m e a s it is u n c o v e r e d it

s h o u ld b e r e c o v e r e d .

T h e n w r it e in t h e s p a c e n e x t t o t h e n u m b e r w h a t y o u t h in k t h a t

n u m b e r is , a n d c h e c k t o s e e w h e t h e r y o u w e r e r ig h t o r w r o n g .

C o n t in u e t o t h e n e x t n u m b e r , m o v i n g f r o m c o lu m n t o c o lu m n , r e p e a t in g

t h e p r o c e s s u n t il t h e p a g e h a s b e e n c o m p l e t e d . Y o u w ill f in d t h a t t h e

e x e r c i s e b e c o m e s m o r e c h a lle n g i n g a s y o u p r o g r e s s , b e c a u s e t h e

n u m b e r o f d ig it s is g r a d u a ll y in c r e a s e d . If y o u c a n r e a c h t h e e n d o f t h e

s ix - d ig i t n u m b e r s w it h f e w m i s t a k e s , y o u w ill h a v e d o n e e x t r e m e l y w e ll.

Controlling your ©ye m ovem ents

 Y o u w ill fin d th a t, w ith p r a c t ic e , y o u w ill b e a b le t o c o m p le t e th e
s ix -d ig it n u m b e r s in o n e fla s h , a n d t h is w ill g iv e y o u in c r e a s e d

c o n fid e n c e t o ta k e in t w o o r m o r e w o r d s a t a t im e a s y o u r e a d .

T h e n u m b e r s t h a t f o llo w in c lu d e ju s t e n o u g h e x a m p le s o f e a c h
d ig it-g r o u p in g to a llo w y o u r e y e /b r a in t o g e t a c c u s t o m e d to t h a t le v e l
b e fo r e m o v in g y o u o n t o th e n e x t.

26 53

74 79

82 63

91 73

22 53

35 29

66 24

25 31

46 02

13 85

72 43

20 67

50 76

23 06

40 28

96 88

77 84

45 15

21 60

83 49

99 78

58 87

18 03

277 864

833 825

The Speed Reading Book

013 953
736 425
226 736
129 490
903 363
271 646
736 726
813 411
413 361
908 058
862 864
832 956
864 525
865 737
837 635
747 737
109 107
251 747
982 837
825 215
211 847
267 880
837 626
108 103
411 217
715 870
975 544
779 656
744 458
764 168

Controlling your e y e m ovem ents 43

 216 562

077 541

865 655

877 668

755 302

866 110

199 617

8638 7475

7875 7356

1178 1088

2277 2 436

7426 8 656

7655 6423

7777 6555

5433 6 545

7657 5433
9880 8702

8612 0188
9871 0677

8766 3343
3777 2244
7544 7702
1074 7653
7654 7623
8764 5433
5325 6543
6423 7 056
0653 8765
8644 7655
6118 1154
7703 8674

The Speed Reading Book

5423 7534

8762 5734

8277 7374

7272 8862

0177 1761

8767 2345

7654 5433

6511 6531

1075 7120

9841 1106

3753 2754

8297 1173

9275 4828

5702 8567

3089 9861

2850 8422

76542 46533

75252 64322

19866 98011

44904 66255

37621 64533

95412 27549

95339 86422

15155 08436

85369 18643

35438 74323

47721 52741

76208 79285

51915 29477

68224 13655

01678 29371

C o n tro llin g y o u r e y e m o v em en ts 45
 82102 35727

44627 64652

50664 45610

27392 82547

99266 21420

56439 47539

14733 49763

38657 95079

63644 91637

30080 26091

17533 14161

16843 08222

93867 49653

84611 42983

12548 60258

62938 46104

47250 51252

52952 83704

07650 15733

29332 62969

345783 987104

201896 916846

456782 376520

569832 238755

387513 452876

984764 045018

298436 112785

090769 234743

954137 564220

759484 887632

656892 876926

T h e S p e e d R e a d in g Book
332558_ 0 3 1 4 1 0 __

476831_ 5 1 7 1 9 5 __

219575 _3 7 6 4 9 0 _

857393 .4 3 8 7 5 3 .

386280 _875316

619474 _219564

219575 _376982

487615 _085377

764973 _387520

114874 _978564

576330 _103866

657894 _984372

349715 _769103

496511 _041673

392588 _643192

567682 _638726

284191 116794

767936 _436795

432615 _998665

816155 _654732

764130 _284938

084503 _563982

278402 _876944

801019 _932548

342988 _478902

865014 _543790

987655 _037686

765839 _258765

965411 423699

356794 175894

C ontrolling your e y e m ovem ents

 763297 538722

090808 443245

578392 121377

578343 987532

013677 467832

284680 538763

998577 105790

334877 857644

876653 664893

189568 356543

987564 467558

958747 465379

836753 556794

001579 567833

378696 189696

276460 354673

287655 801568

765844 968477

N o w m o v e o n to se lf-te s t 2 A p p ly a ll y o u h a v e le a rn t in th is ch a p te r,
e lim in a tin g b a c k -s k ip p in g a n d re g re s s io n , fix a tin g fo r s h o rte r p e ri­
o d s o f tim e , a n d ta k in g in la rg e r g ro u p s o f w o rd s p e r fixa tio n . M a ke
s u re y o u start y o u r tim e r a s y o u c o m m e n c e y o u r re a d in g a n d s to p
it th e in sta n t y o u h a v e c o m p le te d th e re a d in g .

The Plus One Rule

T he P lus O n e R ule is s im p ly th e fo llo w in g : w h e n e v e r y o u a re c o n ­
s c io u s ly a tte m p tin g to re a d faster, a im to re a d a t le a s t o n e w o rd p e r
m in u te fa s te r th a n y o u r p re v io u s h ig h e s t s p e e d . In th is w a y y o u w ill
n o t p u t u n n e c e s s a ry s tre s s o n y o u rs e lf, a n d y o u w ill o fte n fin d th a t

T he Sp e ed R ea d in g Book
you have increased by ten or m ore w ords per minute, thus com fort­
a b ly beating your goal, w hich leads to increasing confidence and
faster and m ore efficient reading.
D uring self-test 2, and in each of the subsequent self-tests, give
yo u rself a Plus Ten Rule, in w h ich your g o a l is to increase by ten
w ords per minute.

SELF-TEST 2

C h a llen g e your m em ory, by Simon Hem elryk

I ’v e n e v e r h a d a g r e a t m e m o r y . I ’v e f o r g o t t e n b ir t h d a y s . I'v e a g r e e d t o p la y

c r ic k e t o n th e s a m e e v e n in g th a t m y w if e a n d I a re s u p p o s e d to b e h a v in g a

ro m a n tic m e a l. A n d I r a re ly r e m e m b e r to c h a r g e m y m o b ile p h o n e , le a v in g m e

e n tire ly u n a c c o u n te d fo r d u rin g lo n g w e e k e n d s c lim b in g tre a c h e r o u s L a k e la n d

m o u n ta in s w h ile m y w if e p in e s a t h o m e .

I th in k I g e t it f r o m m y m u m . S h e h a s s p e n t h e r life f o r g e ttin g w h e r e s h e

p u t h e r c a r k e y s . S h e to ld m e a f e w m o n th s a g o t h a t s h e w a s w o r r ie d a b o u t

tu r n in g 7 4 n e x t b ir th d a y . S h e w a s o n ly 7 2 .

B u t fo r th e s a k e o f m y s p o u s e ’s n e r v e s , if n o th in g e ls e , I d e c id e d re c e n tly

t h a t I h a d to im p r o v e .

I w a s v a g u e ly a w a r e o f b e s ts e llin g m e m o r y - im p r o v e m e n t g u ru T o n y B u z a n

a n d a s I G o o g le d h im to s e e w h a t h e lp h is b o o k s m ig h t g iv e m e . I d is c o v e re d

t h a t t h e U K O p e n M e m o r y C h a m p io n s h ip - r u n b y B u z a n 's W o r ld M e m o r y

S p o r ts C o u n c il - w a s o n ly th re e w e e k s a w a y . N o w h e re w a s a c h a lle n g e . C o u ld

e n te r in g th e c o m p e titio n a n d p ittin g m y w it s a g a in s t th e lik e s o f re ig n in g c h a m ­

p io n B e n P rid m o re ( w h o c a n m e m o r is e a p a c k o f c a r d s in 2 6 s e c o n d s ) b e th e

m o tiv a tio n I n e e d e d ?

T h e c h a m p io n s h ip 's c h ie f a rb ite r. P h il C h a m b e r s , w a s p r e p a r e d t o le t m e

p a r t ic ip a t e , b u t I n e e d e d a m e n t o r . S o h e p u t m e in t o u c h w it h E d C o o k e ,

m e m o r y tra in in g a u th o r a n d n u m b e r 1 8 in t h e M e m o r y S p o r t w o r ld r a n k in g s .

A s I s a t a t E d ’s c o f fe e m u g - c o v e r e d t a b le in a g e n t ly d ila p id a t e d B rix to n

h o u s e s h a r e , th e lo n g h a ir e d 2 7 - y e a r o ld t o o k m e t h ro u g h th e b a s ic s .

‘ I ’m g o in g t o t e a c h y o u a t e c h n iq u e w h ic h b e g a n w it h t h e G r e e k s a n d

R o m a n s , th a t w ill h e lp y o u re c a ll d o z e n s o f n u m b e rs , c a r d s a n d d a te s in o r d e r -

a s y o u ’ll n e e d t o d o in th e c o m p e titio n - b y c o n v e r tin g t h e m in to im a g e s a n d

s to rie s .' h e e n th u s e d in th e to n e s o f a y o u th fu l, b u t still e c c e n tric , p ro fe s s o r.

Controlling your eye movements

 W e 'd s t a r t w ith a p a c k o f c a r d s , h e s a id . M e m o r is in g t h e s e w o u ld m a k e

u p t w o o f th e te n c h a m p io n s h ip r o u n d s . F irs t. I h a d t o a s s ig n e a c h s u it a t y p e

o f c h a ra c te r. H e a r ts , lo g ic a lly , w e r e f a m ily m e m b e r s , c lu b s , I th o u g h t , s h o u ld

b e s p o r t s p e o p le , s p a d e s w e r e p r o f e s s io n s a n d d ia m o n d s w e r e m u s ic ia n s .

N e x t. I h a d t o g iv e e a c h n u m b e r ( a n d t h e ja c k , q u e e n a n d k in g ) a q u a lity s o

th a t e a c h c a r d w ith in a s u it w a s d is tin c t in m y m in d . S o , f o r in s t a n c e , c a r d s

n u m b e r e d f o u r w e r e r e p r e s e n te d b y th in p e o p le : t h e f o u r o f h e a r t s w a s m y

y o u n g e r s is te r, L u c y ; th e f o u r o f d ia m o n d s w a s K y lie M in o g u e . N o w . y o u 'r e

g o in g t o le a r n a s h u f fle d p a c k in o r d e r b y p la c in g e a c h c h a r a c t e r a lo n g a

f a m ilia r ro u te , s u c h a s y o u r c o m m u t e , ’ s a id E d . ‘H u m a n s a r e v e r y g o o d a t

r e m e m b e r in g s p a c e s . If y o u g o in t o a r o o m , t h e a m o u n t o f in f o r m a t io n y o u

ta k e in in fiv e s e c o n d s - th e s h a p e o f t h e d o o r, th e t y p e o f w in d o w - is e q u iv ­

a le n t t o a 1 0 0 - d ig it n u m b e r .'

I c h o s e t o p la c e m y c h a r a c t e r s a r o u n d m y m a is o n e t t e . T h e f ir s t c a r d u p

w a s th e n in e o f c lu b s . N in e s ig n ifie d in te llig e n c e . I ’d d e c id e d ( a s in n in e o u t o f

te n in a n e x a m ), s o P a u l S tu r r o c k , m a n a g e r o f m y b e lo v e d P ly m o u t h A rg y le ,

w a s p la c e d in th e fir s t c a r d p o s itio n : th e b e d . N e x t w a s M ic h a e l J a c k s o n (th e

k in g o f d ia m o n d s ) w h o w o u ld b e ly in g n e x t to S tu r r o c k . F re d d ie F lin to ff w a s

n e x t, s ta n d in g b y th e w a r d r o b e , a la w y e r f r ie n d . J a m e s , w a s in t h e h a ll a n d s o

o n u n til a ll 5 2 c a r d s w e r e p la c e d o n a ro u t e t h a t ra n a r o u n d t h e h o u s e , o u t

in to th e s tr e e t a n d d o w n t o th e ra ilw a y s ta tio n .

A f t e r a n h o u r 's p r a c tic e , I c o u ld r e m e m b e r a lm o s t t h e e n tire p a c k in o r d e r

a n d e v e n c o r r e c t e d E d w h e n h e c la im e d t h a t V iv R ic h a r d s ( s e v e n o f c lu b s )

w a s o u ts id e G r e g g s th e b a k e r s , w h e n h e w a s a c t u a lly in o u r d o w n s ta ir s to ile t.

‘T h a t ’s lo v e ly r e c a ll,’ E d s a id .

I ' m b rillia n t - a n e w m e m o r y k in g !

B u t E d h a d d e fla tin g n e w s . F o r th e c h a m p io n s h ip , y o u n e e d to th in k o f c h a r a c ­

te r s fo r th e n u m b e r s 4 0 to 1 0 0 , s o y o u c a n re c a ll r a n d o m t w o - d ig it n u m b e r s

a n d d a te s . Y o u ’ll a ls o n e e d te n to 1 5 ro u te s , b e c a u s e s o m e o f y o u r c o m p e tito r s

w ill b e a b le t o r e c a ll h u n d r e d s o f n u m b e r s in t e n m in u t e s . T h e n t h e r e ’s t h e

n a m e s -a n d -fa c e s ro u n d , th e a b s tr a c t im a g e s a n d th e b in a r y r o u n d '.

E d c h u c k le d . 'L e a rn in g h o w to d o a ll in t w o w e e k s w ill b e a c h a lle n g e . Y o u 'll

n e e d to p ra c tis e fo r a c o u p le o f h o u rs a d a y .* H e ig n o re d m y c o n c e r n e d e x p re s -

The Speed Reading Book

s io n . H e 'd s p e n t th e la s t f e w w e e k s m e m o r is in g M ilto n ’s Paradise Lost a n d w as

a lre a d y a b le t o re c o u n t th re e h o u r s ’ w o r t h .

I b u c k le d d o w n , th o u g h I ’d o n ly m a n a g e d t o m e m o r is e 8 0 n u m b e r s a n d

c h a r a c t e r s b y th e e n d o f th e fir s t w e e k - 2 0 b e h in d s c h e d u le . M y w if e h e lp e d

b y c a llin g o u t c a r d s a n d n u m b e r s f o r m e t o id e n t if y w h ile ro llin g a r o u n d o n

h e r e x e r c is e b a ll. I w a s g r a te fu l, b u t s h e h a d a t e n d e n c y t o s in g o u t F iv e o f

h e a r t s ' s e v e r a l t im e s in a r o w b e c a u s e I'd c h o s e n b e a u ty t o s ig n ify th e fiv e

c a r d s a n d t h e f iv e o f h e a r t s w a s , n a t u r a lly , h e r. C o n v e r s e ly , s h e s tu d io u s ly

a v o id e d th e fiv e o f d ia m o n d s (S c a r le tt J o h a n s s o n ) .

W ith fiv e d a y s to g o u n til th e c o n t e s t , E d r e v e a le d t h a t I s h o u ld b e a im in g

t o r e c a ll 1 2 0 n u m b e r s in f iv e m in u t e s . W it h t h r e e d a y s to g o . m y p e r s o n a l

b e s t w a s 2 5 in 2 0 m in u t e s . I'd le a r n e d m y b in a r y n u m b e r s , b u t f o r th e o th e r

r o u n d s I d e c id e d it w a s t o o la te t o le a m E d ’s s u g g e s te d t e c h n iq u e s . I ’d re ly

o n n a tiv e w it. O h , d e a r.

I a r r iv e d a t th e v e n u e f o r th e c o n t e s t - L o n d o n 's S im p s o n ’s in th e S tr a n d

- t o fin d th e r o o m la id o u t lik e a n u p m a r k e t e x a m h a ll, w it h t w o c o m p e t it o r s

f a c in g e a c h o th e r a t e a c h ta b le .

T o n y B u z a n , w h o h a s th e c h a r is m a o f a n e m in e n t b is h o p , g o t t h in g s u n d e r

w a y . ‘T h is is in tr in s ic a lly b ig g e r th a n t h e p h y s ic a l O ly m p ic s ! ’ h e d e c la r e d to

t h e c o m p e t it o r s a n d g u e s ts .
T h e firs t r o u n d w a s r a n d o m w o r d re c a ll a n d I m a n a g e d to w r it e d o w n 21

f r o m a lis t o f 2 0 0 t h a t h a d b e e n p u t in f r o n t o f u s f o r fiv e m in u t e s . O p p o s ite

m e , t o p f e m a le c o m p e t it o r K a tie K e r m o d e s c r ib b le d a w a y a t a r a te r o u g h ly

a k in t o J a c k N ic h o l s o n ’s t y p in g in The Shining. T h e 3 0 - y e a r - o l d t r a n s la to r ,

w h o s p e a k s f o u r la n g u a g e s , m u s t h a v e r e m e m b e r e d a t le a s t 6 0 w o r d s .

I w a s p le a s a n tly s u r p r is e d w it h t h e n e x t ro u n d , b in a r y n u m b e r s , a s I

m a n a g e d to re c a ll 6 0 . b u t th e n a m e s a n d f a c e s ro u n d d e fe a te d m e . D u rin g re c a ll. I

a tte m p te d o n ly to id e n tify t w o p e o p le a n d o n e w a s a n A ra b m a n in a h e a d -s c a rf,

w h o m I’d c o n v in c e d m y s e lf w a s c a lle d P a u l T o m p k in s .
R o u n d f o u r w a s r a n d o m n u m b e r s a n d E d 's tra in in g p a id o ff - 1 m e m o r is e d

5 6 d ig its in 1 5 m in u te s . T h e n , in a c a r d s ro u n d , I m a n a g e d 1 6 in te n m in u te s .

K a tie h a d a lm o s t ru n o u t o f p a p e r to w rite d o w n e v e ry th in g s h e c o u ld re m e m b e r,

b u t I s till fe lt p re tty p le a s e d w ith m y s e lf.

Y o u 'r e n o t la s t.' P h il C h a m b e r s to ld m e a t th e e n d o f th e firs t d a y . S o m e of

th e o th e r c o m p e tito rs h a v e o v e rs tr e tc h e d t h e m s e lv e s a n d lo s t m a t e , b u t y o u ’re

q u ite s o lid .' I w a s . in fa c t, s e c o n d to la s t. I w a s e c s ta tic .

Controlling your ey e movements

 O u ts id e t h e h a ll, t h ir d - p l a c e d J a m e s P a t e r s o n , a b e s p e c t a c l e d y o u n g

W e ls h m a n in a r u g b y to p , w a s fre ttin g a b o u t h is p e r f o r m a n c e in t h e n u m b e r s

ro u n d . 1 th in k I g o t 5 , 7 in s te a d o f 6 , 7 , ’ h e s a id . 2 , 4 . 4 . 8 . 5 , 7 , 6 , 8 ? ' a s k e d

B e n P r id m o r e , a 3 1 - y e a r - o ld u n e m p lo y e d a c c o u n t a n t , d r a w in g o n s o m e o f

th e 8 1 9 d ig its h e ’d s u c c e s s fu lly re c a lle d (a n e w w o r ld r e c o r d ) . T h a n k g o o d ­

n e s s ,’ re p lie d J a m e s .

I w e n t in to t h e s e c o n d d a y fu ll o f c o n f id e n c e - b u t it q u ic k ly e v a p o r a t e d .

F irs t, I m a d e s e v e r a l m is ta k e s o n a f iv e - m in u t e n u m b e r r e c a ll ro u n d , s c o r in g

z e r o . T h e n th e r e w a s a d is m a l a b s t r a c t s h a p e s r o u n d a n d a d a t e s r o u n d in

w h ic h I s c o r e d a p r in c e ly t w o . S u d d e n ly . I w a s in la s t p la c e , t e n p o in ts b e h in d

a la d c a lle d C o n o r M u ld o o n .

N e v e r m in d - th e la s t r o u n d w a s a q u ic k - f ir e c a r d m e m o r is a t io n . T h a t 's

th e n e a r e s t I h a v e to a s p e c ia lity , I th o u g h t . F iv e m in u t e s la te r, it w a s a ll o v e r.

E le v e n c a r d s r e m e m b e r e d . N o t b a d , b u t I ’d le t th e p r e s s u r e o f a t t e m p tin g to

b e m e r e ly m e d io c r e , a s o p p o s e d t o d e f in ite ly th e w o r s t g e t t o m e . I re a d th e

s c o r e c a r d n e rv o u s ly . C o n o r M u ld o o n - 1 9 c a r d s .’ D a m n .

T o n y B u z a n c o n s o le d m e . I ’d n o t b e e n f a r o ff t h e p a c e in a c o m p e t it io n in

w h ic h B e n P r id m o r e h a d b r o k e n t h r e e w o r ld r e c o r d s a n d r is e n t o w o r ld

num ber one. M y e x p e c t a t i o n s a r e a lw a y s h ig h , b u t it 's g o n e b e t t e r t h a n

e x p e c te d . Y o u ’re c o m p e tin g a t a v e r y h ig h s t a n d a r d ,’ b e a m e d T o n y .

A n d it g o t b e tte r. A t th e p riz e g iv in g , I w a s d e lig h te d t o le a r n t h a t m y o v e r ­

a ll s c o r e o f 5 7 3 - th o u g h s o m e w h a t e c lip s e d b y B e n ’s 7 7 9 8 - w a s e n o u g h

t o p la c e m e 3 6 9 t h in th e w o r ld ra n k in g s .

‘ P u b lic in t e r e s t in t h e b r a in h a s in c r e a s e d h u g e ly d u r in g t h e la s t f e w

y e a r s ,’ T o n y r e c k o n e d . ‘T h e r e a r e b r a in t r a in in g c o m p u t e r g a m e s a n d b e s t ­

s e llin g m e m o r y b o o k s . A n d w h ile t h e f ir s t W o r ld M e m o r y C h a m p io n s h ip in

1 9 9 1 h a d o n ly s e v e n e n t r a n t s , t h e r e a r e n o w t h o u s a n d s o f m e m o r y s p o r t

p a r tic ip a n ts in 2 5 c o u n t r ie s .’

S o if m y s ta n d in g in th e s p o rtin g w o rld h a s m a rg in a lly im p ro v e d , w h a t a b o u t

m y e v e r y d a y m e m o r y ? S in c e th e c o m p e titio n , I’v e y e t t o lo s e m y c a r a n d I’v e

m a n a g e d to o rg a n is e a trip to m y f a t h e r 's h o u s e , t w o fo o tb a ll m a t c h e s a n d a v is it

fro m m y n ie c e s w ith o u t a n y o f th e m c la s h in g .

Im p r e s s iv e ly , a ft e r m u c h p r a c t ic e . I c a n m e m o r is e a p a c k o f c a r d s in t e n

m in u te s . I’d b e a w o w a t d in n e r p a r t ie s , if o n ly I h a d t im e t o le a v e t h e h o u s e .

A n d . b e s t o f a ll. I'v e e v e n t a u g h t m y m u m t o m e m o r is e t e n c a r d s in t w o m in ­

u te s . S h e s till h a s n o id e a w h e r e h e r c a r k e y s a r e . b u t it 's a s t a r t . '

Y o u m u s t r e m e m b e r th is . . .

The Speed Reading Book

Y o u d o n ’t h a v e t o d e v e lo p a c o m p lic a t e d c o d e o r s p e n d h o u r s p ra c t is in g to

le a r n e v e r y d a y f a c t s . H e re a re a f e w e a s y tip s :

If y o u w a n t t o r e m e m b e r :

• T h e y e a r t h e T it a n ic s a n k ( 1 9 1 2 ) , r e p e a t t h is s e n te n c e : T h e m e d ia w e r e

g o in g m a d o v e r t h is “ u n s in k a b le , t it a n ic , b e h e m o t h * ' a n d c o u ld n ’t s to p

ta lk in g a b o u t it n in e te e n t o th e d o z e n ! ’

• W h ic h w a y y o u t ig h te n a n u t, th in k : ‘R ig h ty tig h ty , le fty L u c y ! ’

• W h ic h c o u n tr y h a s th e w o r ld ’s lo n g e s t c o a s t lin e , s a y : S o w h y is th e d rin k

c a lle d C a n a d a D r y t h e n ? ’

• T h e c o r r e c t w a y t o s p e ll r e c o m m e n d ’, s a y : I r e c o m m e n d y o u C M & M

in c o n c e r t a s h e ’s a b s o lu te ly s u p e r b ! ’

• T h a t 2 5 d e g r e e s C e ls iu s is 7 7 d e g r e e s F a h r e n h e it , ju s t r e c a ll t h a t t h e

q u e e n ’s s ilv e r ( 2 5 t h ) ju b ile e w a s in 1 9 7 7 .

• T h a t th e d ia llin g c o d e f o r th e U K is 0 0 4 4 , s a y : ‘T h e U K d o e s h a v e its f a ir

s h a r e o f 4 x 4 g a s g u z z le rs o n th e r o a d ! ’ .

STOP YOUR TIMER NOW!

Length of time:_______ min

N e x t, c a lc u la te y o u r re a d in g s p e e d in w o r d s p e r m in u t e ( w p m ) b y d iv id in g th e

n u m b e r o f w o r d s in th e p a s s a g e (in t h is c a s e , 1 7 6 2 ) b y th e t im e (in m in u t e s )

y o u to o k .

n u m b e r o f w o rd s
W o rd s p e r m in u te (w p m )
t im e

W h e n y o u h a v e c o m p le te d y o u r c a lc u la t io n , e n t e r th e n u m b e r in t h e w p m s lo t

a t t h e e n d o f t h is p a r a g r a p h a n d a ls o e n t e r it o n y o u r p r o g r e s s g r a p h a n d

c h a rt on p ag e s 2 2 2 - 3 .

Words per minute:

Self-test 2: C o m preh en sion

1 W h a t d o e s S im o n ’s m u m k e e p fo r g e t tin g ?

(a ) W h e r e s h e p u t h e r m o b ile p h o n e

(b ) W h e r e s h e p u t h e r T V r e m o te

Controlling your ey e movements

 (c ) W h e re s h e p u t h e r k e y s

(d ) W h e r e s h e p u t h e r h e a rin g a id

2 A c c o r d in g t o S im o n , B e n P r id m o r e c a n m e m o r is e a p a c k o f c a r d s in :

(a ) u n d e r 2 m in u te s

(b ) 2 6 seconds

(c ) 3 5 seconds

(d ) 5 9 seconds

3 S im o n ’s fir s t m e m o r y te c h n iq u e b e g a n w it h th e

a n c ie n t G re e k s a n d R o m a n s . True/False
4 In S im o n ’s c a r d s y s t e m , w h o w a s t h e k in g o f d ia m o n d s ?

(a ) F ra n k S in a tra

(b ) M ic h a e l J a c k s o n

(c ) E lv is P re s le y

(d ) B .B . K in g

5 S im o n ’s m e m o r y c o a c h s u g g e s ts th e a m o u n t o f in f o r m a t io n y o u t a k e in

in fiv e s e c o n d s u s in g lo c a tio n s is e q u iv a le n t to :

(a ) 5 m o b ile p h o n e n u m b e r s

(b ) 5 0 d ig it n u m b e r s

(c ) a 1 0 0 - d ig it n u m b e r

(d ) a 2 0 - i t e m s h o p p in g lis t

6 S im o n 's m e m o r y c o a c h is le a rn in g w h ic h b o o k o f f p a t?

(a ) Paradise Lost
(b ) The Da Vinci Code
(c ) Harry Potter and the Goblet o f Fire
(d ) Use Your Head
7 T h e v e n u e fo r th e U K O p e n M e m o r y C h a m p io n s h ip is:

(a ) R u le s R e s ta u r a n t

(b ) S im p s o n ’s o n t h e S tr a n d

(c ) T h e S tr a n d P a la c e H o te l

(d ) S tr a n d T h e a tr e , A ld w y c h

8 O n d a y 1 . S im o n c a m e w h e r e in t h e c o m p e t it io n ?

(a ) 3 rd

(b ) 21 st

(c ) 2 n d t o la s t

(d ) la s t

The Speed Reading Book

 9 S im o n r e m e m b e r e d o n ly t w o n a m e s a n d f a c e s in

th e c o m p e titio n . TruelFalse
10 H o w m a n y d ig its d id B e n P r im o r e s u c c e s s f u lly re c a ll?

(a ) 101

(b ) 499

(c ) 819

(d ) 909

11 T h is w a s a n e w w o r ld r e c o r d . Trve/False
12 T o n y B u z a n s ta r te d th e fir s t W o r ld M e m o r y

C h a m p io n s h ip in:

(a ) 2001

(b ) 1991

(c ) 1981

(d ) 1987

13 W h a t h a s S im o n g o n e o n t o a c h ie v e ?

(a ) L o s in g h is c a r k e y s o n ly o n c e

(b ) M e m o r is in g a p a c k o f c a r d s in t e n m in u te s

(c ) H e lp in g h is m u m m e m o r is e a p a c k o f c a r d s in t e n m in u te s

(d ) A w o r ld ra n k in g o f 3 5 9

14 T o r e m e m b e r h o w t o tig h te n a n u t s a y ‘R ig h te n

lig h te n , le f t y h e f ty ’. TruelFalse

C h e c k y o u r a n s w e r s a g a in s t t h o s e o n p a g e 2 1 5 . T h e n d iv id e y o u r s c o r e b y

1 4 a n d m u ltip ly b y 1 0 0 to c a lc u la te y o u r p e r c e n ta g e c o m p r e h e n s io n .

Comprehension score:_______ out of 14

_______ per cent

N o w e n te r y o u r s c o r e o n y o u r p r o g r e s s g r a p h a n d c h a r t o n p a g e s 2 2 2 - 3 .

H aving c o m p le te d the first m ajor chapter on im proving the

m echanics of your eyes, it is clear that huge increases can be m ade
in your reading speed. This is the first of four such chapters that will
enable you to m ake similarly dram atic improvements Before moving
on, it is essential to create a reading environm ent that encourages
excellence and success. This is the subject of the next chapter

Controlling your eye movements

 Getting the speed
reading
conditions right
Now let’s look at ways in which you can increase your read­
ing speed and comprehension by creating the right external
conditions, paying attention to factors such as posture and
lighting. This chapter also discusses how to avoid internal
interference caused by problems such as anxiety and stress.
Improve both external and internal conditions and they will
react with each other in leaps and bounds to create even
more positive effects.

Creating the best external conditions

P la c e m e n t a n d in ten sity o f lig h t
T h e b e s t lig h t to s tu d y u n d e r is d a y lig h t, so. w h e re p o s s ib le , y o u r
d e s k o r re a d in g p la tfo rm s h o u ld b e p la c e d n e a r a w in d o w . If th is is
n o t p o s s ib le , a n d a t tim e s o f d a y w h e n it is to o d im . lig h t s h o u ld
c o m e o v e r y o u r s h o u ld e r o p p o s ite th e h a n d w ith w h ic h y o u w rite , in
o r d e r to a v o id g la re a n d s h a d o w (F ig u re 3 .1 ). D e s k la m p s c a n
c a u s e e y e strain if th e y are n o t p o s itio n e d p ro p e rly. T h e lig h t s h o u ld
b e b rig h t e n o u g h to illu m in a te th e m a te ria l b e in g re a d a d e q u a te ly
but should not be so bright as to form a great contrast w ith the rest
o f the room . In other w o rd s , it's no t a d v isa b le to h u d d le u p to a
bright lam p that beam s directly on to th e book. In a d d itio n to the
desk lam p, it is best to have balanced general illum ination.

Figure 3.1 Diagramshowing the best posture andposition of source of light

for reading

Availability of m aterials
So that your brain can ‘settle in' comfortably, your study environment
should have all the materials you need conveniently placed and easily
accessible Not only will this improve your concentration and com pre­
hension. but also it will be a psychological boost. Know ing that your
materials are pleasingly and functionally placed increases your enjoy­
ment of the task at hand and makes it easier for you to perform it.

A ch a ir for p h y sica l com fort a n d su p p o rt

Ideally your chair should be neither to o hard n o r to o soft, s h o u ld
have a straight b ack (a sloping one causes bad posture and back
strain and m akes proper note -ta kin g unco m fo rta b le), a n d in g e n ­
eral should m ake you neither to o relaxed nor to o tense The chair
should support you and encourage g o o d posture. K neeling chairs
are a useful option because they e n courage a naturally enhanced
posture W hen you sit on a kn e e lin g ch a ir you can s tra ig h te n u p

The Speed Reading Book

a n d b a la n c e th e s p in e p ro p e rly o v e r th e p e lvis. You w ill n e e d to g e t
u p fro m tim e to tim e to s tre tc h y o u r le g s a n d e n c o u ra g e b lo o d flo w
A v o id ‘c o m fy ’ c h a irs M a n y p e o p le lo o k fo r th e m o s t c o m fo rta b le
a n d in v itin g e a s y -c h a ir in th e h o u s e , p a d it e v e n fu rth e r w ith s o ft
c u s h io n s , p la c e a fo o tre s t in fro n t o f it s o th a t th e y c a n s tre tc h o u t
m o re c o m fo rta b ly p re p a re a h o t d rin k, a n d th e n s e ttle d o w n to tw o
h o u rs o f in te n siv e w o rk - o n ly to fin d tw o h o u rs la te r th a t th e y have
b e e n d o z in g th ro u g h o u t.

H e ig h t o f c h a i r a n d d e s k
T h e h e ig h ts o f y o u r c h a ir a n d y o u r d e s k a re im p o rta n t: th e c h a ir
sh o u ld be hig h e n o u g h to a llow your th ig h s to be parallel w ith th e floor
o r slig h tly raised fro m parallel This w ill e n su re that th e m ain pressure
fo r seating is taken b y th e m am sitting b o n e s at th e b a se of th e hips
S o m e tim e s a s m a ll s to o l o r te le p h o n e d ire c to ry c a n h e lp to raise
y o u r fe e t to a c o m fo rta b le level L o o k fo r a d e s k h e ig h t o f 7 3 -8 1 cm
(2 9 -3 2 inche s); on average th e d e s k sh o u ld b e a p p ro xim a te ly 2 0 c m
(8 in c h e s ) a b o v e th e s e a t o f th e chair. The h e ig h t o f y o u r c h a ir a n d
d esk, the d is ta n c e of your eyes fro m th e rea d in g m aterial, yo u r p h y si­
ca l co m fo rt a n d yo u r postu re are all intim ately interlinked

D is ta n c e o f y o u r e y e s fro m th e r e a d i n g m a te ria l
T h e d is ta n c e o f y o u r e y e s fro m th e re a d in g m a te ria l s h o u ld b e
a p p ro x im a te ly 5 0 c m (2 0 in c h e s ), a n a tu ra l d is ta n c e if o n e s its a s
d e s c rib e d a b o v e K e e p in g th e re a d in g m a te ria l th is fa r a w a y m a ke s
it m u c h e a s ie r fo r th e e y e s to fo c u s o n g ro u p s o f w o rd s (se e th e
d is c u s s io n o f p e rip h e ra l v is io n o n p a g e 79) It a ls o c o n s id e ra b ly
le s s e n s e y e s tra in a n d th e p o s s ib ility o f h e a d a c h e s fro m re a d in g .
To p ro v e th is fo r y o u rs e lf, try lo o k in g a t y o u r fo re fin g e r w h e n it is
a lm o s t to u c h in g y o u r n o s e a n d th e n lo o k a t y o u r w h o le h a n d w h e n
it is a b o u t 4 6 c m (1 8 in c h e s ) a w a y fro m y o u . You w ill n o tic e a real
p h y s ic a l s tra in in th e fo rm e r a n d a c o n s id e ra b le e a s in g o f th a t
stra in in th e latter, e ven th o u g h y o u a re ta k in g in m o re .

G ettin g th e s p e e d re a d in g cond itions right

P o stu re
P la ce b o th y o u r fe e t fla t o n th e floor. Y our b a c k s h o u ld b e u p rig h t
a n d y o u s h o u ld a im to g e n tly s tra ig h te n y o u r p o s tu re . T h e s lig h t
c u rv e s in y o u r b a c k g iv e y o u e s se n tia l s u p p o rt If y o u try to s it u p s o
that y o u r b a c k is to o s tra ig h t, o r try to fla tte n th e s e c u rv e s, y o u w ill
e n d u p fe e lin g e xh a u ste d .
If y o u are s ittin g o n a c h a ir o r s to o l a n d a re re a d in g ra th e r th a n
w ritin g , yo u m a y fin d it m o re c o m fo rta b le to h o ld th e b o o k in y o u r
h a n d s . A lternatively, if y o u d o p re fe r to le a n fo rw a rd a fe w d e g re e s
o ve r a d e s k o r ta b le , try re stin g th e b o o k o n s o m e th in g s o th a t it is
at a s lig h t a n gle. A b o v e a ll, m a k e s u re th a t y o u a re s ittin g o n a firm
b a s e . A n y th in g s o ft o r to o c o m fo rta b le , s u c h a s a c u s h io n th a t
g iv e s w ay, w ill u ltim a te ly s e n d y o u to sle e p .
G o o d p o s tu re m eans:

• G o o d b lo o d flo w - y o u r b ra in re ce iv e s th e m a x im u m flo w o f air

a n d b lo o d . W h e n y o u r u p p e r s p in e a n d e s p e c ia lly y o u r n e c k a re
b e n t in to a cu rv e , b o th y o u r w in d p ip e a n d th e m a in a rte rie s a n d
v e in s in y o u r n e c k are c o n s tric te d W h e n y o u sit u p s tra ig h t, th e
flo w o p e n s a n d y o u r b ra in c a n o p e ra te a t p e a k e fficie n cy.

• G o o d e n e rg y flo w th e flo w o f e le c tric a l e n e rg y u p y o u r s p in a l

c o lu m n w ill m a x im is e th e p o w e r o f y o u r bra in . A d o p tin g an
u p rig h t s ta n c e w h ile m a in ta in in g th e s lig h t n a tu ra l c u rv e s in th e
s p in e h a s b e e n p ro ve n to g iv e th e s p in a l c o lu m n m o re p o w e r
a n d s p rin g in e s s L o w e r b a c k p a in a n d s h o u ld e r-a c h e s a re a ls o
re d u c e d b y u p rig h t p o s tu re .

• A d d e d a le rtn e s s - w h e n y o u r b o d y is ale rt, y o u r b ra in is alert.

W h e n y o u r b o d y is e re ct, y o u r b ra in k n o w s th a t s o m e th in g
im p o rta n t is h a p p e n in g . W h e n y o u r b o d y is b e n t fo rw a rd o r
s lu m p e d over, it is te llin g y o u r b ra in - th ro u g h th e in n e r e a r a n d
th e b a la n c e m e c h a n is m s - th a t it is tim e fo r s le e p , e s p e c ia lly
w h e n y o u r h e a d is tilte d to o fa r fro m th e ve rtic a l.

• E ye c o o rd in a tio n - y o u r e y e s c a n m a k e full u s e o f b o th y o u r
c e n tra l a n d p e rip h e ra l v is io n . T h e y s h o u ld b e a t le a s t 5 0 c m
(20 in c h e s) fro m th e w ritte n m a te ria l.

T he Sp e ed R ea d in g Book
E n v iro n m e n t
Your e n v iro n m e n t w ill a ffe c t y o u r a c h ie v e m e n ts T h e p la c e in w h ich
y o u re a d s h o u ld b e light, s p a c io u s , p le a s in g to th e eye w e ll o rg a n ­
is e d fo r re a d in g p u rp o s e s d e c o ra te d to y o u r ta ste , a n d a p la c e to
w h ic h y o u w o u ld w a n t to g o e ve n w h e n y o u a re n o t re a d in g
B e c a u s e re a d in g , le a rn in g a n d s tu d y in g h a v e fo r s o lo n g b e e n
a s s o c ia te d w ith re p e titive h a rd w o rk , m a n y p e o p le m a k e th e ir s tu d y
a re a b a re , d u ll a n d d im ly lit. a n d fu rn is h it w ith th e p o o re s t-q u a lity
d e s k a n d c h a ir D o n ’t m a k e y o u r s tu d y e n v iro n m e n t in to a p ris o n
c e ll; m a k e it a s p a c e fo r lig h t a n d c a lm
If y o u d o u b t th e im p o rta n c e o f th is, c o n s id e r h o w y o u fe e l in s id e
(in ternal e n v iro n m e n t) w h e n a s p e c ia l frie n d g re e ts y o u w a rm ly an d
in vite s y o u in to a d e lig h tfu lly p re p a re d ro o m (external e n viro n m e n t).
T h a t is th e fe e lin g y o u n e e d to c re a te for, a n d in . y o u rs e lf a s yo u
th in k a b o u t th e p la c e w h e re y o u g o to re a d o r study. It s h o u ld invite
a n d w e lc o m e you.

Avoiding internal interference

T im in g
T h is o fte n m a k e s th e d iffe re n c e b e tw e e n c o m p le te ly u n d e rs ta n d in g
w h a t y o u re a d a n d c o m p le te ly fa ilin g to u n d e rs ta n d it. B e c a u s e o f
h a b its fo rm e d a t s c h o o l, m a n y p e o p le h a v e n e v e r trie d to fin d th e
tim e s o f d a y a t w h ic h th e y d o th e ir b e s t re a d in g o r le a rn in g .
It is v ita l to e x p e rim e n t w ith re a d in g at d iffe re n t tim e s , fo r w e all
h a v e d iffe re n t p e a k s a n d s lu m p s in th is re g a rd . S o m e p e o p le fin d
th a t th e y s tu d y b e s t b e tw e e n five a n d n in e in th e m o rn in g . O th e rs
fin d th e y c a n s tu d y o n ly at n ig h t, a n d o th e rs still th a t p e rio d s in th e
la te m o rn in g o r e a rly a fte rn o o n a re b e s t If y o u s u s p e c t th a t b a d
tim in g m a y b e th e c a u s e o f y o u r in a b ility to c o n c e n tra te a n d c o m ­
p re h e n d . e x p e rim e n t a s s o o n a s p o s sib le .

In terru p tio n s
J u s t a s u n k n o w n w o rd s a n d d iffic u lt c o n c e p ts b re a k th e flo w o f
c o n c e n tra tio n a n d u n d e rs ta n d in g , s o d o te le p h o n e ca lls , u n n e c e s ­
s a ry b re a k s , lo u d n o is e s , d iv e rs io n s s u c h a s e m a il a n d m o b ile

G ettin g th e s p e e d re a d in g cond itions right

phone text alerts, radios and other items of fidgety interest that
often litter your desk and air space.
Similarly, your own internal environment can distract you. If you
are worrying about personal problems, or you are in some form of
physical or mental discomfort or generally off-colour, concentration
and comprehension can be significantly reduced Note that if your
posture is correct, your breathing will be deep and relaxed, which
will, in turn, make you feel more relaxed.
The solution is to make your study environment sacrosanct and
to arrange it so that it supports you. Little things such as putting
your mobile phone on silent or diverting your phone to an auto­
mated answering service, having a hum orous sign on the door
requesting no interruptions, selecting appropriate m usic, and
switching off your com puter so you are not tem pted to surf or
check emails all help to ensure the optimum reading conditions
Also, try to make sure that your general life is more in order, and
your reading, learning, understanding and memory will all improve

H e a lth p r o b le m s

If you are going to undertake an extensive reading or studying pro­

gramme. you should do everything possible to make sure that your
physical resources are adequate to the task Even minor illnesses
such as colds and headaches will make a big difference to your
intellectual performance. Never underestimate the m ind-body-spirit
connectivity. Regular stretching and eye exercises away from the
desk, preferably on a short walk outdoors, for example, will give
your sensors a break and make you feel better about yourself and
the task in hand.
Having learnt how your eyes work, and found out how to
improve the environment in which they work so that they can work
even belter, you are now ready to take the next major step forward:
doubling what you have already accomplished by means of a revo­
lutionary new reading technique.

The Speed Reading Bc»k

 Guiding the eyes
In this chapter, we discuss the eyes' need for a physical guide
when reading and learn how best to use such a guide. We are
talking about using a long thin object, such as a slim pen or
pencil, a chopstick or a knitting needle. This chapter shows
you how the guide works and how best to utilise it. Master
this, and in one fell swoop you will reduce back-skipping and
regression, improve speed and comprehension, and expand
the number of words taken in per fixation. With such a guide
you will find speed reading far more relaxing for your eyes.

Follow the finger?

When a young child is first learning to read, what is one of the first
things he or she physically does? The child places their finger on
the page. W e immediately tell the child to take their finger off the
page because we know’ that this technique slows them down
Why. though, does the child do it in the first place? The answer
is to maintain focus and aid concentration.
Are we being logical, therefore, when we tell the child to remove
their finger9 For surely, if the finger were slowing the child down the
logical response, in order to enable them to maintain their focus
and concentration, would be to ask them to speed the finger up.
 This conundrum requires further investigation. Do you ever use a
guide when reading? You'll be am azed to know that w hen re sp o n ­
d e n ts are asked th is qu e stio n . 90 p e r c e n t say th e y d o n ’t! N ow
answer the following questions
D o you ever use your finger, your thum b, a pencil o r pen o r any
other form of visual guide when you are
• reading normally?
• looking for a w ord in a dictionary?
• looking up an item of inform ation in an encyclopaedia or
reference work?
• adding up a colum n of num bers?
• focusing on a point you are a bout to note?
• showing som eone else a point on a page to w hich you wish
them to pay attention?
• looking up a num ber in a telephone directory

M ost p e ople w ill answ er y e s ’ to at least h a lf o f th e se q u e stio n s,

and m any yes' to all of them except the first one. The point is. virtu­
ally everybody does use a guide in different reading situations. The
only place they do n 't is when reading books because they've been
told n o t to - and the reason they've bee n to ld not to is b e ca u se
they have been trying naturally to d o it that way.
Isn't it extraordinary that we all use guides when we are reading in
virtually every situation, except normal reading, where we have been
specifically instructed not to d o that to which we are naturally inclined?
Indeed, th e p re ju d ice a g a in s t fin g e r-p o in tin g is so d e e p ly
ingrained that, if you w alked into a senior p rofessional's office and
saw them reading a book using their finger, you w ould im m ediately
dow ngrade your opinion o f their intelligence
So, w hat is th e tru th o f th e m atter? Is it b e tte r to re a d w ith a
guide or w ithout a guide?

The Speed Reading Book

EX E R C ISE

With or without a guide

This tw o-part exercise is best done with a partner.

Part 1
1 In the first part of the exercise, you need to sit facing each other,
approximately 6 0 cm (2 feet) apart, with your arms folded and your
heads still.

2 Now one partner imagines a perfect circle about 4 6 cm (18 inches)

in diameter. The imaginary circle should be about 3 0 cm
(1 2 inches) in front of the eyes. The person who is imagining the
circle follows its outline exactly with their eyes.

3 Both partners keep their arms folded, and the second partner
looks very closely at the first partner to see exactly what the
partner’s eyes are doing. Do not exchange any information about
what you have seen or experienced at this stage.

4 The partner who is imagining the circle should be feeling what it is

like to move the eyes perfectly around its circumference.

5 Now reverse the roles, with the second partner imagining the circle
and following it with their
eyes, while the first partner
watches their movement.

6 When you have completed the

exercise, exchange information
on what you both saw in your
partner's eyes and what you
felt while you were following
the imaginary circle.

Almost without exception, this

first exercise produces a shape Figure 4. U Pattern showing
that is very far removed from a unaided eye movement attempting
circle. It is more like the battered to move around the circumference
of a circle
line in Figure 4.1a, and most
people find the exercise difficult.
►

Guiding the eyes

 P a rt 2

In th e s e c o n d p a r t o f th e e x p e r im e n t , y o u a n d y o u r p a r t n e r s it e x a c t ly

a s y o u d id f o r P a r t 1 .

1 T h is t im e , o n e p a r t n e r a id s t h e o t h e r b y t r a c in g w it h t h e ir f o r e f in g e r

a p e r f e c t c ir c le in th e s a m e p la c e a s t h e im a g in a r y o n e w a s .

2 T h e p a r t n e r w h o w a s n o t t r a c in g t h e c ir c le f o llo w s t h e tip o f t h e ir

p a r t n e r 's fin g e r a ll a r o u n d t h e c ir c u m f e r e n c e , n o t in g h o w t h e e y e s

fe e l a s th e y f o llo w th e fin g e r t ip .

3 T h e p e r s o n w h o is g u id in g f o llo w s c lo s e ly , a s b e f o r e , t h e e y e

m o v e m e n t s o f t h e ir p a rtn e r.

4 D u rin g t h is e x e r c is e , d o n o t w h ip y o u r f in g e r a r o u n d t o o q u ic k ly o r

in m u ltip le c ir c le s a n d d o n o t t r y t o h y p n o t is e y o u r p a r t n e r !

5 W h e n th is h a s b e e n c o m p le t e d , r e v e r s e r o le s a n d t h e n d is c u s s

w h a t y o u n o tic e d a b o u t y o u r p a r t n e r ’s e y e s a n d y o u r o w n .

M o s t p a r t n e r s fin d th a t, in t h is e x e r c is e , t h e e y e s f o llo w t h e g u id e

s m o o th ly a n d a r e m o r e c o m f o r t a b le d o in g s o ( F ig u r e 4 . 1 b ) . T h is is

b e c a u s e th e h u m a n e y e is

d e s ig n e d to f o llo w m o v e m e n t ,

b e c a u s e it is m o v e m e n t in th e

e n v ir o n m e n t th a t g iv e s m u c h

s u r v iv a l in fo r m a tio n .

O n c e a g a in it s e e m s th a t t h e c h ild

w a s c o r r e c t in th e ir a c t io n s , a n d

so w ere y o u w h e n e v e r you used

a g u id e t o a s s is t y o u in a n y f o r m

o f in fo r m a tio n g a th e r in g . A s t h is

e x e r c is e d e m o n s t r a t e s , e y e s Figure 4.1b Pattern showing aided

fo llo w in g a g u id e a r e m u c h m o r e eye movement around the circum­
r e la x e d a n d e ffic ie n t. ference of a circle

What’s the best way to use a guide?

As your eye is designed to follow a guide, as you pro b a b ly used a
g u id e as a c h ild for yo u r n o rm a l re a d in g , a n d a s y o u have a ls o

( 3 The Speed Reading Book

p ro b a b ly u s e d a g u id e in d iffe re n t a s p e c ts o f y o u r re a d in g th ro u g h ­
o u t y o u r life, it is ve ry e a s y to re -le a m th is skill
A s d e s c rib e d a t th e b e g in n in g o f th is ch a p te r, it is b e s t to u se a
lo n g th in o b je c t, s u c h a s a s lim p e n o r p e n c il, a c h o p s tic k o r a kn it­
tin g n e e d le . T h is w ay. th e g u id e d o e s n o t b lo c k y o u r v ie w o f th e
p a g e b e c a u s e y o u c a n e a s ily se e a ro u n d it. F or th is re a so n , it is not
a p a rtic u la rly g o o d id e a to u s e y o u r h a n d o r finger, u n le s s n o o th e r
g u id e is a v a ila b le , b e c a u s e th e th ic k n e s s o f y o u r fin g e r a n d th e
v o lu m e o f y o u r p a lm w ill b lo c k m u c h o f yo u r vision.
To m a k e th e m o s t e ffe c tiv e u s e o f th e g u id e , s im p ly p la c e it
u n d e rn e a th th e lin e y o u a re re a d in g a n d m o v e th e g u id e a lo n g
s m o o th ly a s y o u re a d . D o n o t a tte m p t to je rk it a lo n g in id e a l fixa­
tio n g ro u p s - y o u r re a d in g b ra in w ill in s tru c t y o u r e y e s w h e re to
s to p a s y o u m o v e th e g u id e s m o o th ly a lo n g th e line

Moving the guide

A n im p o rta n t q u e s tio n at th is ju n c tu re is: d o y o u n e e d to m o v e th e
g u id e a lo n g th e e n tire lin e ? T h e
a n s w e r to th is q u e s tio n m a y be
fo u n d in the c o m m o n k n o w le d g e
th a t s p e e d re a d e rs re a d d o w n
th e m id d le ’ o f th e p a g e . T h is is
o fte n m is in te rp re te d a s m e a n in g
th a t th e ir e y e s g o in a s tra ig h t
line d o w n th e c e n tre This is no t
th e ca se W hat they d o is to read
d o w n th e m id d le s e c tio n o f th e
pa ge.
T h is is b e c a u s e the eyes c a n
s e e u p to fiv e o r six w o rd s a t a
tim e , s o th e y c a n e a s ily fixa te
a fte r th e b e g in n in g a n d b e fo re
th e e n d o f th e line, th u s ta k in g in
th e in fo rm a tio n to th e s id e
(F igure 4.2). Figure 4.2 Illustration showing the
The g u id e therefore m inim ises correct position tor using the visual
th e a m o u n t o f w o rk y o u r e ye s reading guide

G u id ing th e ey es
have to do. keeps your brain focused, and gives you constant accelera­
tions in reading speed while maintaining high comprehension It takes
less than an hour to re-establish this mental habit
In Self-test 3, you can com bine w hat you previously learnt about
your eye m ovem ents w ith w hat you have just learnt a b o u t g u id in g
your eyes. It is advisable to p ra ctise u sing the g u id e for tw o m in ­
utes on m aterial you have a lre a d y re a d in th is b o o k a n d th e n to
jum p straight into the self-test.

SELF-TEST 3

Animal in tellig en ce
Part 1: A Whale of a Com m unicator, by Mowgli
A C a n a d ia n s c ie n tis t h a s fo u n d t h a t k ille r w h a le s s p e a k a n u m b e r o f d iffe r e n t

la n g u a g e s in a n u m b e r o f d iffe re n t d ia le c ts . T h e d iffe re n c e s b e t w e e n th e d ia le c ts

c a n b e a s s m a ll a s th o s e d is tin g u is h in g r e g io n a l d ia le c t s o f a n y n a t io n a l la n ­

g u a g e . o r a s la rg e a s th o s e b e tw e e n th e E u ro p e a n a n d A s ia n la n g u a g e s .

Super-intelligent linguistic club

T h is f in d in g p la c e s t h e w h a l e s in a s u p e r - in t e llig e n t lin g u is t ic c lu b a m o n g

m a m m a ls - a c lu b th a t in c lu d e s h u m a n s , m a jo r p r im a t e s , a n d h a r b o u r s e a ls .

(C u rre n t re s e a rc h s u g g e s ts th a t s o u n d s p ro d u c e d b y o th e r m a m m a ls a re

d e te r m in e d g e n e tic a lly , a lth o u g h t h e r e is a g r o w in g b a n d o f r e s e a r c h e r s w h o

c o n s id e r th a t m o s t a n im a ls a r e f a r m o r e lin g u is tic a lly in te llig e n t t h a n w e h a v e

p r e v io u s ly a s s u m e d , a n d a re s p e c i e s - w i d e a n d in d iv id u a lly c r e a t iv e in t h e ir

c o m m u n ic a t io n .)

J o h n F o rd . C u r a to r o f M a r in e M a m m a l s a t t h e V a n c o u v e r P u b lic A q u a r iu m

in B ritis h C o lu m b ia , h a s b e e n s tu d y in g c o m m u n ic a t io n s b e t w e e n k ille r w h a le s

f o r a d e c a d e . H e o b s e r v e s th a t k ille r w h a le d ia le c t s a r e m a d e u p o f t h e w h is ­

tle s a n d c a lls th e a n im a ls u s e w h e n c o m m u n ic a t in g u n d e r w a te r. T h e s e c a lls

a re q u ite d is tin c t f r o m th e h ig h -e n e r g y , s o n a r - lik e c lic k s ’ t h a t t h e w h a le s e m it

w h e n n a v ig a tin g b y e c h o -lo c a t io n .

K ille r w h a l e s a r e a c t u a ll y m e m b e r s o f t h e d o l p h in f a m il y , a n d a r e t h e

la r g e s t in t h e fa m ily . T h e ir n a m e is a m is n o m e r , t h e r e b e in g n o r e c o r d t h a t o n e

h a s e v e r a tt a c k e d a h u m a n - o n t h e c o n t r a r y t h e r e a r e a n u m b e r o f r e c o r d s

th a t t h e s e w h a le s , lik e d o lp h in s , h a v e o f t e n h e lp e d h u m a n s .

The Speed Reading Book

Whistling w h ales
P e r h a p s a m o v e m e n t s h o u ld b e s t a r t e d t o h a v e t h e m r e n a m e d - t h e W h is t le r

W h a le ' o r W h i s t l i n g W h a l e s ' w o u l d b e m o r e a p p r o p r i a t e , a p a r t f r o m b e in g

m o r e o n o m a to p o e ic .

W h is t li n g W h a l e s a r e f o u n d in a ll t h e m a j o r o c e a n s o f t h e w o r l d , f r o m t h e

w a r m e s t , in t h e t r o p i c s , t o t h e c o ld e s t in t h e A r c t ic a n d A n t a r c t i c . T h e la r g e s t

c o n c e n t r a t io n s a r e f o u n d o f f t h e c o a s t o f t h e c o o l c o u n t r ie s , in c lu d in g Ic e la n d

and C anada.

T h e p o p u l a t i o n F o r d s t u d ie d n u m b e r e d a p p r o x im a t e ly 3 5 0 w h o liv e f o r t h e

e n t ir e y e a r o f f t h e c o a s t o f B r itis h C o lu m b i a a n d n o r t h e r n W a s h i n g t o n S t a t e in

A m e r ic a . T h e w h a le s h a v e f o r m e d t w o s e p a r a te c o m m u n itie s w h ic h ro a m

t h r o u g h a d j a c e n t t e r r it o r ie s .

T h e n o r t h e r n c o m m u n it y w h ic h c o n s is t s o f 1 6 f a m ily g r o u p s , o r p o d s ,

r a n g e s f r o m m id - V a n c o u v e r Is la n d to t h e s o u t h - e a s t e r n t ip o f A la s k a . T h e

m e m b e r s o f t h e s m a l l e r s o u t h e r n c o m m u n i t y d i v i d e t h e m s e l v e s in t o t h r e e

p o d s a n d w a n d e r f r o m t h e b o r d e r o f t h e n o r t h e r n c o m m u n i t y a ll t h e w a y

s o u t h in t o P u g e t S o u n d a n d G a r y ’s H a r b o u r .

F o r tu n a te ly , m o s t s o u n d s p r o d u c e d b y W h is tlin g W h a le s a r e w ith in th e

r a n g e o f h u m a n h e a r in g . F o r d 's r e s e a r c h is t h e r e f o r e e a s y t o c a r r y o u t - he

s im p ly d a n g le s a h y d r o p h o n e o v e r t h e s id e o f t h e b o a t, a n d a m p lif ie s th e

s o u n d s e le c t r o n ic a lly , r e c o r d i n g t h e m o n a t a p e r e c o r d e r .

T h r o u g h h is r e s e a r c h F o rd h a s b e e n a b le to id e n tify th e d ia le c t o f e a c h

p o d . H e h a s f o u n d th a t, o n a v e r a g e , a p o d m a k e s 1 2 d is c r e t e c a lls . E a c h

m e m b e r o f t h e p o d is a b le t o . a n d d o e s , p r o d u c e t h e f u ll s e t o f w h is t le s a n d

c a l ls . T h e s y s t e m o f t h e s e w h i s t l e s a n d c a l ls is d if f e r e n t , b o t h q u a n t it a t i v e l y

a n d q u a lit a t iv e ly , f r o m t h o s e o f o t h e r d o l p h in s a n d w h a l e s .

M o s t c a lls a r e u s e d o n ly w it h in a p o d . b u t s o m e t im e s o n e o r m o r e a re

c o m m o n b e tw e e n p o d s .

Com m on an cesto rs
In t e r e s t i n g ly . F o r d h a s f o u n d t h a t t h e s e d ia l e c t s a r e p a s s e d f r o m g e n e r a t i o n t o

g e n e r a t i o n w it h in e a c h p o d . le a d in g h im t o s p e c u l a t e t h a t g r o u p s w h ic h s h a r e

c a lls a re p r o b a b ly d e s c e n d e d f r o m a c o m m o n a n c e s t o r o r a n c e s to r s . T h e

m o r e c a l ls t w o p o d s h a v e in c o m m o n , t h e c l o s e r t h e f a m i l y r e la t io n s h ip .

T h i s p h y lo - g e n e t ic lin k b e t w e e n d ia le c t a n d p o d h a s e n a b le d F o rd t o e s t im a t e

h o w lo n g it t a k e s f o r a s e p a r a t e d ia le c t t o e m e r g e . T h e r a t e o f c h a n g e a p p e a r s

G u id ing th e e y es
to b e v e r y s lo w .’ h e s a y s . ‘It [a d ia le c t] m u s t re q u ire c e n tu r ie s to d e v e lo p ,' th e

im p lic a tio n b e in g th a t s o m e d ia le c ts c o u ld b e th o u s a n d s o f y e a r s o ld .

O n e n e w f o c u s o f F o r d 's r e s e a r c h h a s b e e n t h e c o r r e la t io n b e t w e e n t h e

b e h a v io u r o f W h is t lin g W h a le s a n d t h e c a lls t h e y m a k e . S o f a r h e h a s n o t

fo u n d a g r e a t c o r r e la tio n , a lth o u g h h e h a s f o u n d t h a t c a lls a re fa s te r, h ig h in

p itc h , a n d m o r e f r e q u e n t w h e n a n a n im a l is e x c ite d .

F o rd c u r r e n t ly b e lie v e s t h a t , t a k e n t o g e th e r , t h e c a lls f o r m a n e la b o r a t e

c o d e o f p o d id e n tity w h ic h e n a b le s W h is t le r W h a le s t o id e n t if y f e l lo w m e m ­

b e rs o f th e ir p o d . T h is is e s p e c ia lly im p o r t a n t f o r k e e p in g t h e f a m ily t o g e th e r

w h e n c o lle c tio n s o f p o d s , k n o w n a s s u p e r - p o d s , s w im to g e th e r .

S o fa r . F o r d h a s n o t b e e n a b le t o id e n t if y a g r a m m a t ic a l s t r u c t u r e in

W h is tle r W h a le c o m m u n ic a t io n . B u t h e is im p r e s s e d b y its a c o u s t ic s o p h is t i­

c a t io n : T h e y seem t o h a v e a v e r y h ig h ly d e v e l o p e d , e f f i c i e n t w a y o f

c o m m u n ic a t in g t h a t is s o m e t h in g w e c a n o n ly p a r t ly u n d e r s t a n d a t t h is

p o in t,' h e s a y s . I th in k , a s t im e g o e s o n . w e w ill g e t a m u c h b e t te r a p p r e c ia ­

tio n o f ju s t h o w r e m a r k a b ly a d a p te d w h a le s a r e t o t h e ir u n iq u e e n v ir o n m e n t .'

Part 2: Dolphins, by P rofessor M ichael Craw ford

a nd Mowgli
In t e r m s o f R u d y a r d K ip lin g ’s d e f in it io n o f le a r n in g a s w h a t, w h y . w h e n ,

w h e r e , a n d w h o ’, m a n y p e o p le f e e l t h a t t h e c e t a c e a n s ( th e w h a le f a m ily ) a re

th r e e s e r v in g m e n s h o r t ' b e c a u s e t h e r e is ‘n o e v id e n c e ’ t h a t t h e y c a n c o m ­

m u n ic a t e o n m a t t e r s o f w h e n , h o w a n d w h y . S o m e y e a r s a g o I w a s d u t y

o f f ic e r a t W h ip s n a d e Z o o w h e n a n u n s c h e d u le d p e r f o r m a n c e w a s e x e c u t e d

b y th e d o lp h in s .

O n e o u t o f t h r e e b o t t le - n o s e d d o lp h in s {Tursiops truncatus) a p p e a r e d to

b e s ic k ly a n d a n a tt e m p t w a s m a d e t o c a t c h h er. T h e r e s p o n s e w a s t h a t h e r

t w o c o lle a g u e s c lo s e d in a n d s w a m in t ig h t f o r m a t io n o n e it h e r s id e o f h e r.

p r e v e n tin g th e p la c in g o f t h e n e t.

T h e s o lu tio n w a s to c h a s e th e m in to th e s m a ll s id e p o o l a n d b rin g d o w n th e

s e p a ra tin g s lu ic e -g a te to m a k e th e b u s in e s s e a s ie r. T h e d o lp h in s ’ re s p o n s e w a s

o n e o f g r e a t a g ita tio n , w h ic h s u b s id e d w h e n t h e y lin e d u p a g a in in f o r m a t io n

a n d d iv e d to th e b o tto m o f th e p o o l. In u n is o n , t h e y s q u e e z e d th e ir n o s e s u n d e r

th e b o tto m o f th e s lu ic e -g a te , flic k e d it u p a n d s w a m to f r e e d o m .

T h a t r a th e r s u g g e s ts th e y w e r e c a p a b le o f d e a lin g w it h ‘h o w ’ a n d w hen’

a n d . a t th e s ta rt, h a d c e r ta in ly c o m e t o a c o n c lu s io n a b o u t w h y .

The Speed Reading Book

 It is c o n s e q u e n t ly s o m e w h a t s e n s e le s s to t r y t o c o m p a r e t h e b ra in f u n c ­

t io n o f Homo sapiens w it h Tursiops truncatus w it h o u t p r o p e r ly d e f in in g th e

g r o u n d r u l e s . A c o m p a r i s o n o f f u n c t io n m i g h t b e a m o r e a p p r o p r ia t e

a p p r o a c h t h a n in te llig e n c e '. D iffe re n t s p e c ie s h a v e d iffe r e n t s e t s o f p r o b le m s

a n d th e r e fo r e th e r e a r e d iffe r e n t c o m p u t e r d e s ig n s t o d e a l w it h t h e m . S o m e

c o m p u t e r s a r e v e r y c le v e r a t h a n d lin g id e a s , w h e r e a s o t h e r s a r e b e t t e r a t

h a n d lin g n u m b e r s .

T h is h ig h d e g re e o f c e r e b e l la r d e v e l o p m e n t in t h e d o lp h in f a m il y

is lik e ly t o b e r e la t e d t o t h e f a c t t h a t t h e a n im a l o p e r a t e s in a t h r e e -

d im e n s io n a l m a n n e r . L ik e t h e b ir d s , it h a s a r e q u ir e m e n t f o r c o o r d in a tio n in

t h r e e d im e n s io n s w h ic h th e c e r e b e llu m s e r v e s .

In J o h n L ily 's fa m o u s w o rk , b lin d fo ld e d d o lp h in s w e r e fo u n d to b e a b le to u s e

th e ir e c h o -lo c a tio n fu n c tio n to d is tin g u is h , a t a d is ta n c e , b e tw e e n o b je c ts a c c o r d ­

in g to t h e ir d e n s ity . S u c h d a ta s u g g e s ts a n in te rp r e ta tiv e s y s t e m . U s u a lly , th e

e c h o -lo c a tio n s y s te m is th o u g h t o f a s o n ly o ffe n n g a m e a n s w h e r e b y th e d o lp h in

c a n lo c a te its fo o d . A ra n g e o f th e d o lp h in s c a lib re , u s e d fo r d is c n m in a tio n . h a s

to b e m a tc h e d b y a n e u ro n a l n e tw o r k c a p a b le o f m a k in g s e n s e o u t o f th e s ig n a l-

t o -n o is e ra tio s , ju s t a s w e m a k e s e n s e o u t o f w h a t w e s e e w ith o u r e y e s .

A g la n c e a t a b a b y d o lp h in ’s b ra in s u g g e s ts a d e n s e ra th e r th a n lo o s e n e u ­

ro n a l p a c k in g , a n d a s e a c h n e u r o n e m a k e s 6 0 0 0 o r m o r e c o n n e c tio n s w it h

o t h e r n e u r o n e s , th e lik e lih o o d th a t s u c h a b ra in d o e s little o r n o th in g w it h its

s e n s o r y in p u ts is , I w o u ld s u g g e s t, ra th e r r e m o te .

It is p o s s ib le , f o r e x a m p le , t h a t t h e c a p a c it y o f th e d o lp h in b ra in o ffe r s it a

p o t e n t ia l f o r m e m o r is i n g a u d io m a p s o f t h e o c e a n g e o g r a p h y . In d e e d , a s

f is h e r f o lk k n o w , th e f is h a n d s q u id a r e n o t ju s t f o u n d a n y w h e r e b u t in t h e ir

o w n f e e d i n g g r o u n d s w h ic h r e la t e t o t h e g e o g r a p h y a n d g e o lo g y o f t h e

o c e a n , its c u r r e n t, r o c k a n d o th e r f o r m a t io n s o n w h ic h m a r in e life g r o w s .

T h e d o lp h in m a y . f o r a ll w e k n o w , ‘s e e ’ s o u n d . It is a n e x t r a o r d in a r y fa c t

t h a t s o m e p e o p le w h o a r e u n u s u a lly g if t e d w it h m e m o r y m a y a c t u a lly ta lk o f

h e a r in g c o lo u r a n d s e e in g s o u n d .

T h is m ig h t b e e x p e c te d f r o m a n u n u s u a lly la r g e n u m b e r o f s y n a p t ic c o n ­

n e c tio n s e n a b lin g t h e b ra in to c r o s s - r e f e r e n c e in f o r m a t io n t o a h ig h e r d e g re e .

If t h a t is c o n c e iv a b le , is it n o t a ls o p o s s ib le t h a t o u r v ie w o f t h e c e t a c e a n s '

in a b ility to c o m m u n ic a t e , b a s e d o n t h e p o o r v a r ie t y o f t h e n o is e s t h e y m a k e ,

is m is le a d in g ? J u s t b e c a u s e w e c o m m u n ic a t e w it h w o r d s in t h e m id d le ra n g e

o f o u r a u d io d e t e c t io n fr e q u e n c y , d o e s t h a t m e a n t h e c e t a c e a n s h a v e t o d o

Guiding the eyes

th e s a m e ? W ith s u c h a w id e fr e q u e n c y ra n g e a t t h e ir d is p o s a l, t h e y m a y b e
d o in g a b s o lu te ly n o th in g , o r a lo t. w it h o u t k n o w in g a b o u t it. If a d o lp h in d id
ta k e a v ie w o n o u r c a p a b ilitie s in u s in g s o u n d , it w o u ld . I s u s p e c t, b e th a t w e

a re p re tty p rim itiv e !

T h e tro u b le is th a t w e a n a ly s e o th e r s p e c ie s b y re la tin g th e m to o u rs e lv e s .
P e o p le o fte n c o n c lu d e th a t d o g s a n d o t h e r a n im a ls a r e h ig h ly in t e llig e n t
b e c a u s e th e y c a n p e rfo rm s im p le tric k s if w e tra in th e m . T h e f a c t th a t Homo
sapiens c a n c a p tu re c e ta c e a n s , p la c e th e m in s e n s o r y -d e p riv e d e n v iro n m e n ts
a n d m a k e th e m p e rfo rm a s b a s k e tb a ll p la y e rs to g e t th e ir fo o d , s im p ly d e m o n ­
s tra te s th e p o w e r o f c e r ta in c o n d itio n in g te c h n iq u e s , a n d p e rh a p s th e w a s tin g
o f a n o p p o rtu n ity to e s ta b lis h g re a te r c o m m u n ic a tio n b e tw e e n th e s p e c ie s .

R e d u c in g th e v a s t in te llig e n c e o f th e s e m a g n ific e n t a n im a ls t o m e r e p a rty

tn c k s is a m in im a lis t, d e m e a n in g a n d u ltim a te ly u n re w a rd in g a p p ro a c h .
W e w o u ld d is p la y o u r o w n in te llig e n c e a n d h u m a n ity m o re a d e q u a te ly b y
e x a m in in g th e v a s t ra n g e o f a b ilitie s o f o u r f e llo w c r e a tu r e s m o r e h u m a n e ly
a n d in te llig e n tly .

STOP YOUR TIMER NOW!

Length of time:_______ min

N e x t, c a lc u la te y o u r re a d in g s p e e d in w o r d s p e r m in u te ( w p m ) b y d iv id in g th e
n u m b e r o f w o rd s in th e p a s s a g e (in th is c a s e . 1 5 8 0 ) b y th e tim e (in m in u te s )
y o u to o k .

n u m b e r of w o rd s
W o r d s p e r m in u t e ( w p m ) =
t im e

W h e n y o u h a v e c o m p le te d y o u r c a lc u la tio n , e n te r th e n u m b e r in th e w p m s lo t
a t th e e n d o f th is p a r a g r a p h a n d a ls o e n t e r it o n y o u r p r o g r e s s g r a p h a n d
c h a rt o n p a g e s 2 2 2 - 3 .

Words per minute:

Self-test 3: Com prehension

1 K ille r w h a le s s p e a k :

(a ) a n u m b e r o f d iffe re n t la n g u a g e s in a n u m b e r o f
d iffe re n t d ia le c ts

The Speed Reading Book

 (b ) o n e la n g u a g e in m a n y d iffe r e n t d ia le c ts

(c ) t w o d iffe r e n t la n g u a g e s in a s in g le d ia le c t e a c h

(d ) t h e s a m e la n g u a g e in a n u m b e r o f d iffe r e n t d ia le c ts

2 W h a le s a r e in a d iffe r e n t lin g u is tic c lu b ' f r o m t h a t o f

h u m a n s , m a jo r p r im a te s a n d h a r b o u r s e a ls . True/False
3 K ille r w h a le d ia le c ts a re m a d e u p o f t h e w h is t le s

a n d c a lls th e a n im a ls u s e w h e n :

(a ) n a v ig a tin g b y e c h o -lo c a t io n

(b ) c o m m u n ic a t in g u n d e r w a t e r

(c ) m a k in g lo v e

(d ) w a r n in g o f d a n g e r

4 R e c o r d s s h o w th a t k ille r w h a le s h a v e :

(a ) o c c a s io n a lly a tta c k e d h u m a n s

(b ) r e g u la r ly a tta c k e d h u m a n s

(c ) n e v e r a tta c k e d h u m a n s

(d ) a tta c k e d b u t n o t k ille d h u m a n s

5 W h is tlin g W h a le s a re fo u n d in:

(a ) o n ly w a r m o c e a n s

(b ) o n ly c o o l o c e a n s

(c ) o n ly in th e A tla n tic a n d A r c t ic O c e a n s

(d ) a ll t h e m a jo r o c e a n s o f th e w o r ld

6 A f a m ily g r o u p o f w h a le s is c a lle d a n a n o p o d . True lFalse

7 M o s t s o u n d s p r o d u c e d b y W h is t lin g W h a le s a re :

(a ) a b o v e th e ra n g e o f h u m a n h e a rin g

(b ) b e lo w th e ra n g e o f h u m a n h e a n n g

(c ) w ith in th e ra n g e o f h u m a n h e a rin g

(d ) u n d e te c ta b le

8 A n a v e r a g e f a m ily o f w h a le s m a k e s h o w m a n y d is c r e te c a lls ?

(a) 8
(b ) 10

(c) 12
(d ) 20

9 W h a le d ia le c ts a re :

(a ) a f a ls e la b e l

(b ) p a s s e d f r o m g e n e r a tio n to g e n e ra tio n

Guiding the eyes

 (c ) d iffe r e n t f r o m g e n e r a tio n t o g e n e ra tio n

(d ) fu n d a m e n ta lly a ll th e s a m e

10 F o rd e s tim a te d th a t a d ia le c t t a k e s h o w lo n g to d e v e lo p ?

(a ) a year

(b ) 1 0 y e a rs

(c ) a g e n e ra tio n

(d ) c e n tu r ie s

1 1 J o h n F o rd , b y s tu d y in g th e ‘a c o u s t ic s o p h is t ic a tio n ' o f th e

W h is tlin g W h a le , h a s a t la s t id e n tifie d t h e b a s ic g r a m m a t ic a l

s tr u c tu r e in t h e ir c o m m u n ic a t io n . True/False
12 T h e h ig h d e g r e e o f c e r e b r a l d e v e lo p m e n t in th e

d o lp h in fa m ily is lik e ly to b e r e la te d t o t h e f a c t th a t:

(a ) it n e e d s a la r g e b ra in to c o m m u n ic a t e

(b ) it o p e r a te s in a t h r e e -d im e n s io n a l m a n n e r

(c ) its o c e a n ic e n v ir o n m e n t a llo w s f o r g r e a t e r b ra in s iz e

(d ) it h a s h a d m a n y m o r e c e n tu r ie s t h a n h u m a n b e in g s t o e v o lv e

13 In J o h n L ily ’s f a m o u s b o o k , b lin d fo ld e d d o lp h in s w e r e fo u n d t o b e a b le

t o u s e th e ir e c h o -lo c a t io n fu n c tio n t o d is t in g u is h , a t a d is t a n c e , b e t w e e n

o b je c ts a c c o r d in g t o th e ir:

(a ) shape

(b ) te x tu re

(c ) d e n s ity

(d ) c o lo u r

14 A g la n c e a t a b a b y d o lp h in ’s b ra in s u g g e s ts a lo o s e

n e u ro n a l p a c k in g . True/False
15 T h e d o lp h in ’s b ra in m a y :

(a ) h e a r c o lo u r s

(b ) ta s te s o u n d

(c ) see sound

(d ) ta s te c o lo u r

C h e c k y o u r a n s w e r s a g a in s t t h o s e o n p a g e 2 1 6 . T h e n d iv id e y o u r s c o r e b y

1 5 a n d m u ltip ly b y 1 0 0 t o c a lc u la t e y o u r p e r c e n ta g e c o m p r e h e n s io n .

The Speed Reading Book

 Comprehension score:_______ out of 14

_______per cent

Now enter your score on your progress graph and chart on pages 2 2 2 -3 .

Immediately re-read this chapter quickly, using a guide to do so.

O n c e you have done that, use a guide on the next newspaper or
m agazine that you read. Occasionally push yourself with the guide,
reading a little bit too fast for comfort. This will gradually strengthen
the m uscle' of your speed and com prehension, in the sam e way
that gradually using heavier weights in the gym increases your
physical muscular strength
You have now graduated from the lower echelons of normal fast
readers to the first rungs of the speed readers' ladder In the next chap­
ter we break more boundaries by showing you the advanced uses of
the guide and taking you into the realms of the super-speed reader

Guiding the eyes

 5

Expanding your
visual power
In Chapter 4 you discovered that your eye was capable of
taking in more words per horizontal fixation. You are now
going to do a series of exercises to prove that your percep­
tual abilities stretch far beyond even your current improved
capability (Figure 5.1).

inch you enter the .

-our central image, is »
d positions your central S
m middle image in the middle of iy die same way as you di
es and branches, each r
in your computer. A*
a b c d ' 4 sub-brand-

F ig u re 5.1 D ev elo pm e nt o f in c re a s e d v isua l H eld in a d v an ce d readers.

(a ) Focus on a single letter, a s w hen a c h ild firs t te a m s lo re a d by Ih e phonic
m ethod, (b ) Focus on a single w ord (th e p o o r lo av era g e re a d e r), (c ) Focus
on five w ords a t a tim e (the good re a d e r), (d ) Focus on groups o r b unches o l
w ords (the ad v a n c e d re a d e r).
 EXERCISE

M easure your horizontal a n d vertical vision

Figure 5.2 Measuring your horizontal and vertical vision

This is a two-part exercise:

1 First, looking straight into the distance and keeping your focus on
a point as far away as possible, touch the tips of your two
forefingers together, horizontally in front of you, 7.5 cm (3 inches)
from the bridge of your nose.

2 Begin wriggling the bps of your forefingers and slowly pull them
apart along a horizontal line, keeping your eyes focused in the
distance (Figure 5.2a).

3 When you can no longer see the movement of the bps of your
fingers out of the comers of your eyes, stop and measure the
distance of your horizontal vision.

4 In the second part of the exercise, do exactly the same, but this bme
placing the bps of your fingers vertically (Figure 5.2b). Again, wriggle
them and slowly pull your fingers apart unbl you can no longer see
the movement out of the top and bottom of your field of vision.

5 Now stop and measure the distance of your verbcal vision.

The Speed Reading Book

The results
A m a z in g , w a s n 't it? P e o p le o fte n fin d th a t th e ir h o riz o n ta l v is io n is
a s fa r a s th e ir a r m s c a n s tre tc h . T h e v e rtic a l v is io n is s lig h tly le s s
b u t o n ly b e c a u s e o f th e e y e b ro w b o n e .
H o w is th is p o s s ib le 9 T he a n s w e r lies in th e w a y th e h u m a n e y e is
d e s ig n e d . E a c h o f y o u r e y e s h a s 1 30 m illio n lig h t-re ce ive rs in its re tin a
w h ic h m e a n s th a t y o u h a v e 2 6 0 m illio n re ce ive rs o f lig h t in total.
W h a t p e r c e n ta g e o f y o u r e y e s d o y o u th in k is d e v o te d to y o u r
c le a r o r c e n tra l fo c u s , a n d w h a t p e rc e n ta g e is d e v o te d to y o u r s id e
o r p e rip h e ra l fo c u s ? F ill in y o u r a n s w e rs b e lo w :

C e n tra l f o c u s : ___________

S id e fo c u s ___________

In fa c t, y o u r c le a r fo c u s h a s le s s th a n 2 0 p e r c e n t o f th e e y e /b ra in
s y s te m d e v o te d to it. w h ile y o u r p e rip h e ra l fo c u s h a s a s ta g g e rin g
8 0 p e r c e n t T h is m e a n s th a t, o f th e 2 6 0 m illio n lig h t-re c e iv e rs y o u
h a v e w o rk in g fo r y o u . o v e r 2 0 8 m illio n a re d e v o te d to y o u r p e rip h ­
e ra l v is io n .
W h y is s u c h a la rg e p e rc e n ta g e d e v o te d to th is 9 T h e re a s o n is
th a t m o s t o f th e e v e n ts in th e u n iv e rs e h a p p e n a ro u n d y o u r c e n tra l
fo c u s , a n d it is e s s e n tia l fo r y o u r s u rv iv a l th a t y o u r b ra in b e a w a re
o f e v e ry c h a n g e in y o u r e n v iro n m e n t in o rd e r to d ire c t y o u to w a rd s
w h a t y o u n e e d a n d a w a y fro m d a n g e r.
In tr a d itio n a l m e th o d s o f te a c h in g r e a d in g , w e h a v e c o n c e n ­
tr a te d o n ly o n th e c le a r fo c u s v is io n , th u s u s in g le s s th a n 2 0 p e r
c e n t o f th e v is u a l c a p a c it y a v a ila b le to u s . a n d u s in g e v e n th a t
s m a ll p e rc e n ta g e in a n u tte rly in a p p ro p ria te w ay.
F a m o u s s p e e d r e a d e rs s u c h a s A n to n io M a g lia b e c h i, J o h n
S tu a r t M ill a n d P re s id e n t K e n n e d y (s e e p a g e s 8 4 - 7 ) a ll tr a in e d
th e m s e lv e s to u tilis e th e v a s t u n ta p p e d p o te n tia l o f th e ir p e rip h e ra l
v is io n . Y ou c a n d o th e s a m e .

Expanding your visual power

 EXERCISE

S e e in g with y o u r m in d ’s e y e
You are about to perform an experiment in perception that will
astonish you and will change you for life. What you will be doing in
this experiment is disconnecting your brain from your clear focus and
actively seeing with your mind's eye.
When you have read this paragraph, turn to page 83 and place
your finger directly underneath the word memory' in the middle of the
text. Keeping your eye totally focused on that central word:

1 See how many words you can see to either side of the central
word without moving your eyes.

2 See how many words you can see clearly above and below the
word you are pointing at.

3 See whether you can tell if there is a number at the top or bottom
of the page and, if so, what it is.

4 See whether you can count the number of paragraphs on the page.

5 See whether you can count the number of paragraphs on the

opposite page.

6 Can you see whether there is a diagram on either of the pages?

7 If you can see the diagram or illustration, can you clearly or

roughly determine what it is?

Figure 5.3 The Magic Eye illustration is composed ol two pictures, each
consisting ol thousands of dots. It is your brain, not your eyes, that
lantastically combines these into a clear image. This is the process that
The Speed Reading Book teaches you how to use in order to become a
super-speed reader. A clue to help you see’ this image is that it relates
perfectly to this book. (® 2009 Magic Eye Inc.)

| The Speed Reading Book

E x p a n d in g y o u r v is u a l p o w e r
The results
M o s t p e o p le h a v e n o p ro b le m s w ith th is re a d in g -w ith -y o u r-b ra m
e xe rcise T h is e a sy e x e rc is e d e m o n s tra te s th a t y o u r b ra in a c ts a s a
g ia n t c e n tra l e y e th a t s c a n s th e e n tire w o rld b e h in d th e le n s e s o f
y o u r p h y s ic a l eyes.
W h e re a s m o s t p e o p le s p e n d th e ir liv e s w ith th e ir b ra in s s h a c k ­
le d to th e tu n n e l v is io n o f d ire c t fo c u s , th e b e tte r re a d e rs , th in k e rs
a n d s u rv iv o rs u se th e fu ll ra n g e o f th e ir b ra in 's v is u a l skills

Central eye perception

Your brain’s ability to see w ith its central eye w as w ell tested in th e p o p ­
ular arena with the M a g ic Eye series o f books. These b o o k s w ere based
on the g ro u n d -b re a kin g w o rk o f P rofessor B ela J u le sz o f th e S ensory
and Perceptual P rocess D epartm ent o f Bell Telephone Laboratories.
J u le sz s im a g e s are c o m p o s e d o f tw o s e ts o f fin e ly w o v e n d o ts
E ac h s e t fo rm s p a rt o f a n im a g e E a c h e y e ta k e s in a p a rt, s e e in g
only a flat re p re s e n ta tio n Your s ta g g e rin g ly s o p h is tic a te d b ra in p e r­
fo rm s a n a s to n is h in g ly c o m p le x m a th e m a tic a l a n d g e o m e tric fe a t,
c o m b in in g b o th im a g e s to g iv e d ra m a tic th re e -d im e n s io n a l p ic tu re s
th a t are s een n o t in external reality b u t o n ly b y th e b ra in (F ig u re 5.3).

Brain reading
T he re v o lu tio n a ry n e w a p p ro a c h b e in g o ffe re d to y o u in The S p e e d
R e a d in g B o o k is th a t, fro m n o w o n . y o u w ill re a d w ith y o u r b ra in as
th e c e n tra l fo c u s o f y o u r a tte n tio n , a n d n o t y o u r e yes.
Y our e y e s are a m illio n -fa c e te d p u p p e t; y o u r b ra in is th e m a s te r
p u p p e te e r
The su p e r-s p e e d rea d e r o f th e fu tu re w ill b e th e p e rs o n w h o c o m ­
b in e s p eripheral v isio n w ith C yclopean p e rc e p tio n (F igure 5 4) to ta ke
in. a s the a fo re m e n tio n e d M a g lia b e c h i w a s a b le to (se e a ls o p 8 5 ).
entire p a ra g ra p h s a n d p a g e s at a tim e - an a c c o m p lis h m e n t th a t, in
the light o f o u r n e w aw a re n e ss, n o w s e e m s fa r m o re a tta in a b le O n e
e a s y w a y to d o th is is to d e v e lo p y o u r fle d g lin g s k ill w ith th e g u id e
in to m o re a d v a n c e d m e ta -g u id m g te c h n iq u e s (se e C h a p te r 8)

T h e S p e e d R e a d in g B o o k
Figure 5.4 Fields of vision. The inner circled area shows the area of clear
vision available to the speed reader when the eye/brain system is used
properly. The outer circle shows the peripheral vision also available.

In a d d itio n to u s in g m e ta - g u id in g te c h n iq u e s , y o u c a n a ls o
e x p a n d th e u s e o f y o u r p e rip h e ra l a n d c e n tra l e y e p e r c e p tio n b y
h o ld in g th e b o o k a t a g re a te r d is ta n c e fro m y o u r e y e s th a n n o rm a l
B y d o in g s o , y o u a llo w y o u r p e rip h e ra l v is io n to s e e th e p a g e fa r
m o re c le a rly a s y o u re a d .
T h e tre m e n d o u s a d v a n ta g e o f th is is th a t, w h ile y o u r c le a r fo c u s
is re a d in g th e o n e . tw o o r th re e lin e s o n w h ic h y o u a re c o n c e n tra t­
in g . y o u r 'b ra in r e a d e r’ is u s in g its p e rip h e ra l v is io n to re v ie w w h a t
y o u h a v e a lre a d y re a d a n d p re v ie w th e te x t to c o m e In th is w a y. it
is v a s tly im p r o v in g y o u r m e m o ry o f th e m a te ria l y o u h a v e a lre a d y
c o v e re d a n d is a ls o p re p a rin g y o u fo r th e m a te ria l a h e a d , m u c h a s
a re c o n n a is s a n c e s c o u t p re p a re s tro o p s fo r s a fe r a n d m o re s p e e d y
m o v e m e n t a c ro s s u n k n o w n te rrito ry
A n a d d e d a d v a n ta g e o f th is s o ft fo c u s ’ a p p ro a c h is th a t y o u r eyes
h a v e to d o fa r le s s tig h t m u s c u la r fixa tin g . T h e y th e re fo re b e c o m e far
le s s tire d a n d y o u fe e l a b le to g o o n re a d in g fo r lo n g e r p e rio d s o f tim e
M a n y p e o p le fin d th a t, b y u s in g th is a p p ro a c h , s tiff n e c k s a n d
h e a d a c h e s , a c o m m o n p ro b le m fo r m a n y re a d e rs, a re e lim in a te d

Expanding your visual power

 Try usin g y o u r b ra in 's eye w hen you read a n yth in g . C o n tin u e
practising w ith your guide, o cca sio n a lly experim enting w ith taking
tw o lines at a tim e Always have your reading m aterial as far aw ay
from your eyes as you can com fortably manage.
You have now m ade the leap from being a norm al speed reader
(focusing prim arily on yo u r eyes) to b e in g a s u p e r-sp e e d reader
(focusing prim arily on your brain).
In the next chapter you will be introduced to skimming and scanning
techniques - fundamental m ethods by which we absorb specific data
and glean a general overview of the information that we need to take in.

A q u a r le t of fa m o u s s p e e d r e a d e r s

H e r e a re f o u r in d iv id u a ls w h o u s e d s p e e d re a d in g to e n a b le c o m p r e h e n ­

s io n . c o n c e n tr a tio n a n d re te n tio n o f r e s e a r c h a n d r e f e r e n c e T h is s m a ll

s e le c tio n o f g re a t p o litic a l, s c ie n tif ic a n d p h ilo s o p h ic t h in k e r s in d ic a t e s

th a t s p e e d re a d in g , c o m b in e d w it h t h e a b ility t o u n d e r s t a n d , r e c a ll a n d

u s e th e m a te r ia l y o u r e a d , p la y s a m a jo r ro le in a c h ie v in g s u c c e s s .

P rofessor C. Lowell L ees

P r o f e s s o r L e e s w a s c h a ir o f t h e S p e e c h D e p a r t m e n t a t t h e U n iv e r s it y

o f U t a h in t h e 1 9 5 0 s . W it h o u t h is k n o w in g it . h is r e a d in g s p e e d

in s p ire d o n e o f th e m a jo r a d v a n c e s in t h is fie ld .

A y o u n g s tu d e n t. E v e ly n W o o d , h a n d e d in h e r 8 0 - p a g e t e r m p a p e r to

th e p ro fe s s o r, e x p e c tin g h im to re a d it a t h is le is u r e a n d re tu rn it t o h e r

later. T o h e r s u rp ris e , h e t o o k th e p a p e r f r o m h er. c o m p le te d it in u n d e r te n

m in u t e s , g r a d e d it a n d h a n d e d it b a c k t o h e r, a s s h e s a t in s tu n n e d

a m a z e m e n t. E v e ly n , w h o w a s la te r t o b e c o m e o n e o f th e le a d in g fig u re s

in th e D y n a m ic R e a d in g m o v e m e n t , r e p o r t e d t h a t P r o f e s s o r L e e s r e a lly

h a d re a d h e r p a p e r. In th e e n s u in g c o n v e r s a tio n , s h e f o u n d t h a t n o t o n ly

w a s h e c o m p le te ly fa m ilia r w ith e v e ry th in g s h e h a d w ritte n , in c lu d in g all

h e r a rg u m e n ts , b u t a ls o h e w a s a w a r e o f a ll th e f la w s in h e r w o r k .

A s s u m in g t h e r e w e r e b e t w e e n 2 0 0 a n d 2 5 0 w o r d s p e r p a g e .

P r o f e s s o r L e e s h a d r e a d a n d f u lly c o m p r e h e n d e d E v e ly n ’s p a p e r a t a

s p e e d o f a p p r o x im a te ly 2 5 0 0 w o r d s p e r m in u t e . In s p ire d b y t h is . E v e ly n

re s e a r c h e d th e fie ld th o r o u g h ly a n d la te r w e n t o n to t e a c h re a d in g a t th e

U n iv e rs ity o f U ta h a n d e s ta b lis h h e r o w n D y n a m ic R e a d in g In s titu te .

The Speed Reading Book

President John F. K ennedy
P re s id e n t J o h n F. K e n n e d y is p e rh a p s th e m o s t f a m o u s s p e e d reader.
T h is is b e c a u s e h e e m p h a s is e d h is in te llig e n c e a n d m e n ta l c a p a c ity
d u rin g h is c a m p a ig n s a n d m a d e it p u b lic ly k n o w n th a t, h a v in g b e e n a
n o r m a l re a d e r w h o s e s p e e d w a s a p p r o x im a te ly 2 8 4 w o r d s p e r
m in u te , h e h a d s tu d ie d s p e e d re a d in g .
It b e c a m e w id e ly k n o w n t h a t h e w o r k e d a t th e s k ill u n til h e h a d
re a c h e d s p e e d s o f o v e r 1 0 0 0 w o rd s p e r m in u te . H e a ls o d e v e lo p e d
th e a b ility to re a d a t a g re a t ra n g e o f s p e e d s , a llo w in g h im e x c e p tio n a l
fle x ib ility to v a ry h is ra te o n th e v e r y d iffe re n t k in d s o f m a te ria l h e w a s
o b lig e d to re a d e v e ry day.

Antonio di Marco M agliabechi

A n to n io di M a r c o M a g lia b e c h i w a s a c o n te m p o ra ry o f S p in o z a . S ir
C h ris to p h e r W re n , S ir Is a a c N e w to n a n d L e ib n iz . H e w a s b o rn o n 2 9
O c to b e r 1 6 3 3 in L e o n a rd o d a V in c i's b irth p la c e . F lo re n ce . H is pa re n ts
w e re s o p o o r th a t th e y w e re u nable to provide h im w ith a n y fo rm a l e d u ­
c a tio n . a n d a t a y o u n g a g e h e w a s a p p re n tic e d to a lo c a l fr u it de a le r.
M a g lia b e c h i s p e n t h is s p a re tim e in th e s h o p try in g to d e c ip h e r w h a t w a s
o n th e p a m p h le ts an d jo u rn als th a t w e re used to w ra p th e g ro ceries.
O n e o f th e s h o p 's re g u la r c u s to m e rs w a s a lo c a l b o o k s e lle r w h o
n o te d th e y o u n g m a n 's a tte m p ts t o re a d th e s tr a n g e h ie ro g ly p h ic s
b e fo re h im . T h e b o o k s e lle r to o k h im to h is o w n s h o p a n d M a g lia b e c h i
w a s a lm o s t im m e d ia te ly a b le to re c o g n is e , re m e m b e r a n d id e n tify all
th e b o o k s . W ith th e b o o k s e lle r's h e lp . M a g lia b e c h i e v e n tu a lly le a rn t to
re a d p ro p e r ly a n d b e g a n to c o m b in e h is n e w - f o u n d re a d in g a b ility
w ith p h e n o m e n a l m e m o ris in g te c h n iq u e s th a t e n a b le d h im to re m e m ­
b e r n e a rly e v e ry th in g h e re a d in its e n tire ty, in c lu d in g th e p u n c tu a tio n .
A s c e p tic a l a u th o r d e c id e d to p u t th e la d ’s g ro w in g re p u ta tio n fo r
s p e e d re a d in g a n d m e m o r y to th e te s t a n d g a v e M a g lia b e c h i a n e w
m a n u s c rip t th a t h e c o u ld n e v e r h a v e s ee n b e fo re , tellin g h im to read it
f o r p le a s u re . M a g lia b e c h i d u ly re a d th e m a n u s c rip t a t a re m a rk a b le
s p e e d a n d re tu rn e d it a lm o s t im m e d ia te ly , c o n firm in g th a t he h a d read
it in its e n tire ty. A little w h ile a fte r th e e v e n t, th e a u th o r p re te n d e d th a t
h e h a d lo s t h is m a n u s c rip t a n d a s k e d M a g lia b e c h i if h e c o u ld h e lp h im
to re m e m b e r s o m e o f it. To h is a s to n is h m e n t, th e y o u n g m a n w ro te o u t

Expanding your visual power

 th e e n tir e b o o k f o r h im . t r a n s c r ib in g p e r f e c t ly e v e r y s in g le w o r d a n d

e v e r y p u n c tu a tio n m a r k a s if h e h a d b e e n c o p y in g f r o m t h e o rig in a l.

A s t im e w e n t o n . M a g lia b e c h i r e a d a t g r e a t e r a n d g r e a t e r s p e e d s

a n d m e m o r is e d in c r e a s in g ly la r g e n u m b e r s o f b o o k s . H e e v e n t u a lly

b e c a m e s o f a m o u s f o r t h e s p e e d a t w h ic h h e d e v o u r e d a n d a b s o r b e d

k n o w le d g e t h a t e x p e r ts in a ll s u b je c t s c a m e t o h im f o r in s t r u c t io n a n d

s o u r c e m a t e r ia l in t h e ir o w n a r e a s o f in t e r e s t . W h e n e v e r h e w a s

a s k e d q u e s tio n s , h e a n s w e r e d b y q u o tin g v e r b a t im f r o m t h e b o o k s h e

h a d re a d a n d a u t o m a t ic a lly m e m o r is e d .
H is r e p u t a tio n s p r e a d , a n d h e w a s e v e n t u a lly h ir e d b y t h e G r a n d

D u k e o f T u s c a n y t o a c t a s h is p e r s o n a l lib r a r ia n . In o r d e r t o b e a b le to

h a n d le t h e v o lu m e o f m a t e r ia l in t h e e n t ir e li b r a r y . M a g li a b e c h i

d e c id e d t o d e v e lo p h is s p e e d r e a d in g a b ilit ie s t o a n a l m o s t s u p e r ­

h u m a n e x te n t. C o n t e m p o r a r ie s r e p o r t e d t h a t h e c o u ld s im p ly ‘d ip ' in to
a p a g e , a p p a r e n t ly a b s o r b in g t h e c o n t e n t s in t h e ir e n t ir e t y w it h o n ly

o n e o r t w o v is u a l f ix a tio n s , m u c h t o t h e a m a z e m e n t o f t h o s e w h o m

h e a llo w e d t o w a t c h h im . H e d e v e lo p e d a r e p u t a tio n f o r h a v in g r e a d

a n d m e m o r is e d th e e n tire lib ra ry .

L ik e m o s t g e n iu s e s , M a g lia b e c h i c o n t in u e d to d e v e lo p h is a b ilitie s

a s h e b e c a m e o ld e r. T h e m o r e h e r e a d a n d m e m o r is e d , t h e f a s t e r h e

w a s a b le t o r e a d a n d th e m o r e h e w a s a b le t o r e m e m b e r . T h e s t o r y

g o e s t h a t, in h is la t e r y e a r s , h e w o u ld lie in b e d s u r r o u n d e d b y v o l­

u m e s . e a c h o f w h ic h h e w o u ld d e v o u r in le s s t h a n h a lf a n h o u r ,

m e m o r is in g t h e m in t u r n u n til h e fe ll a s le e p . T h is h e c o n t in u e d t o d o

u n til h is d e a th in 1 7 1 4 . a t th e a g e o f 8 1 .

If M a g lia b e c h i's e y e /b r a in s y s t e m w a s c a p a b le o f s u c h in c r e d ib le

r e a d in g a n d m e m o r y a c c o m p li s h m e n t s , t h e n w h y d o t h e r e s t o f u s

c r a w l a lo n g a t s p e e d s t h a t m a k e u s f u n c tio n a lly illite ra te b y c o m p a r i­

s o n ? T h e a n s w e r a p p e a r s t o lie n o t in a n y la c k o f b a s ic a b ilit y b u t in

t h e f a c t t h a t w e h a v e a c t i v e ly a n d u n w it t in g l y t r a in e d o u r s e lv e s t o

b e c o m e s lo w . In o th e r w o r d s , w e h a v e a d o p t e d b e lie f s y s t e m s , r e a d ­

in g p r a c t ic e s a n d h a b its th a t d e s t r o y o u r a b ilit y t o r e a d a t a n y h ig h e r

s p e e d a n d w ith a n y r e a s o n a b le c o m p r e h e n s io n .

Eugenia Alexeyenko
In h is b o o k How to Pass Exams, e ig h t - t im e W o r ld M e m o r y C h a m p io n

a n d G r a n d M a s t e r o f M e m o r y D o m in ic O ’B r ie n r e p o r t s t h e in c r e d ib le

The Speed Reading Book

s t o r y o f E u g e n ia w h o s e a c c o m p l i s h m e n t s t o d a y s e e m t o m a t c h t h o s e

o f M a g lia b e c h i 3 5 0 y e a r s a g o .

A c c o r d in g to a s e n io r r e s e a r c h e r a t th e M o s c o w A c a d e m y o f

S c i e n c e , ‘t h i s a m a z i n g g ir l c a n r e a d in f i n i t e l y f a s t e r t h a n h e r f in g e r s

c a n f lic k th e p a g e s - a n d if s h e d i d n ’t h a v e t o s l o w h e r s e lf d o w n b y

d o i n g t h is , s h e w o u l d r e a d a t t h e r a t e o f 4 1 6 . 2 5 0 w o r d s p e r m i n u t e ’ .

A t t h e K ie v B r a in D e v e l o p m e n t C e n t r e , a s p e c i a l t e s t w a s s e t u p

f o r 1 8 - y e a r - o l d E u g e n ia , w i t h a p a n e l o f s c i e n t i s t s p r e s e n t . T h e y w e r e

c o n f i d e n t t h a t t h e y o u n g g ir l h a d n e v e r r e a d t h e t e s t m a t e r i a l b e f o r e ,

b e c a u s e t h e y h a d o b t a in e d c o p i e s o f p o l it ic a l a n d li t e r a r y m a g a z i n e s

th a t a p p e a re d o n th e n e w s - s t a n d s t h a t v e r y d a y w h ile E u g e n ia

r e m a i n e d i s o l a t e d in a r o o m a t t h e t e s t in g c e n t r e .

T o m a k e h e r t a s k e v e n m o r e d iffic u lt, th e y o b ta in e d o b s c u r e a n d

a n c i e n t b o o k s , a n d r e c e n t l y p u b l is h e d b o o k s f r o m G e r m a n y t h a t h a d

b e e n t r a n s l a t e d in t o R u s s ia n , t h e o n l y l a n g u a g e E u g e n ia k n o w s .

W h ile E u g e n ia w a s k e p t is o la te d a n d e n t e r ta in e d , th e e x a m in e r s

r e a d t h e t e s t m a t e r i a l s s e v e r a l t i m e s a n d t o o k c o p io u s n o t e s o n t h e ir

c o n t e n ts . T h e y t h e n p la c e d t w o p a g e s o f t h e m a t e r ia l b e f o r e h e r to

s e e h o w f a s t s h e c o u l d r e a d it.

T h e r e s u lt w a s a s s t u n n in g t o t h e m a s D r L e e s ' h a d b e e n t o E v e ly n

W o o d a n d a s A n t o n io M a g l i a b e c h i ' s h a d b e e n t o h is c o n t e m p o r a r i e s .

E u g e n ia a p p a r e n t l y r e a d 1 3 9 0 w o r d s in a f if t h o f a s e c o n d - t h e t im e

it t a k e s t o b li n k y o u r e y e s . E u g e n ia w a s a ls o g iv e n s e v e r a l m a g a z i n e s ,

n o v e ls a n d r e v i e w s , w h i c h s h e a ls o r e a d e f f o r t l e s s ly .

O n e o f t h e e x a m i n e r s r e p o r t e d : W e q u i z z e d h e r in d e t a i l a n d o f t e n

it w a s v e r y t e c h n i c a l in f o r m a t io n t h a t a n o r m a l t e e n a g e r w o u l d n e v e r

h a v e b e e n a b le t o u n d e r s t a n d . Y e t s h e g a v e a n s w e r s t h a t p r o v e d t h a t

s h e u n d e r s to o d p e r fe c tly .'

R e m a r k a b ly , n o o n e k n e w o f t h e y o u n g g ir l’ s u n iq u e a b ilit y u n t il s h e

w a s 1 5 y e a r s o ld . A t t h a t t i m e h e r f a t h e r . N ik o la i, g a v e h e r a c o p y o f a

lo n g n e w s p a p e r a r t ic le . W h e n s h e h a n d e d it b a c k t o h im t w o s e c o n d s

la te r, s a y in g s h e f o u n d it in t e r e s tin g , h e a s s u m e d s h e w a s jo k in g . W h e n

h e q u e s t io n e d h e r o n t h e c o n t e n t h o w e v e r , a ll h e r a n s w e r s w e r e c o r r e c t .

E u g e n ia h e r s e lf s a y s : I d o n ’t k n o w w h a t m y s e c r e t is . T h e p a g e s

g o in to m y m in d a n d I r e c a ll t h e “ s e n s e " r a t h e r th a n t h e e x a c t te x t.

T h e r e i s s o m e s o r t o f a n a l y s i s g o i n g o n in m y b r a i n w h i c h I r e a l l y

c a n ’t e x p la in . B u t I f e e l a s if I h a v e a w h o l e li b r a r y in m y h e a d ! '

Expanding your visual power

 Speed Reading is like the

opening of a door into a

world thick with the golden

sunshine of knowledge.

HEINZ NORDEN, FELLOW OF THE INSTITUTE

OF LINGUISTS, AND FORMER INFORMATION
EDITOR OF THE BOOK O F KNO W LEDG E
 Part 2
Focus on core
speed reading
techniques

In this part we help you up the pace with easy and essential
guided reading techniques that take in skimming and scanning,
paragraph grasping and getting an optimum rhythm We also high­
light how the different meta-guiding techniques by your eye/brain
system can super-absorb data from a page
 Super skimming
and scanning
Scanning is a process in which you look for particular informa­
tion. Skimming is a process in which you look for a
general overview. Both of these skills are used by the vast
majority of speed readers - and both can be enhanced by the
use of guided reading. This chapter clearly defines the differ­
ences between scanning and skimming and also includes some
Visual gulp’ exercises to help boost your scanning faculties.

Scanning
In s c a n n in g , y o u r e ye g la n c e s o v e r m a te ria l in o rd e r to fin d a p a rtic ­
u la r p ie c e o f in fo rm a tio n fo r w h ic h y o u r b ra in is s e a rc h in g .
S c a n n in g is a s im p le r p ro c e s s th a n s k im m in g a n d is u s u a lly
a p p lie d w h e n y o u are lo o k in g u p a w o rd in a d ictio n a ry, a n a m e o r
te le p h o n e n u m b e r in a d ire cto ry, o r a p a rtic u la r p ie c e o f in fo rm a tio n
in a b o o k o r re p o rt. T he a p p lic a tio n o f th is te c h n iq u e is s im p le , as
lo n g a s y o u m a k e s u re b e fo re h a n d th a t y o u k n o w th e b a s ic la yo u t
o f th e m a te ria l y o u a re s c a n n in g T h is e n a b le s y o u to sa ve th e tim e
th a t s o m a n y p e o p le s p e n d h u n tin g a ro u n d in th e w ro n g s e c tio n s
fo r th e in fo rm a tio n th e y desire .
U S P re s id e n t T h e o d o re R o o s e v e lt w a s o n e o f th e fa s te s t a n d
m o s t v o ra c io u s re a d e rs o f th e le a d e rs o f n a tio n s . H e a p p a re n tly
s ta rte d o u t w ith a v e ra g e re a d in g s p e e d s , w h ic h h e d e c id e d to w o rk
a t im p ro v in g . H is first s te p s in c lu d e d in c re a s in g h is o rig in a l fixa tio n
s p a n to fo u r w o rd s p e r s to p , a n d th e n to s ix a n d e ig h t w o rd s in a
s in g le fixation R o o se v e lt s u b s e q u e n tly p ra c tis e d re a d in g tw o lines
a t a tim e a n d th e n b e g a n to z ig -z a g h is w a y d o w n th e p a g e s , re a d ­
in g s m a ll p a ra g ra p h s w ith s in g le e y e m o v e m e n ts H is a p p ro a c h
w a s id e n tic a l to th a t o f to d a y 's le a d in g s p e e d re a d e rs O n e o f h is
fa v o u rite a u th o rs w a s D ic k e n s , a n d y e t th e p re s id e n t s till a p p lie d
s c a n n in g te c h n iq u e s w h e n re a d in g h is n o ve ls. A s R o o se v e lt s a id in
o n e o f his letters to h is s o n K erm it:

It a lw a y s in te re s ts m e a b o u t D ic k e n s to th in k h o w a lm o s t a ll o f
it w a s m ix e d u p w ith e v e ry k in d o f c h e a p , s e c o n d -ra te m a tte r
.. .t h e w is e th in g to d o is to s im p ly s k ip th e b o s h a n d tw a d d le
a n d v u lg a rity a n d u n tru th , a n d g e t th e b e n e fit o u t o f th e re st.

S ca n n in g is a na tu ra l skill. You d o it every d a y o f y o u r life w h e n yo u

travel from po in t a to p oin t b . s ca n n in g th e e n viro n m e n t for dire ctio n s,
food, p e ople o b je c ts o f d a n g e r an d o b je c ts o f fascination. In rea d in g
s c a n n in g is a skill th a t g ro w s ra p id ly w ith p ra c tic e The v is u a l g u lp ’
exercises at the e n d o f this ch a p te r w ill h e lp in th a t regard

Skimming
S k im m in g is m o re c o m p le x th a n s c a n n in g a n d is s im ila r to th e p re ­
v ie w in g te c h n iq u e s th a t w ill b e d is c u s s e d in la te r c h a p te rs .
S k im m in g c a n b e d e fin e d a s th e p ro c e s s in w h ic h y o u r e ye c o v e rs
c e rta in p re s e le c te d s e c tio n s o f th e m a te ria l in o rd e r to g a in a g e n ­
eral o v e rv ie w o f th a t m ate ria l.
T h e b a s ic a im o f s k im m in g is to p ro v id e a fu n d a m e n ta l a rc h ite c ­
tu re o n w h ic h th e b ric k s a n d m o rta r c a n b e p la c e d A n e x c e lle n t
m e ta p h o r fo r s k im m in g w a s d e v e lo p e d b y D r N ila B a n to n S m ith , o f
th e R e a d in g In s titu te o f N e w Y o rk U n iv e rs ity . U n d e r th e title
S w allow s S kim - S o C an You! sh e sa ys

The s w a llo w s k im s s w iftly th ro u g h th e air, c a tc h in g a n d

d e v o u rin g in s e c ts w h ile s im u lta n e o u s ly fla p p in g h is w in g s to
p r o p e l h is b ody. H e e v e n d rin k s a s h e s k im s a lo n g o v e r

T he Sp e ed R ea d in g Book
 b ro o k s , p o n d s a n d riv e rs , g a th e rin g d ro p s o f w a te r in h is b e a k
w ith n o c e s s a tio n in flig h t. This v e rs a tile c re a tu re d o e s n 't
p a u s e o r la b o u r o v e r a n y o n e in s e c t o r a n y o n e p o o l.

The s w a llo w 's m o d e o f s k im m in g fo r fo o d a n d w a te r m a y b e

lik e n e d to th e m e th o d u s e d b y s k ille d re a d e rs w h o s k im o v e r
p a g e s o f p rin t, g a th e rin g w h a t th e y w a n t a s th e y ‘fly ’ a lo n g .
W ith in s tru c tio n o n p ra c tic e a re a d e r c a n b e c o m e e x tre m e ly
a d e p t in c a tc h in g ' w h a t h e d e s ire s fro m re a d in g w h ile ‘o n th e
w in g ’. T his is th e ty p e o f re a d in g in w h ic h s o m e p e o p le re a c h
1 0 0 0 w o rd s p e r m in u te a n d a re a b le to re p e a t th e g is t o f w h a t
th e y h a v e r e a d .'

EXERCISE

V isual g u l p
C o m p l e t e t h e s c a n n i n g e x e r c i s e s t h a t f o l l o w b e lo w .

1 T h e r e a r e s ix m a t r i c e s . E a c h m a t r i x c o n t a i n s c o l u m n s a n d r o w s o f

n u m b e r s . T h e f i r s t n u m b e r in e a c h r o w is r e p e a t e d s o m e w h e r e a c r o s s

t h a t r o w . a n d it i s y o u r t a s k t o s p o t it a s q u i c k l y a s p o s s ib l e .

2 S t a r t t i m i n g y o u r s e l f a n d . w i t h a p e n c il in o n e h a n d , q u i c k ly c h e c k o f f

t h e n u m b e r in t h e r o w t h a t c o r r e s p o n d s t o t h e n u m b e r in t h e le f t - h a n d

c o lu m n .

3 W h e n y o u h a v e d o n e a ll t h e r o w s o n t h a t p a g e , r e c o r d y o u r t i m e a t t h e

b o tto m .

N o te :

• T h e e x e r c i s e s g e t m o r e d if f ic u l t a s t h e y p r o g r e s s , b e c a u s e t h e

n u m b e r s g e t b i g g e r a n d a ls o m o r e s im ila r .

• B y t r a in i n g in t h is w a y , y o u w i l l b e e x p a n d in g t h e v is u a l r a n g e o f y o u r

m i n d s e y e . w h i c h w i l l h e lp y o u d e v e l o p b o t h y o u r s k i m m i n g a n d

s c a n n i n g a b il it ie s .

• Y o u m a y d o t h e s e e x e r c i s e s in s m a ll b it e s o r a ll a t o n c e if y o u w is h . It is

i m p o r t a n t w h e n y o u d o t h e m t h a t y o u a r e a s m e n t a ll y a le r t a s p o s s ib le ,

s o m a k e s u r e y o u r e y e s a r e f r e s h a n d t h a t y o u a r e h ig h ly m o t i v a t e d .

Super skimming and scanning

 M atrix 1
28 93 74 28 57 29 39 77
46 77 88 46 37 64 28 42
52 85 33 68 86 94 52 44
59 66 33 75 39 59 92 58
63 55 28 70 63 34 22 96
77 64 77 54 28 32 63 55
96 68 44 27 96 62 51 54
67 79 67 44 27 29 88 65
11 96 02 55 11 66 33 72
95 88 95 44 42 66 44 27
34 88 66 35 29 39 47 34
42 24 42 77 55 39 92 44
28 55 84 28 66 89 38 65
18 12 20 77 49 19 46 18
85 55 32 77 36 85 33 59
37 77 24 55 69 21 37 15
25 54 25 57 79 95 24 13
13 68 55 22 90 44 48 13
57 88 57 44 25 77 52 44
78 87 35 26 62 78 44 28
20 88 66 20 24 48 58 33
29 27 52 68 35 29 49 43
Time:

M atrix 2
675 568 675 875 639 891 569
625 874 271 018 625 735 906
672 672 875 236 438 282 239
911 743 343 554 277 911 902
764 543 674 764 246 665 322
879 772 544 754 272 879 647
753 258 266 372 753 348 236
844 766 343 568 844 236 543
877 565 235 877 655 235 568
822 544 822 654 266 388 419
103 202 547 103 654 813 113
457 790 235 252 457 746 322
238 198 674 368 238 636 638
848 765 638 848 636 426 853
847 784 737 636 782 844 847
336 772 327 874 336 764 873
379 673 838 379 737 892 811
282 537 282 987 254 654 272
444 765 238 444 266 782 754
658 690 343 562 676 658 824
Time:

94 The Speed Reading Book

M atrix 3
573 257 763 573 528 654 863
783 279 873 783 434 575 277
331 304 431 331 031 765 333
320 194 392 194 320 492 340
446 546 555 446 676 466 235
355 544 335 355 346 555 436
214 232 124 214 332 113 239
436 544 335 555 435 436 535
222 113 222 322 122 213 125
737 674 377 377 674 764 737
242 242 413 215 413 241 113
568 766 568 676 658 578 652
022 211 022 103 111 202 122
228 728 773 273 723 278 228
647 665 647 662 465 447 467
190 190 919 892 982 199 820
772 118 772 718 712 172 178
927 630 963 627 967 370 927
203 023 021 203 221 211 202
357 366 564 357 766 537 636
Time:

M atrix 4
120 992 192 117 911 200 120
554 336 354 554 332 552 355
013 121 103 022 013 105 212
483 485 483 249 429 825 843
217 613 622 262 217 127 617
528 726 276 528 753 258 573
2435 4427 6579 6755 2346 2435 2344
7877 7876 7868 7877 4568 3426 1988
3457 3457 7820 5433 7690 4564 2346
5683 3247 5622 5683 7622 8733 1957
1895 1949 1895 4527 7633 7683 1673
2215 2242 5623 6783 2212 2215 4125
5463 5463 8727 5673 7890 6533 0014
6782 1986 6722 6782 7629 9653 1935
5673 6582 8727 6739 6258 5268 5673
1873 1837 1873 8727 7628 1827 7828
2002 1003 0012 2002 1774 1021 1030
2680 8767 8687 6547 6438 2680 7444
7555 8665 5379 8677 7555 7677 5435
0865 0865 8766 7555 8776 5442 1645
Time:

Super skimming and scanning

M atrix 5
7524 6887 3568 4679 3479 5428 7524
8643 3569 8765 4589 8643 7544 3469
8532 6689 4489 8532 0166 1088 4672
8641 8651 6752 5572 7645 1754 8641
7302 1852 7411 7633 7302 0176 3467
3469 8533 4682 8752 3469 7632 8643
2458 7642 8644 4677 2458 8764 2476
7532 8642 3569 7644 1036 7532 8634
1876 1734 0568 8754 1876 8642 7433
8744 7533 7634 5689 8744 8754 3468
8756 8756 8876 5690 9756 4582 9752
8737 8762 8737 7755 7448 3569 7352
3469 7644 8876 3469 8754 1766 8442
1752 1751 1752 1742 8727 8764 8742
1978 1192 1978 7920 9772 8762 7792
8755 6755 8755 8548 8458 8745 8756
7654 7654 3368 3568 3568 5764 5369
1975 1975 1965 9148 7492 1948 1750
7865 7879 1756 7847 7865 4688 8747
8644 8649 8764 3487 8348 8644 3478
Time:

M atrix 6
8455 8456 8677 8455 4588 4585 8766
1176 1185 1766 1752 1158 1176 7642
8644 8638 8644 8642 4387 4369 8766
6433 2347 6434 6543 6433 3426 5433
8754 5785 8754 8763 4754 8736 3569
5242 8362 5413 7652 5242 8655 5243
7646 7655 7646 4766 5477 4578 5648
8412 8115 8412 1842 8712 4562 4812
8747 8765 4678 6489 7655 6875 8747
2575 2676 2676 2746 2575 4528 4453
7171 7702 7111 7172 7102 7171 0702
8742 7842 1875 8742 7815 1479 1785
4785 4789 4785 8748 8755 4785 4789
7633 7633 7624 2377 6738 2374 3729
3452 3435 3452 3542 1436 1544 5135
7634 7664 7337 7764 6734 7634 7637
8736 7854 6538 8736 8754 3579 9358
Time:

The Speed Reading Book

 To further im prove your scanning skills, spend ten m inutes scan­
n in g a d ic tio n a ry for w o rd s th a t you k n o w a n d en jo y bu t ca n n o t
d efine precisely. P ractise scan n in g and skim m in g skills on every­
thing you read from now on These skills you have just learnt are
ideal for getting your brain into w hat athletes describe as the zone'.
The next chapter show s you how you can preselect paragraphs to
gam a general overview via scanning and skim m ing.

Super skimming and scanning

 Power up your
paragraphs
In the previous chapter we discussed the process of skim­
ming, in which certain preselected sections of the material
are covered in order to gain a general overview. In this chap­
ter we shall discuss the structure of the paragraph, thus
enabling you to further practise your skimming techniques.

Explan atory p a ra g ra p h s
These are paragraphs in which the writer sets out to explain a certain
concept or point of view. They will generally be quite easy to recog­
nise and should be fairly easy to understand. The first sentence or
two of an explanatory paragraph will give you a general idea of what
is going to be explained or discussed, the last sentence or two will
contain the result or conclusion, and the middle of the paragraph will
contain the details Depending on your goal in reading you will in the
initial skimming, be able to direct your attention appropriately

Descriptive p a ra g ra p h s
Descriptive paragraphs usually set the scene or expand on ideas
that have been introduced previously. Such paragraphs usually
 e m b e llis h a n d th e re fo re a re o fte n le s s im p o rta n t th a n th o s e th a t
in tro d u c e m am e le m e n ts O f c o u rs e th e re a re e x c e p tio n s , in w h ic h
th e d e s c rip tio n o f p e o p le o r o b je c ts is vital. In s u c h ca se s , y o u w ill
u s u a lly b e a w a re o f th is im p o rta n c e a n d b e a b le to fo c u s y o u r
a tte n tio n a p p ro p ria te ly

Linking paragraphs
These a re p a ra g ra p h s th a t jo in o th e rs to g e th e r A s s u c h , th e y o fte n
co n ta in key in form ation, b e c a u se th e y te n d to s u m m a ris e th e c o n te n t
o f w h a t has p re c e d e d a n d w h a t fo llo w s For e xa m p le : T h e th e o ry o f
e v o lu tio n e x p la in e d a b o v e w ill n o w b e p la c e d in th e c o n te x t o f th e
latest d e v e lo p m e n ts in th e fie ld o f b io c h e m ic a l g e n e tic re s e a rc h .' In
this b rie f s e n te n c e , w e have b e e n g iv e n a n e x tra o rd in a ry a m o u n t o f
in fo rm a tio n , in fo rm a tio n th a t e n c a p s u la te s th e c o n te n t o f p a rt o f th e
m aterial w e are re a d in g L in kin g p a ra g ra p h s , th e n , c a n b e ve ry useful
a s g u id e s a n d a s to o ls fo r p re vie w in g a n d review ing

The structure and position of paragraphs

H o w c a n y o u m a ke use o f th e s tru ctu re o f p a ra g ra p h s a n d their p la c ­
ing in the text in o rd e r to im p ro v e y o u r re a d in g e ffic ie n cy ? T h e m o s t
im p o rta nt p o in t is to realise th a t in n e w sp a p e r a n d m a g a z in e a rtic le s
the first a n d last fe w p a ra g ra p h s u su a lly c o n ta in m o s t o f th e s ig n ifi­
c a n t inform ation, w he re a s th e m id d le p a ra g ra p h s te n d to c o n ta in th e
d e ta ils . If th e m a te ria l y o u a re re a d in g is o f th is ty p e , c o n c e n tra te ,
w h e n s kim m in g , o n th e o p e n in g a n d c lo s in g p a ra g ra p h s . (S ee a ls o
C h a p te r 15 fo r m o re on s p e e d re a d in g th e m e d ia .)
O th e r w rite rs ‘c le a r th e ir th ro a ts ’ a t th e b e g in n in g , b e fo re g e ttin g
d o w n to th e m e a t o f th e ir p re s e n ta tio n , w h ic h is th e n c o n ta in e d in
th e th ird o r fo u rth p a ra g ra p h s : in s u c h c a s e s , it is th e s e p a ra g ra p h s
o n w h ic h y o u s h o u ld c o n c e n tra te initially.
T h e re a re tw o g a m e s y o u c a n p la y w ith th e s tru c tu re o f p a ra ­
g r a p h s th a t h e lp e n o rm o u s ly in u n d e rs ta n d in g a n d m a in ta in in g
in v o lv e m e n t. T h e firs t o f th e s e is to m a k e u p . a s y o u re a d , a
‘m e m o ry w o r d ’ fo r th e m a in th e m e a n d th e s e c o n d a r y th e m e o f
e a c h p a ra g ra p h . T h is e x e rc is e fo rc e s y o u to re m a in in v o lv e d w ith

JQ Q j T he S p e ed R ea d in g Book
th e m a te ria l a n d m a k e s y o u th in k a b o u t it a s yo u re a d it U ltim ately,
y o u s h o u ld a im a t d e v e lo p in g th e a b ility to s e le c t th e s e w o rd s as
y o u re a d , w ith o u t an y p a u s e o r in te rru p tio n to th e flo w o f y o u r re a d ­
in g . It is p o s s ib le , b y u s in g th e s e k e y w o rd s , to m e m o ris e th e
d e ta ils o f a n e n tire b o o k . In d e e d , u s in g k e y m e m o ry w o rd s in c o n ­
ju n c tio n w ith im a g e s p ro v id e s th e b a s ic b u ild in g b lo c k s o f M in d
M a p s (see The M in d M a p B o o k ). Try th is firs t p a ra g ra p h g a m e o n at
le a s t fo u r d iffe re n t p a ra g ra p h s .
T h e s e c o n d o f th e p a ra g ra p h g a m e s is to re la te , a s y o u re a d
th ro u g h th e p a ra g ra p h , th e firs t s e n te n c e to th e re m a in d e r, a s kin g
y o u rs e lf w h e th e r th is s e n te n c e :

• is in tro d u c to ry ;

• is tra n s itio n a l;

• is e n c o m p a s s in g ;

• ha s n o th in g to d o w ith th e w o rd s th a t fo llo w it.

D o th is s e c o n d p a ra g ra p h g a m e o n a t le a s t fo u r d iffe re n t p a ra ­
g ra p h s .
K n o w in g h o w to a n a ly s e p a ra g ra p h s h a s g iv e n y o u a n a ly tic a l
p o w e r o ve r th e m a te ria l y o u re a d . A n d y o u c a n c o n tin u e in c re a s in g
y o u r re a d in g s p e e d in th e next c h a p te r, a s I in tro d u c e n in e d iffe re n t
in te rlink e d , p ra c tic a l g u id e d re a d in g te c h n iq u e s

Power up your paragraphs

 Nine ways to
guided speed
reading
This chapter provides you with nine major practical guiding
techniques to help you strengthen and gain control of your
peripheral vision and your central eye perception.

Youi p h o to g ra p h ic m em ory c a p a c ity

Open this book at any page and glance at the page for one second -
can you remember any word, graph, shape or sentence? Would you
recognise the page again? As we now know, we do take the information
in. If you are in doubt, think of what your eyes immediately take in when
you suddenly drive round a bend on a mountain road: many cars and
lorries coming towards you. many going in the same direction as you:
tens of thousands of trees, hundreds of houses and possibly birds and
animals as well All this is done in a fraction of a second Think how tiny,
by comparison, a mere few words on a page is - you can do it!
The skills you are about to learn will enable you to experiment
with accelerated reading movements that take into account both
your vertical and horizontal peripheral vision You will be combining
your peripheral vision, your central eye/focus, and the astonishingly
quick photographic ability of your eye/brain system
 These techniques can be used for preview ing; for skim m ing and
scanning, fo r surveying; as exe rcise s to in cre a se y o u r re a d in g
speed: as exercises to develop your peripheral vision; as a general
w ork-out for your eyes; and, as the best speed readers are finding,
for norm al reading. At the end o f this chapter you will be given sev­
eral practical exercises and exciting m ethods for establishing these
new reading techniques and for increasing your speed.

Guided reading technique 1: the double

line sweep
The d o u b le line s w e e p (F igure 8 1a) is id e n tica l to th e o rig in a l
technique you used for gu id in g your eyes (see pa g e 66). the only
difference being that you consistently take in tw o lines at a time.
To perform this exercise correctly
1 Move your guide sm oothly and gently along underneath tw o lines.

2 Lift the guide a fraction o f a centim etre off the pa g e on the return
sweep.

3 Then move the guide again smoothly underneath the next two lines

The d o u b le line s w e e p is an e xce lle n t w ay o f g e ttin g y o u r b ra in

accustom ed to using both its vertical and horizontal vision. This is
m uch easier than you m ight expect, and m any cultures use vertical
vision as their prim ary vision; fo r exam ple, Japanese a n d C hinese
p e o p le have fa vo u re d ve rtical over h o rizo n ta l for th o u s a n d s o f
years Similarly, m usicians, as a m atter o f necessity, c o m b in e verti­
cal w ith h orizontal visio n w hen re a d in g m u sic. If y o u c a n read
m usic, you s h o u ld be a b le to tra n s fe r th e skill y o u have a lre a d y
acquired to double line sw eep reading

Guided reading technique 2: the variable

sweep
The va ria b le sw eep (Figure 8 .1 b ) is id e n tica l to th e d o u b le line
sweep, except that it allow s you to take in as m any lines as you feel
you can at a tim e. A dvanced speed readers usually take in between
two and eight lines w ith each sweep

P 2 | Tfie S p e ed R e ad in g Book
F ig u re 8 .1 Meta-guiding techniques: (a) the double line sweep;
(b) the variable sweep; (c) the reverse sweep

N in e w a y s to g u id e d s p e e d re a d in g
Guided reading technique 3: the reverse
sweep
S im p lis tic a lly th is m ig h t b e c a lle d b a c k w a rd ’ re a d in g (F ig u re 8 1c)
It ha s th e a d v a n ta g e o f a llo w in g y o u to in s ta n ta n e o u s ly d o u b le y o u r
re a d in g s p e e d b y u s in g th e b a c k w a rd s w e e p o f y o u r e y e s to ta k e in
in fo rm a tio n ra th e r th a n s im p ly g e t y o u b a c k to th e b e g in n in g o f th e
next line
A t firs t s ig h t th is m a y s o u n d a b s u rd - s u re ly re a d in g b a c k w a rd s
w o u ld s im p ly leave a ju m b le o f m e a n in g le s s w o rd s in y o u r h e a d ? -
b u t it m a k e s s e n se if y o u re ca ll th a t y o u r e y e c a n ta k e in in fo rm a tio n
o n ly b y fixin g a tte n tio n a n d th a t w o rd s a re v ie w e d in g ro u p s o f five
o r six. If y o u ta ke in five o r six w o rd s p e r fixa tio n , w h ic h b y n o w y o u
s h o u ld c o m fo rta b ly b e d o in g , w h a t y o u see in e a c h fixa tio n is in th e
c o rre c t o rd e r T h e re fo re , re a d in g b a c k w a rd s is fu n d a m e n ta lly th e
s a m e a s n o rm a l re a d in g . T h e o n ly a d d itio n a l w o rk y o u r b ra in h a s to
d o is to p u t la rg e c h u n k s o f m e a n in g in o rd e r, m u c h lik e a jig s a w
p u z zle . Y our b ra in a lw a y s d o e s th is w h e n re a d in g a n y w a y , a s . fo r
e x a m p le , in th e fo llo w in g s e n te n c e

P e o p le w h o b e lie v e th a t n o rm a l re a d in g s p e e d s o f a b o v e 1 0 0 0
w o rd s p e r m in u te a re p o s s ib le a re c o rre c t.

In th is e x a m p le y o u r b ra in h a d to h o ld e v e ry th in g in w a itin g u n til it
received the final piece o f inform ation, w h ich m a d e all th e o th e r w o rd s
m a k e sense. In b a c kw a rd re a d in g th e p ro c e s s is id e n tic a l R e a d in g
b a c k w a rd s is e a s ie r th a n y o u m ig h t th in k A fte r all. m a n y c u ltu re s
prefer reading from right to left, notably A ra b ic an d Israeli. The reverse
sw e e p uses exactly the sam e ha n d m o tio n s a s th e d o u b le line sw e e p
a n d the variable sw eep, s im p ly reversing th e te ch n iq u e
T h e n e x t s ix te c h n iq u e s a re m o re a d v a n c e d v is u a l g u id in g
m o v e m e n ts T he S ', th e z ig -z a g . th e lo o p , th e v e rtic a l w a v e a n d th e
lazy ‘S ' c a n all b e d o n e a t d iffe re n t s p e e d s a n d a t d iffe re n t a n g le s .
F o r m -d e p th re a d in g , a s m u c h a s 3 0 s e c o n d s p e r p a g e m a y b e
re q u ire d F or tra in in g , su rv e yin g , p re v ie w in g a n d re vie w in g , te n s e c ­
o n d s p e r p a g e s h o u ld b e th e m a x im u m T h e d o u b le m a rg in s
te c h n iq u e , in w h ic h e ith e r a fin g e r o r a th u m b g o e s d o w n th e le ft
m a rg in a n d y o u r v is u a l g u id e d o w n th e n g h t-h a n d m a rg in , is u se fu l

T he S p e ed R ea d in g Book
p rim a rily fo r s tu d y re a d in g a n d c a n b e v a rie d b y m a k in g e ith e r th e
le ft o r th e rig h t visu a l g u id e m o v e m e n t in to a v e rtic a l w a ve

Guided reading technique 4: the ‘S’

T he S ' te c h n iq u e (F ig u re 8 .2 a ) c o m b in e s th e fo rw a rd a n d re ve rse
sw e e p s . It c a n b e u s e d a s a s in g le lin e sw e e p , a d o u b le line sw e e p
o r a v a ria b le sw e e p .

Guided reading technique 5: the zig-zag

T he z ig -z a g (F ig u re 8 .2 b ) is a ve ry a d v a n c e d g u id e d re a d in g te c h ­
n iq u e th a t m a k e s p a rtic u la r u s e o f th e e n tire fie ld o f y o u r p e rip h e ra l
v isio n . In th is te c h n iq u e

1 G e n tly m o v e y o u r g u id e d ia g o n a lly d o w n a fe w lines.

2 T hen p e rfo rm a little n e e d le s-e ye lo o p n e a r th e m a rg in .

3 S w e e p b a c k d ia g o n a lly d o w n th e p a g e

4 P erfo rm a n o th e r little lo o p in th e o p p o s ite m a rg in , a n d s o on.

until y o u re a ch th e b o tto m o f th e p a g e

T h is te c h n iq u e , like th e o th e rs , c a n b e h o riz o n ta lly le n g th e n e d o r

s h o rte n e d , a llo w in g y o u to m o v e th e g u id e all th e w a y to th e m a r­
g in s if y o u fe e l th e n e e d , o r to c o n d e n s e it in to th e m id d le
tw o -th ird s o f th e p a g e , a llo w in g y o u r h o riz o n ta l p e rip h e ra l v isio n to
ta k e in th e in fo rm a tio n n e a r th e m a rg in s

Guided reading technique 6: the loop

T h e lo o p (F ig u re 8 .2 c ) is s im ila r in s ty le to th e z ig -z a g . th e o n ly d if­
fe re n c e b e in g th a t th e little n e e d le 's e y e b e c o m e s a la rg e a re a o f
text th a t c a n itse lf b e ta k e n in w ith o n e s o ft-fo c u s fixa tio n The lo o p
is a n e s p e c ia lly rh y th m ic a l te c h n iq u e a n d is a fa v o u rite a m o n g
a d v a n c e d s p e e d re a d e rs.

N ine w ay s to g u id e d sp e e d re a d in g
F ig u re 8 .2 Advanced visual guiding movements: (a) The ‘S’; (b) the zig-zag:
(c) the loop:

T h e S p e e d R e a d in g Book
Figure 8.2 (d) the vertical wave; (e) the double guide; (f) the lazy S’.

N ine w a y s to g u id e d s p e e d r e a d in g

J
Guided reading technique 7: the vertical
wave
The v e rtic al w a v e (F igure 8 .2 d ) is th e te c h n iq u e th a t o fte n le a d s th e
u n in fo rm e d to b e lie v e th a t s p e e d re a d e rs re a d d o w n th e m id d le o f
th e p a g e ' in a s tra ig h t lin e . In fa c t, s p e e d r e a d e rs ’ e y e s g lid e in
rh y th m ic a l w a v e s , m o v in g s lig h tly le ft a n d rig h t, d o w n th e c e n tre
s e c tio n o f th e p a g e T h e v e rtic a l w a v e is a n id e a l te c h n iq u e fro m
this p o in t o f v ie w b e c a u s e it c o m b in e s fo rw a rd a n d b a c k w a rd re a d ­
ing. a ls o a llo w in g y o u r h o riz o n ta l p e rip h e ra l v is io n a n d th e v e rtic a l
p e rip h e ra l vision to b e u s e d to th e ir m a x im u m extent.

Guided reading technique 8: the double

guide
The d o u b le g u id e o r d o u b le m a rg in te c h n iq u e (F ig u re 8.2e) in vo lve s
using tw o guides, often a fin g e r o r th u m b on on e side, a n d your stan­
d a rd g u id e on th e other, m o v in g e a c h in u n is o n s m o o th ly d o w n th e
page m argins, w hile your eyes devour th e inform ation in betw een
T h is te c h n iq u e is e x c e lle n t fo r a llo w in g y o u r b ra in to d ic ta te
w h e re y o u r e y e s g o . If y o u h a v e a lre a d y e s ta b lis h e d y o u r g e n e ra l
g o a ls fo r th e re a d in g , y o u r c e n tra l e y e /fo c u s w ill s e a rc h o u t th e
in fo rm a tio n . There is n o n e e d fo r y o u to fo rc e y o u r e y e s to fixa te in
p a rtic u la r a re a s. Y our b ra in w ill ta k e c a re o f yo u

Guided reading technique 9: the lazy ‘S’

T h e lazy S ’ (F ig u re 8 .2 f) c o m b in e s e le m e n ts o f th e b a s ic S ’ , th e
z ig -z a g a n d the v e rtic al w a ve In fa ct, it c o u ld b e c o n s id e re d to b e a
la rg e r v e rs io n o f e a c h In th is te c h n iq u e , y o u s c u lp t a la rg e s e rie s o f
n o rm a l a n d reve rse S ’s d o w n th e p a g e u s u a lly c o m p le tin g a p a g e
w ith five h o rizo n ta l o r s lig h tly v e rtic a l m o v e m e n ts.

Speed reader story

O n e o f the m o s t d ra m a tic sto rie s in vo lvin g th e u se o f g u id e d re a d in g
c o n c e rn s a 35-year-old w o m a n w h o w a s a tte n d in g o n e o f m y s p e e d
re a d in g co u rs e s. The c o u rs e c o n s is te d o f e ig h t th re e -h o u r le s so n s .

T he S p e ed R e a d in g Book
e a c h s p a c e d a w e e k apart. D uring th e le sso n w h e n the g u id e d re a d ­
in g te c h n iq u e s w e re b e in g in tro d u c e d , th e c la s s h a d to use th e lo o p
o r th e v e rtic a l w a ve o r th e lazy ‘S ’ a s a su p e r-fa s t p re v ie w in g te c h ­
n iq u e o n a novel T he tim e lim it fo r c o m p le tin g th e e n tire b o o k w a s
fiv e m in u te s . T he w o m a n in q u e s tio n le ft th e c la s s in fru s tra tio n ,
s a y in g that, a lth o u g h sh e h a d u s e d th e g u id e o n e ve ry pa g e , n o t a
sin g le th in g h a d g o n e in a n d sh e c o u ld n ’t se e th e p o in t'
D u rin g th e fo llo w in g w e e k 's le sso n , th e s a m e n o ve l w a s u s e d for
a n ex e rc is e in w h ic h th e s tu d e n ts h a d to u s e any g u id in g te c h n iq u e
a n d to re a d fo r g o o d c o m p re h e n s io n . The w o m a n c h o s e th e b a s ic
S', a n d be g a n , w ith the rest o f th e class, th e 15-m inute exercise A fter
five m in u te s th e c o n c e n tra te d s ile n c e w a s b ro k e n b y a s h rie k! The
w o m a n w a s s c re a m in g . ‘I k n o w it! I k n o w it! I k n o w it1’ S he re p o rte d
th a t, a s s h e b e c a m e a c c u s to m e d to th e g u id e , th e b o o k s u d d e n ly
o p e n e d its e lf to h e r like a film th a t sh e h a d a lre a d y s e e n o n c e a nd
w a s s e e in g fo r th e s e c o n d tim e W h a t h a d h a p p e n e d w a s th a t h e r
b ra in h a d p h o to g ra p h e d the en tire b o o k , s to rin g it so m e w h e re d e e p
in her v is u a l c o rte x a n d m in d 's eye. W h e n h e r b ra in w a s s tim u la te d
a gain, it s im p ly re -a sse sse d th e in fo rm a tio n a n d g a v e it to her.

EXERCISE

V isual g u l p
T h e n u m b e r e x e r c i s e s t h a t f o l l o w w ill h e lp d e v e l o p y o u r a w a r e n e s s o f y o u r

v e r t i c a l a n d h o r i z o n t a l v is io n . F o r t h is r e a s o n , e a c h n u m b e r g r o u p is o n t w o

li n e s . U n c o v e r e a c h b l o c k o f t w o n u m b e r s a n d t h e n c o v e r t h e m a g a in , g iv in g

y o u r s e lf e n o u g h tim e fo r o n ly a s h o r t g la n c e . W r ite w h a t y o u th in k y o u s a w

o n t h e li n e a n d c h e c k . W h e n y o u h a v e p r a c t i s e d a f e w o f t h e s e e x e r c i s e s ,

m o v e o n t o S e l f - t e s t 4 . B e f o r e r e a d in g , s e l e c t y o u r f a v o u r it e m e t a - g u i d i n g

t e c h n i q u e , r a is e y o u r m o t i v a t io n a l le v e ls , a n d g o f o r y o u r o w n p e r s o n a l

s p e e d r e a d in g r e c o r d to d a te .

28 84

9 2 .......................................... 21

94 14

0 7 .......................................... 68

93 35

N ine w ay s to g u id ed sp e e d re a d in g QQ|
 1 2 ............................. 5 6 ...
86 48
7 4 ............................. 99...
06 18
9 3 ............................. 10...
57 39
7 2 ............................. 51 ...
30 74
6 6 ............................. 3 3...
73 84
1 6 ............................. 28...
03 98
4 8 ............................ 3 2...
71 39
9 5 ............................ 18...
39 47
6 8 ............................ 13...
96 70
0 4 ............................ 15...
53 94
1 8 ............................ 75 ...
08 29
4 2 ............................ 65 ...
41 78
4 0 ............................ 70...
39 73
1 5 ............................ 31 ...
83 14
4 0 ............................ 77...
56 93
1 4 ............................ 3 6 ..
94 18

112 The Speed Reading Book

016 936 ..............................
18 93
964 148 ...............................
68 25
922 096 ...............................
46 84
921 695 ...............................
04 98
962 277 ...............................
49 77
763 194 ...............................
91 04
217 185 ...............................
86 27
103 976 ...............................
93 60
184 414 ...............................
37 22
629 050 ...............................
94 32
060 281 ...............................
46 18
299 504 ...............................
37 95
276 706 ...............................
07 20
330 063 ...............................
13 30
966 411 ...............................
95 84
563 392 ...............................
52 78 ►

Nine ways 10 guided speed reading 113

 380 ............................ 153....

50 72
064 ............................ 927....
11 63
693 ............................ 832....
695 592
802 ............................ 033....
938 153
805 ............................ 408...
463 916
592 ............................ 863...
907 106
8 1 8 ............................ 763...
953 909
832 ............................ 753...
711 063
393 ........................... ........ 494...
512 508
9 3 7 ........................... 342 ...
830 174
1 4 8 ........................... ........ 6 73...
602 725
935 ........................... ........ 163...
291 408
1 7 5 ........................... 853...
784 591
4 2 1 ........................... ........ 744...
594 422
208 ........................... 906...
440 807
6 1 8 ........................... ......... 945..
128 705

114 The Speed Reading Book

 4 8 3 ..................................... 9 1 2 ....

058 614
9 8 3 ..................................... 9 3 7 ....

163 731
9 7 5 ..................................... ........... 1 4 7 ....

805 853
1 9 4 ..................................... ........... 9 0 2 ....

254 395
1 1 0 ..................................... 7 0 7 ....

You are now read y for Self-test 4. W hile you are reading this self­
test. m a ke sure you take in large groups of w ords with each visual
gulp . use your guide to assist you. and hold the book a good dis­
ta n c e aw a y from you. thus en ab lin g you to m a k e use of your
peripheral vision and your brain reading capabilities.

SELF-TEST 4

Are we alo n e in the u n iv erse? Extra-terrestrial

in tellig en ces, b y Tony Buzan
O n p r e c is e ly t h e d a y , h o u r a n d m in u t e o f t h e f iv e h u n d r e d th a n n iv e r s a r y o f

C o lu m b u s ' d is c o v e r y o f A m e r ic a , th e h u m a n r a c e la u n c h e d h is t o r y ’s g r e a t -

e s t - e v e r e f f o r t t o d is c o v e r n o t o n ly n e w w o r ld s b u t , m o r e im p o r t a n t ly , n e w

in te llig e n c e s .

O n 1 2 O c t o b e r 1 9 9 2 , a t 3 p m A t la n t ic S t a n d a r d T im e , a s t r o n o m e r s in

A r e c ib o . P u e r to R ic o , tu r n e d o n th e m o s t p o w e r f u l r a d io t e le s c o p e e v e r b u ilt.

A t p r e c is e ly t h e s a m e m o m e n t , o t h e r s f ir e d u p a s e c o n d t e l e s c o p e a t t h e

G o ld s t o n e T r a c k in g S ta t io n n e a r B a r s t o w , C a lif o r n ia . M o r e t h a n a h u n d r e d

p h y s ic is t s , a s t r o n o m e r s , c o m p u t e r p r o g r a m m e r s a n d t e c h n ic ia n s a r e n o w

a s s i d u o u s ly m o n it o r in g c o n t r o l p a n e ls in e a g e r a n t ic ip a t io n as s u p e r­

c o m p u te r s lis te n t o m illio n s o f ra d io c h a n n e ls , s e a r c h in g f o r a n y s ig n a l t h a t

b e a r s th e s t a m p o f in te llig e n t life , a n d w h ic h c o n f ir m s w h a t t h e m a jo r it y o f

a s t r o n o m e r s h a v e b e lie v e d fo r y e a r s - t h a t w e a re n o t a lo n e in t h e u n iv e rs e .

Nine ways to guided speed reading QQ

 T h e 1 0 0 - m i l l i o n - d o l l a r p r o je c t , c a lle d S E T I ( S e a r c h f o r E x t r a - T e r r e s t r ia l

In te llig e n c e ), h a s fu ll N A S A m is s io n s ta t u s , a n d w ill c o n t in u e u n til a t le a s t th e

y e a r 2 0 0 0 , in t h e h o p e o f d is c o v e r in g r a d io w a v e s c r e a t e d b y in t e llig e n t

b e in g s : ra d io w a v e s th a t m ig h t h a v e b e g u n t h e ir jo u r n e y t o w a r d s E a r th a t th e

s p e e d o f lig h t a s r e c e n tly a s y e s t e r d a y o r p e r h a p s a s d is t a n t ly a s t e n b illio n

y e a rs ag o .

T h e m is s io n d w a r fs o u r p r e v io u s g r e a t e s t a t t e m p t a t s e a r c h in g f o r e x t r a ­

te r re s tria l in te llig e n c e in s p ire d b y t h e a s t r o n o m e r F ra n k D r a k e in 1 9 7 4 . D ra k e

u s e d th e A r e c ib o r a d io te le s c o p e , w h ic h a t t h e t im e h a d a n e ff e c tiv e p o w e r o f

2 0 trillio n w a tts , t o s e n d a c o d e d m e s s a g e t o w a r d s t h e g r e a t c lu s t e r o f s ta rs

in th e c o n s te lla tio n H e r c u le s , s o m e 2 4 , 0 0 0 lig h t y e a r s a w a y .

T h e m e s s a g e , a k in d o f c o s m ic IQ t e s t , w a s s h o w n f ir s t b y D r a k e t o t h e

a s t r o n o m e r C a r l S a g a n , o n e o f t h e f in a lis t s in t h e a n n u a l B r a in o f t h e Y e a r

a w a r d , o v e r lu n c h a t th e C o r n e ll F a c u lt y C lu b . A c c o r d in g t o D r a k e , S a g a n

w o r k e d o u t m o s t o f it fa ir ly q u ic k ly .

T h e m e s s a g e , f r o m to p to b o t t o m , s h o w s :

1 A b in a r y c o u n tin g s y s t e m

2 M o le c u le s e s s e n tia l f o r life o n E a r th

3 C h e m ic a l fo r m u la e fo r D N A . o u r g e n e tic m a t e r ia l

4 A g ra p h ic re p re s e n ta tio n o f th e d o u b le h e lix s h a p e o f t h e D N A m o le c u le

e n d in g a t th e h e a d o f a h u m a n f ig u r e

5 A r e p re s e n ta tio n o f o u r s u n a n d n in e p la n e t s ( E a r t h is r a is e d t o s h o w

w h e r e w e liv e ), a n d a d e p ic t io n o f a ra d io t e le s c o p e b e a m in g t h e

m essage.

T h e c u r r e n t m is s io n is s o e n o r m o u s in its s c a le a n d p r e c is e in its e n g in e e r in g

th a t w e w ill b e a b le to h e a r m o r e in t h r e e d a y s t h a n w e h a v e h e a r d in t h e 2 2

y e a r s s in c e D r a k e b e g a n h is in itia l e x p e r im e n t s in 1 9 7 0 . In t h e n e w e f f o r t , a t

le a s t s ix r a d io t e le s c o p e s w o r ld w id e w ill e v e n t u a lly g o o n c o n s t a n t a le r t ; th e

d is h a t A r e c ib o - 0 . 3 k m ( 1 / 5 m i le ) in d ia m e t e r - h a s b e e n u p g r a d e d to

in c r e a s e its s e n s itiv ity b y 3 0 0 p e r c e n t a n d e x t r a o r d in a r y s o f t w a r e h a s b e e n

d e s ig n e d t o in t e r p r e t s ig n a ls . D r a k e . 6 2 , is P r o f e s s o r o f A s t r o n o m y a t t h e

U n iv e rs ity o f C a lifo r n ia . S a n ta C r u z , a n d is a ls o P r e s id e n t o f t h e S E T I In s titu te

in M o u n ta in V ie w , C a lifo r n ia . H e s a y s , ‘I fin d n o th in g m o r e ta n ta lis in g t h a n th e

t h o u g h t t h a t r a d io m e s s a g e s f r o m a lie n c iv il is a t io n s in s p a c e a r e p a s s in g

th r o u g h o u r o f f ic e s a n d h o m e s rig h t n o w . lik e a w h is p e r w e c a n ’t q u ite h e a r.'

I Q Q The Speed Reading Book

The ey e s
T h e la r g e s t r a d io t e le s c o p e in t h e w o r ld is v e r y d if f e r e n t f r o m t h e t r a d itio n a l
o p tic a l te le s c o p e s u s e d b y a m a te u r a s t r o n o m e r s , o r e v e n th e h u g e t u b u la r t e l­

e s c o p e s th a t p e e r o u t o f o b s e r v a to r y d o m e s a n d m o u n t a in s a ro u n d th e w o rld ,

lik e P a lo m a r, C a lifo r n ia , o r M a u n a K e a in H a w a ii. T h e A r e c ib o t e le s c o p e is a

3 0 4 m ( 1 0 0 0 f o o t ) w id e b o w l o f p e r f o r a t e d a lu m in iu m s e t in a v a s t h o le in th e

g ro u n d . A b o v e th e b o w l, h u n d r e d s o f t o n n e s o f s te e ra b le a n te n n a e h a n g fr o m

c a b le s th a t a r e c o n n e c te d t o s u p p o r t t o w e r s o n th e s u rro u n d in g h ills .

S im ila r in d e s ig n to a T V s a te llite d is h , a r a d io te le s c o p e c a n f o c u s e v e r y

r a d io w a v e t h a t h its it t o w a r d s a c e n tr a l c o lle c t io n p o in t w h e r e t h e s ig n a l is

t h e n fe d t o , a n d p r o c e s s e d b y , a re c e iv e r.

T h e s e ‘ e y e s o f t h e E a r t h ’ a r e s o s e n s it iv e t h a t , in 1 9 8 7 , a n e w s u p e r ­

c o m p u t e r c o n n e c te d t o th e G o ld s to n e r a d io t e le s c o p e in t h e M o ja v e D e s e r t

e a s ily d e te c te d th e fa in t. 1 - w a t t s ig n a l e m a n a t in g f r o m t h e P io n e e r 1 0 p ro b e

t h a t w a s la u n c h e d f r o m E a r th in t h e w in t e r o f 1 9 7 2 . A t t h e t im e it w a s

d e t e c t e d , P io n e e r w a s b illio n s o f k ilo m e t r e s o u t in s p a c e !

R a d io t e l e s c o p e s a r e e s p e c ia ll y u s e f u l in t h e s e a r c h f o r e x t r a t e r r e s tr ia l

in t e llig e n c e , b e c a u s e r a d io w a v e s g iv e n o f f b y s t a r s a r e b o t h ir r e g u la r a n d

r a n d o m , w h ile r a d io w a v e s u s e d fo r in te llig e n t c o m m u n ic a t io n f o r m p a tte rn s

t h a t a re e a s ily d e te c te d o n d is p la y m o n it o r s s u c h a s o s c illo s c o p e s .

T h e id e a o f s e a r c h in g fo r n o n - r a n d o m w a v e s t h a t w o u ld s u g g e s t th e p r e s ­

e n c e o f in te llig e n c e o rig in a lly f o r m e d in th e m i d - 1 9 5 0 s in th e m in d s o f D ra k e

a n d o f p h y s ic is ts G iu s e p p e C o c c o n i a n d P h ilip M o r r is o n a t C o rn e ll. In 1 9 5 9 ,

in t h e s c ie n c e jo u r n a l Nature, C o c c o n i a n d M o r r is o n w r o t e : ... t h e p ro b a b ility

o f s u c c e s s is d if f ic u l t t o e s t i m a t e , b u t if w e n e v e r s e a r c h , t h e c h a n c e o f

s u c c e s s is z e r o .’

History’s b ig g e s t b a rg a in
T o t h o s e w h o q u e s tio n w h e t h e r th e e f f o r t is w o r t h w h ile . D ra k e p o in ts o u t th a t

t h e £ 1 3 5 m illio n e a r m a r k e d fo r S E T I is le s s t h a n o n e - te n t h o f 1 p e r c e n t o f

N A S A ’s a n n u a l b u d g e t o f £ 1 5 b illio n . ‘W h e n y o u f a c t o r in t h e c o n s e q u e n c e s

o f s u c c e s s ,’ D r a k e s a y s , th is c o u ld b e t h e b ig g e s t b a rg a in in h is t o r y .’

A la rg e p e r c e n ta g e o f th e b u d g e t g o e s o n n e w c o m p u te r e q u ip m e n t w h ic h

b o th e n h a n c e s th e q u a lity o f r e c e p tio n a n d h e lp s in th e in te rp re ta tio n o f s ig n a ls .

T h e s e g ia n t e le c tr o n ic b r a in s w ill ‘p e r c e iv e ' v a s t q u a n titie s o f c o s m ic ra d io

in f o r m a t io n w h ic h w ill b e s p r e a d o v e r m illio n s o f c h a n n e ls , a n d w ill s if t

t h r o u g h th e d a ta , c u llin g p a tte r n s a n d p o s s ib ilitie s f o r t h e h u m a n o b s e r v e r s .

Nine ways lo guided speed reading

 T h e b ra in b e h in d t h e s e b r a in s is e x t r a o r d in a r y in its o w n rig h t: p h y s ic is t

K e n t C u lle rs h a s b e e n b lin d s in c e b ir th , a n d h a s n e v e r s e e n a r a d io s ig n a l o n

a n o s c illo s c o p e , le t a lo n e a s ta r. H is p a s s io n f o r t h e u n iv e r s e s t e m s f r o m h is

f a t h e r w h o , w h e n C u lle r s w a s f iv e , r e a d t o h im f r o m The Golden Book o f

Astronomy. T h e id e a t h a t t h e r e m ig h t b e o t h e r w o r ld s t o d is c o v e r f ir e d m y

im a g in a t io n ,' h e r e c a lls . A n d h is m a s s iv e im a g in a t io n is w h a t is h e lp in g t o

g iv e t h e E a r th s ig h t: h e h a s m a n a g e d to e n d o w h is a u t o m a t e d s ig n a l p r o ­

c e s s in g p r o g r a m m e w ith w h a t Life m a g a z in e d e s c r ib e s a s ‘s e c o n d s ig h t ' - a

s y s t e m t h a t c a n id e n tify s u s p ic io u s ly in te llig e n t s ig n a ls in w h a t w o u ld o t h e r ­

w is e a p p e a r to b e n o th in g m o r e t h a n a s o u n d - c a u ld r o n o f h is s in g s ta tic .

T h e h e a d o f th e N A S A p ro je c t. P r o f e s s o r J ill T a rte r, b e lie v e s ( a s d o h e r c o l­

le a g u e s ) th a t o th e r in te llig e n t life d o e s e x is t. S h e a n d h e r c o lle a g u e s e n v is a g e

a g a la c tic c o m m u n it y o f in t e llig e n t c iv ilis a t io n s , t o o f a r a p a r t t o s o c ia lis e ,

c o lo n is e o r c a n n ib a lis e o n e a n o th e r. A m e s s a g e f r o m a n y o n e o f t h e m , s e n t to

E a r th p e r h a p s m a n y m illio n s o f y e a r s a g o w h e n o u r c iv ilis a t io n w a s n o t y e t

e x is te n t, c o u ld r e a c h u s a t a n y t im e . A n d w h a t if th e p r o je c t d o e s u n E a r t h ’ th e

s ig n a ls fo r w h ic h t h e y s e a r c h ? T a r t e r s a y s : 'A n y s ig n a ls t h a t a r r iv e a re rig h tly

th e p r o p e r ty o f h u m a n k in d . T h e y w e r e s e n t to t h e p la n e t E a r th , n o t t o N A S A .

A fte r m ille n n ia o f w o n d e r in g , a ll h u m a n s s h o u ld k n o w - w e a re n o t a lo n e .'

Hum an a s g u a rd ia n
A r t h u r C . C la r k e , f a m e d s c ie n c e f ic t io n a u t h o r o f 2001 A Space Odyssey
a n d fu tu r is t, b e lie v e d th e s e a r c h h a d t r e m e n d o u s s c ie n tif ic a n d m o r a l v a lu e .

In Life h e w ro te :

H o w e v e r it m ig h t o c c u r , th e d e t e c t io n o f in t e llig e n t life b e y o n d t h e E a r t h

w o u ld c h a n g e f o r e v e r o u r o u t lo o k o n t h e u n iv e r s e . A t t h e v e r y le a s t , it

w o u ld p ro v e t h a t in te llig e n c e d o e s h a v e s o m e s u r v iv a l v a lu e , d e s p it e w h a t

w e s e e o n th e e v e n in g n e w s .

S E T I r e p r e s e n ts th e h ig h e s t p o s s ib le f o r m o f e x p lo r a t io n , a n d w h e n w e c e a s e

t o e x p lo re , w e w ill c e a s e to b e h u m a n .

B u t s u p p o s e th e w h o le a r g u m e n t f o r S E T I is f la w e d , a n d in te llig e n t life h a s

a r is e n o n ly o n E a r th . It w o u ld , o f c o u r s e , b e im p o s s ib le t o p r o v e t h a t - t h e r e

m ig h t a lw a y s b e E T s ju s t a f e w lig h t y e a r s b e y o n d o u r ra n g e o f in v e s tig a tio n .

The Speed Reading Book

If, h o w e v e r , a f t e r c e n tu r ie s o f lis te n in g a n d lo o k in g , w e h a v e fo u n d n o s ig n o f

e x t r a -te r r e s tr ia l in te llig e n c e , w e w o u ld b e ju s tifie d in a s s u m in g t h a t w e a re .

A n d t h a t is th e m o s t a w e s o m e p o s s ib ilit y o f a ll. W e a re o n ly n o w b e g in ­

n in g t o a p p r e c ia te o u r d u ty to w a r d s t h e p la n e t E a r th : if w e a r e in d e e d t h e s o le

h e ir s t o t h e g a la x y , w e m u s t a ls o b e its f u tu re g u a rd ia n s .

A f t e r m illio n s o f y e a r s o f liv in g in is o la t io n , h u m a n in t e llig e n c e m a y b e

w it h in a m e r e t e n y e a r s o f r e a lis in g th a t it h a s c o m p a n io n s in t h e c o s m o s .

STOP YOUR TIM ER NOW!

Length of tim e :______________ mins

N e x t, c a lc u la te y o u r re a d in g s p e e d in w o r d s p e r m in u t e ( w p m ) b y d iv id in g th e

n u m b e r o f w o r d s in th e p a s s a g e (in t h is c a s e , 1 4 0 6 ) b y th e t im e (in m in u t e s )

y o u to o k .

n u m b e r o f w o rd s
W o rd s p e r m in u te (w p m )
t im e

W h e n y o u h a v e c o m p le te d y o u r c a lc u la t io n , e n t e r t h e n u m b e r in t h e w o r d s

p e r m in u t e ( w p m ) s lo t a t th e e n d o f th is p a r a g r a p h , a n d a ls o e n t e r it o n y o u r

p ro g re s s g ra p h a n d c h a rt o n p a g e s 2 2 2 - 3 .

Words per minute:

Self-test 4: C o m preh en sion

1 W h e n d id th e h u m a n r a c e la u n c h h is t o r y ’s g r e a t e s t - e v e r e f f o r t to

d is c o v e r n e w in te llig e n c e s ?

(a ) T h e h u n d r e d th a n n iv e r s a r y o f C o lu m b u s ’ d is c o v e r y o f A m e r ic a

(b ) T h e fiftie th a n n iv e r s a r y o f t h e la u n c h o f th e firs t s a te llite

(c ) T h e fiv e h u n d r e d th a n n iv e r s a r y o f C o lu m b u s ’ d is c o v e r y o f A m e r ic a

(d ) O n n o p a r t ic u la r h is to r ic a l d a y

2 S E T I s ta n d s f o r S e a r c h in g f o r E x tra -T e rrito ria l In te lle c ts . True/False ^

Nine ways to guided speed reading

 3 NASA is searching for radio waves that might have begun their journey
towards Earth at the speed of light as distantly as:
(a) a million years ago
(b) a hundred million years ago
(c) a billion years ago
(d) ten billion years ago

4 The previous greatest attempt at searching for extra-terrestrial beings in

1974 was inspired by:
(a) Frank Drake
(b) Carl Sagan
(c) President Kennedy
(d) Mensa

5 The 1974 attempt sent a coded message towards the great cluster of
stars in the constellation known as:
(a) Jupiter
(b) Orion
(c) Hercules
(d) Scorpio

6 In that coded message was included a representation

of our sun and nine planets. Tm e/False

7 In the new effort, at least how many radio telescopes worldwide will
eventually be on constant alert?
(a) Two
(b) Four
(c) Six
(d) Eight

8 The Arecibo telescope is a wide bowl of perforated aluminium

set in a vast hole in the ground. How wide is it?
(a) 304 m (100 feet)
(b) 152 m (500 feet)
(c) 228 m (750 feet)
(d) 304 m (1000 feet)

The Speed Reading Book

9 A ra d io t e le s c o p e c a n fo c u s to w a r d s a c e n tr a l c o lle c tio n p o in t:
(a ) 2 5 p e r c e n t o f th e r a d io w a v e s t h a t h it it

(b ) 5 0 p e r c e n t o f th e r a d io w a v e s t h a t h it it
(c ) 7 5 p e r c e n t o f th e r a d io w a v e s t h a t h it it

(d ) a ll th e r a d io w a v e s t h a t h it it

10 R a d io w a v e s g iv e n o f f b y s ta r s a re :
(a ) ir r e g u la r a n d r a n d o m

(b ) ir r e g u la r a n d n o t ra n d o m

(c ) n o t r a n d o m a n d ir re g u la r

(d ) n o t ir r e g u la r a n d n o t ra n d o m

11 T h e b ra in b e h in d t h e b r a in s o f th e S E T I s e a r c h is e x t r a o r d in a r y b e c a u s e :

(a ) h e h a s th e h ig h e s t IQ in th e w o rld

(b ) h e w a s o r ig in a lly n o t in te re s te d in a s t r o n o m y

(c ) h e h a s b e e n b lin d s in c e b ir th

(d ) h e w a s o r ig in a lly a d o c t o r o f m e d ic in e

12 W h o h a s b e e n d e s c r ib e d a s g iv in g th e E a r th s ig h t?

(a ) F ra n k D ra k e

(b ) K e n t C u lle rs

(c ) J ill T a r te r

(d ) G a lile o

13 P r o f e s s o r J ill T a r te r h o p e s b u t d o e s n o t b e lie v e t h a t

o th e r in te llig e n t life d o e s e x is t. True/False

14 A r t h u r C . C la r k e s a id , S E T I r e p r e s e n ts th e h ig h e s t p o s s ib le f o r m o f
e x p lo r a tio n , a n d w h e n w e c e a s e to e x p lo re , w e w ill c e a s e t o b e

C h e c k y o u r a n s w e r s a g a in s t th o s e o n p a g e 2 1 6 . T h e n d iv id e y o u r s c o r e b y

1 4 a n d m u ltip ly b y 1 0 0 to c a lc u la te y o u r p e r c e n ta g e c o m p r e h e n s io n .

C o m p r e h e n s io n s c o r e : ______________ o u t o f 1 4

______________ p e r c e n t

N o w e n te r y o u r s c o r e o n y o u r p r o g r e s s g ra p h a n d c h a r t o n p a g e s 2 2 2 - 3 .

Nine ways to guided speed reading

Tips lor p ractisin g the guided read in g
techniques
• It is especially useful to practise all of them initially at very high
speeds aiming for virtually no comprehension, and then to
practise them immediately at your new normal speeds. In this
way, your brain will become accustomed to high speeds.
• It is often best to begin by using these techniques on material
that you have already read, thus accomplishing two tasks at
once: reviewing what you have read and warming up your
eye/brain system for the task ahead.
• When you have completed this chapter, practise all the guided
reading techniques on everything you have read so far in this
book. As you do so, try to practise at speeds that push you to
the limit.

• Practise with each of the guided reading techniques for at least

five minutes, varying your speed and depth of comprehension
as you go. The five minutes is necessary to allow your brain time
to get used to the technique.
• Practise guided reading techniques at wildly varying speeds.
Many people find, to their amazement, that at lower speeds their
comprehension is almost absent but at certain specific rhythms
their comprehension suddenly becomes amazingly clear.

The guided reading techniques you have learnt in this chapter will
be of particular help in acquiring the rhythmical reading skills you
are about to learn in Chapter 9.

The Speed Reading Book

A ccelerating your
reading rhythm
In this chapter we explore the idea of tapping into your
mental metronome. A metronome is a device best known in
music used to mark time by means of regularly recurring
ticks or flashes at regularly repeated and adjustable inter­
vals. US President Thom as Jefferson, a famed intellect,
described his reading speed as always calm, even stately,
like the tick of a tall m ahogany clock'. Jefferson had intu­
itively recognised and foreseen the development of
rhythmical reading and the metronome method. With fine
tuning, your eye/brain system can adjust to faster relative
rhythms or beats per minute, which translates to more words
per minute.
If you were driving along the German autobahn at 90 miles
per hour, and your partner suddenly covered your
speedometer and asked you to decelerate to 30 miles per
hour, at what speed do you think you would ‘level off, saying
‘That’s 30 miles per hour ? Most people estimate between 50
and 60 miles per hour and are correct.
F ig u re 9.1 Illu s tra tio n sh o w in g h o w the m in d ‘g e ts u se d to ' s p e e d a n d
m otion. The sam e k in d o f re la tiv is tic ‘m is ju d g e m e n ts ’ can be u s e d to
advantage to h e lp u s to le a rn m o re adequately.

The reason for this apparent absurdity is that the brain gets
used to a new norm and begins to compare all experiences
with that norm. This extraordinary ability of your brain to adapt
to any new norm is now being used in many areas, including
Olympic training. In one instance, runners were attached to a
treadmill with a supporting belt. The treadmill was then gradu­
ally accelerated past their fastest speed to date, while they
were encouraged to keep moving their legs at the appropriate
speed. The supporting belt gave them a sense of security.
After a series of such training sessions, many of them were
able to break their previous records, because their brain/body
system had become used to this new, speedier norm.

Increasing your ‘b eats per minute’

T h e a d ju s ta b le n a tu re o f y o u r b ra in c a n a ls o b e a p p lie d to im p ro v in g
y o u r re a d in g s p e e d b y m e a n s o f a m e tro n o m e , w h ic h c a n b e u s e d in
a n u m b e r o f w a y s You c a n b u y a tra d itio n a l o r d ig ita l m e tro n o m e in a
m u s ic s to re o r d o w n lo a d a fre e o n e a t www.webmetronome.com

T h e S p e e d R e a d in g Book
 Begin by allowing each beat to indicate a single stroke along the
line for your visual g u id e In this way, a regular, steady, sm ooth
reading rhythm can b e established and m aintained, and the usual
deceleration in reading speed over tim e can be avoided. O n ce you
have established a possible' reading speed, the m etronom e beat
ca n b e raised o n e b e a t per m inute an d an im provem ent in your
reading sp eed can be achieved.
A secon d m ajor use of the m e tronom e is for relativistic sp eed
reading training. In this m ethod of training, you set the m etronom e
at an ab n o rm ally high s p e e d , thereby obliging your ey e/b ra in
system to beco m e accustom ed to a very high new norm. This form
of training allow s you to ‘pull yourself up by the boot straps' by
establishin g very high new norm s. You can then dip below them
into co m fortably slow ’ reading sp eed s, which are still tw ice your
previous average
Below are a series of exercises designed to set you off on the
high-speed, high-com prehension path.

EXERCISES

H ig h -sp eed p ra ctise

In t h e fo llo w in g e x e r c is e s , u s e w h ic h e v e r g u id e d re a d in g t e c h n iq u e fe e ls

m o s t a p p r o p r ia te .

1 R e a d n o r m a lly f o r fiv e m in u te s f r o m a b o o k t h a t y o u w ill b e a b le to

c o n tin u e u s in g . R e c o r d y o u r w o r d s p e r m in u t e o n y o u r p r o g r e s s g r a p h

on pages 2 2 2 -3 .

2 U s e a n y b o o k ( lig h t m a te r ia l) o f y o u r c h o ic e , p r e f e r a b ly o n e in w h ic h y o u

a r e in te r e s te d .

3 A im f o r a s m u c h c o m p r e h e n s io n a s p o s s ib le , b u t r e m e m b e r t h a t th is

e x e r c is e is c o n c e r n e d p r im a r ily w it h s p e e d . In t h is e x e r c is e , y o u s h o u ld

c o n t in u e r e a d in g f r o m t h e la s t p o in t y o u re a c h e d .

( a ) P r a c t is e - r e a d f o r o n e m in u te a t 1 0 0 w p m f a s t e r t h a n y o u r h ig h e s t

n o rm a l s p eed .

( b ) P r a c t is e - r e a d 1 0 0 w p m f a s t e r t h a n ( a ) .

( c ) P r a c t is e - r e a d 1 0 0 w p m f a s t e r t h a n ( b ) .

Accelerating your reading rhythm

 ( d ) P r a c t is e - r e a d 1 0 0 w p m f a s t e r t h a n ( c ) .

(e ) P ra c tis e -re a d 1 0 0 w p m fa s t e r th a n ( d ) in H ig h -s p e e d p ra c tis e 1 (b e lo w ),

(t) P r a c t is e - r e a d w ith c o m p r e h e n s io n f o r o n e m in u t e f r o m t h e p o in t

r e a c h e d a t th e e n d o f ( e ) . C a lc u la t e a n d r e c o r d y o u r w p m o n y o u r

p ro g re s s g ra p h o n p a g e s 2 2 2 - 3 .

5 High-speed practise 1
( a ) U s e a n y e a s y b o o k . S t a r t f r o m t h e b e g in n in g o f a c h a p te r .

(b ) P r a c tis e -r e a d w ith a v is u a l a id , t h r e e lin e s a t a t im e , a t a m in im u m o f

2 0 0 0 w p m f o r fiv e m in u t e s . M a r k t h e p o in t w h e r e y o u s to p .

( c ) R e -r e a d to m a r k in f o u r m in u t e s .

(d ) R e -r e a d to m a r k in t h r e e m in u t e s .

( e ) R e -r e a d t o m a r k in t w o m in u t e s .

( f) R e a d o n f r o m m a r k , f o r t h e s a m e c o m p r e h e n s io n a s in ( b ) , f o r fiv e

m in u te s .
( g ) R e a d f o r n o r m a l c o m p r e h e n s io n f o r o n e m in u t e . R e c o r d y o u r w p m

o n y o u r p ro g re s s g ra p h o n p a g e s 2 2 2 - 3 .

6 High-speed practise 2
( a ) U s in g a n y e a s y b o o k , s t a r t a t t h e b e g in n in g o f a c h a p te r.

(b ) S c a n fo r o n e m in u te , u s in g a v is u a l a id a n d ta k in g fo u r s e c o n d s p e r p a g e .

( c ) P r a c t is e - r e a d f r o m th e b e g in n in g a t a m in im u m o f 2 0 0 0 w p m f o r f iv e

m in u te s .

( d ) R e p e a t th is e x e r c is e w h e n p o s s ib le .

(e ) A s 5 (g ).

7 E x e rc is e y o u r e y e s b y m o v in g t h e m o n h o r iz o n ta l a n d v e r t ic a l p la n e s ,

d ia g o n a lly u p p e r le ft t o lo w e r r ig h t a n d t h e n u p p e r r ig h t t o lo w e r le ft.

S p e e d u p g ra d u a lly , d a y b y d a y . T h e p u r p o s e o f t h is e x e r c is e is t o tr a in

y o u r e y e s to fu n c tio n m o r e a c c u r a t e ly a n d in d e p e n d e n t ly .

8 P ra c tis e tu rn in g 1 0 0 p a g e s a t a p p ro x im a te ly t w o s e c o n d s p e r p a g e , m o v in g

y o u r e y e s v e r y ra p id ly d o w n th e p a g e . (D o th is in t w o t w o - m in u t e s e s s io n s .)

9 ( a ) P r a c tis e a s f a s t a s y o u c a n f o r o n e m in u t e , n o t w o r r y in g a b o u t

c o m p r e h e n s io n .

( b ) R e a d w ith m o tiv a te d c o m p r e h e n s io n f o r o n e m in u t e .

( c ) C a lc u la te a n d re c o rd y o u r w p m o n y o u r p ro g re s s g ra p h o n p a g e s 2 2 2 - 3 .

R e p e a t a s t im e a llo w s .

The Speed Reading Book

A fte r y o u h a v e c o m p le te d a n u m b e r o f th e s e h ig h -s p e e d p ra c tic e
e x e rc is e s , g o s tra ig h t to S e lf-te s t 5. B e fo re s ta rtin g th e re a d in g
p ro p e r, it m ig h t b e a n e x c e lle n t id e a to d o a tw o -s e c o n d -p e r-p a g e
m e tro n o m e s p rin t’ o v e r th e w h o le s e lf-te s t, a s a s k im a n d s c a n .
W h e n y o u s ta rt y o u r a c tu a l re a d in g , m a k e s u re y o u r b ra in is e s p e ­
c ia lly w e ll s e t fo r g a th e rin g m o re in fo rm a tio n a b o u t w h a t y o u
p e rc e iv e d in y o u r ‘m e tro n o m e s p rin t’.

SELF-TEST 5

B a b y b ra in , b y Dr S u e W hiting
T h e e a r ly d e v e l o p m e n t o f t h e b a b y b r a in is a p e r io d o f in t e n s e n e u r a l a c t iv it y

w h e n b r a in c e l l i n t e r c o n n e c t io n s a r e b e in g f o r g e d a t a f u r io u s p a c e . It is n e v e r

t o o e a r ly f o r t h e b r a in t o s t a r t le a r n in g .

B ra in sp u rts
T h e b r a in t a k e s lo n g e r t h a n a n y o t h e r o r g a n t o r e a c h it s fu ll d e v e l o p m e n t , a n d

it s g r o w t h p a t t e r n is m a r k e d ly d if f e r e n t . In m o s t o t h e r o r g a n s , b a s ic d e v e l o p ­

m e n t is c o m p l e t e d in t h e w o m b . F u r t h e r g r o w t h in s iz e is t h r o u g h t h e c e l lu l a r

d iv i s i o n a s t h e b o d y g r o w s . T h e b r a in , o n t h e o t h e r h a n d , h a s it s f u ll c o m p l e ­

m e n t o f c e lls b e fo r e b ir th - t h a t is w h y t h e h e a d s o f b a b i e s s e e m o u t o f

p r o p o r t io n t o t h e r e s t o f t h e i r b o d ie s .

R e s e a r c h c a r r ie d o u t d u r in g t h e la s t t e n y e a r s b u ild s o n p r e v io u s e v i d e n c e

t h a t t h e b r a in b e g in s e la b o r a t in g o n t h e c o n n e c t i o n s b e t w e e n c e l ls w h ile s till

in t h e w o m b , u s in g s p o n t a n e o u s l y g e n e r a t e d s ig n a ls . A t a b o u t e ig h t w e e k s

a f t e r c o n c e p t i o n , t h e f ir s t o f t h e b r a in s p u r t s ’ b e g in s ( t h e t e r m b r a in s p u r t '

r e l a t e s t o in c r e a s e d d e v e l o p m e n t o f t h e b r a i n ) . O v e r t h e n e x t f iv e w e e k s t h e

m a j o r i t y o f n e r v e c e l ls a r e f o r m e d . T h e s e c o n d 'b r a i n s p u r t ' b e g in s a p p r o x i­

m a t e l y t e n w e e k s b e f o r e b ir t h a n d c o n t in u e s f o r a b o u t t w o y e a r s a f t e r b ir t h .

T h e s e c o n d s p u r t i s a p e r io d o f i n t e n s e a c t i v i t y f o r t h e b r a in c e lls : in t e r c o n ­

n e c t i o n s a r e r e f i n e d , t u n e d a n d e x p a n d e d . T h i s i n c r e a s e in c o n n e c t i v i t y

r e s u lt s in a r a p id g r o w t h o f t h e b r a in . A t b ir t h it w e i g h s 2 5 p e r c e n t o f its a d u lt

w e i g h t , a t s ix m o n t h s it is 5 0 p e r c e n t , a t t w o a n d a h a l f y e a r s 7 5 p e r c e n t

a n d a t f iv e y e a r s 9 0 p e r c e n t .

A c c e le ra tin g your re a d in g rhythm

 Introd uction to th e world
S tu d ie s h a v e s h o w n t h a t a c h ild r e s p o n d s p o s it iv e ly a n d s p e c if ic a lly t o th e

t o n e s o f t h e h u m a n v o ic e a t b ir t h . A h ig h - s p e e d f ilm o f a n e w b o r n b a b y ,

w h e n s lo w e d d o w n a n d e x a m in e d f r a m e b y f r a m e , s h o w s t h a t t in y g e s tu r e s

o n th e p a r t o f th e c h ild a r e s y n c h r o n is e d w it h s p e c if ic t o n e s a n d s y lla b le s

f r o m t h e p a r e n t ( s ) . S o u n d s o t h e r t h a n t h e h u m a n v o ic e p r o d u c e n o s u c h

re s p o n s e . T h is im p lie s th a t s o m e lin g u is tic s k ills a re le a r n t w h ile in t h e w o m b .

H a v in g h e a rd th e m o th e r 's h e a r t w h ile in th e w o m b , t h is s o u n d is r e c o g n is e d

b y th e b a b y a n d h a s a s o o th in g e ff e c t.

T o m B o w e r 's r e s e a r c h o n in fa n t p e r c e p tio n a t th e U n iv e r s it y o f E d in b u r g h

s h o w s t h a t a c h ild e x p e r ie n c e s a t h r e e - d im e n s io n a l w o r ld f r o m b ir t h . U s in g

p o la ris in g g o g g le s s o th a t th e le ft a n d rig h t e y e s e e d iffe re n t im a g e s , h e c re a te d

th e v is u a l illu s io n th a t th e re w a s a s o lid o b je c t in fro n t o f th e b a b y . B o w e r f o u n d

th a t e v e n n e w b o r n b a b ie s s t r e t c h e d o u t t h e ir h a n d s t o t o u c h t h e a p p a r e n t

o b je c t, b u t a s s o o n a s th e ir h a n d c lo s e d u p o n e m p ty a ir in s te a d o f a s o lid o b je c t

th e b a b y s ta r te d c ry in g . T h is s h o w s t h a t a t b ir th a c h ild e x p e c ts v is u a l o b je c ts

to b e ta n g ib le , a n d in d ic a te s a s im p le u n ity o f th e v is u a l a n d ta c tile s e n s e s .

Sight a n d sound
O th e r e x p e r im e n t s a t E d in b u r g h h a v e s h o w n t h a t s ig h t a n d s o u n d a r e a ls o

in te g ra te d , th e n e w b o r n tu rn in g its h e a d in t h e d ir e c tio n o f a s o u n d , e s p e c ia lly

th e m o t h e r ’s v o ic e . T h e y h a v e s h o w n t h a t a b a b y is a ls o b o r n w it h t h e a b ility

t o r e c o g n is e s m e ll s a s p le a s a n t o r u n p le a s a n t , t u r n in g it s h e a d t o w a r d o r

a w a y a s a p p ro p r ia te .

T h e n e w b o r n c h ild c a n a ls o r e c o g n is e a h u m a n f a c e . R o b e r t F r a n t z , a

r e s e a r c h e r a t W e s t e r n R e s e r v e U n iv e r s it y in C le v e la n d , p r e s e n t e d d a y - o l d

c h ild r e n w it h t h e c h o ic e o f lo o k in g a t a p ic t u r e o f a f a c e , a b u l l’ s e y e .

n e w s p r in t , o r c o lo u r e d c ir c le s . H e f o u n d a p r e f e r e n c e f o r t h e h u m a n f a c e ,

m o s t o f t h e b a b ie s lo o k in g a t it f a r m o r e t h a n t h e o t h e r o b j e c t s . M a r k

J o h n s o n , o f C a r n e g ie M e llio n . c a r r ie d o u t s im ila r t e s t s o n in fa n ts a s y o u n g a s

te n m in u te s ; a n d o b s e r v e d a m a r k e d p r e f e r e n c e f o r p ic t u r e s o f f a c e s t o p ic ­

t u r e s o f b la n k o v a ls o r f a c e s w it h s c r a m b le d f e a t u r e s . T h is im p lie s , a c c o r d in g

to J o h n s o n , t h a t h u m a n s a r e b o m w it h a ‘t e m p la t e ’ o f a f a c e w h ic h h e lp s u s

to d is c e r n th e s o u r c e o f fo o d , w a r m t h a n d p r o te c tio n .

B a b ie s w h o a r e s p o k e n t o a s h u m a n b e in g s , r a t h e r t h a n ju s t c o o e d a t.

h a v e a m u c h g r e a t e r o p p o r t u n it y t o p ic k u p la n g u a g e . A r ic h e a r ly e n v ir o n -

I The Speed Reading Book

m e n t , w h e r e o n e o r b o th p a r e n t s c o n s c i o u s ly a im t o d e v e lo p t h e ir c h il d ’s

s e n s o r y e x p e r ie n c e , c a n s p e e d u p a n d e n h a n c e d e v e lo p m e n t . A s e a r ly a s

1 9 5 2 , A a r o n S te r n d e c id e d h is d a u g h t e r . E d it h , c o u ld b e n e f it f r o m a c o n ­

s c i o u s ly s tim u la tin g e n v ir o n m e n t . F r o m b ir t h , h e t a lk e d t o h e r a s m u c h a s

p o s s ib le (n o t b a b y t a lk ), p la y e d c la s s ic a l m u s ic , a n d s h o w e d h e r fla s h c a r d s

w it h n u m b e r s a n d a n im a ls o n t h e m . T h is t e c h n iq u e h a s b e e n a d a p t e d a n d

u s e d b y c o u n tle s s o th e r p a r e n ts , w ith v e r y p o s itiv e re s u lts .

Ram ps, la d d e rs a n d w heels

T o a s s e s s th e e ff e c t o f a ric h e n v ir o n m e n t o n b ra in g r o w t h . M a r k R o s e n w e ig ,

a t t h e U n iv e r s it y o f C a lif o r n ia a t B e r k e le y , a llo w e d a g r o u p o f b a b y r a t s to

g r o w u p in a c a g e fu ll o f r a m p s , la d d e r s , w h e e ls , t u n n e ls a n d o t h e r s tim u li. A

s e c o n d g r o u p w a s le ft in b a r r e n c a g e s . A f t e r 1 0 5 d a y s th e b ra in s w e r e e x a m ­

in e d , s h o w in g t h e b r a in s o f t h e r a ts r a is e d in t h e r ic h e n v ir o n m e n t to h a v e

m o r e c o n n e c tio n s th a n th e c o n tro l g ro u p . T h e re w e r e a ls o 1 5 p e r c e n t m o re

c e lls , a n d t h e n e u r o n e b o d ie s w e r e 1 5 p e r c e n t la rg e r, a n d , p e r h a p s m o s t

im p o r ta n tly , t h e r e w e r e m o r e in te r c o n n e c t io n s w it h o t h e r n e u ro n e s .

T h e b e lie f in b io lo g ic a lly p r o g r a m m e d c o r e k n o w le d g e lie s a t th e h e a r t of

m o s t b a b y d e v e lo p m e n t r e s e a r c h , n o t o n ly w it h m a t h e m a t ic s a n d p h y s ic s ,

b u t w it h o t h e r c o g n it i v e s k ills . J u s t w h e n s u c h c o r e k n o w le d g e is p r o ­

g r a m m e d is a s y e t u n c e r t a i n . S in c e 1 9 8 8 , w h e n a s p e c ia l m u lt i- e le c t r o d e

d e v ic e w a s in v e n t e d a t t h e C a lif o r n ia In s t it u t e o f T e c h n o lo g y , it h a s b e e n

p o s s ib le t o d e t e c t a n d m e a s u r e c e lls in th e b ra in s o f m a m m a l f o e tu s e s firin g

im p u ls e s t o e a c h o th e r, m a k in g , tu n in g a n d a d a p tin g c o n n e c tio n s w h ile in th e

w o m b . W o r k c a r r ie d o u t o n s u c h n e u ra l a c t iv ity s u g g e s ts t h a t it is d u rin g th e

‘b ra in s p u r t s ’ th a t th e in te r c o n n e c tio n s a r e d e v e lo p e d , ra th e r t h a n e a c h n e u ra l

c o n n e c t i o n b e in g s to r e d in o u r g e n e s . G iv e n t h e m illio n s o f c o n n e c t io n s

w h ic h n e e d t o b e f o r m e d in t h e b r a in , t h e f o r m e r t h e o r y w o u ld n e e d m u c h

le s s g e n e tic in f o r m a t io n to b e s to r e d . It w o u ld im p ly t h a t g e n e tic b lu e p r in t s

a re w o r k e d o n a s th e b a b y is in t h e w o m b a n d d u rin g in fa n c y .

N ature versus nurture

T h e a b o v e is a re la tiv e ly n e w h y p o th e s is . M u c h w o r k n e e d s t o b e c a r r ie d o u t

t o d e v e lo p a n d d e m o n s t r a t e it. It w o u ld a d d a v ita l n e w in s ig h t in to th e n a tu re

a n d n u r tu r e d e b a te .

Accelerating your reading rhythm

 In a f ie ld o f r e s e a r c h w h i c h in v o l v e s a m u lt it u d e o f t h e o r ie s , s t u d ie s a n d

c o n c lu s io n s , r e v e l a t i o n s o f t h e p o t e n t ia l o f b a b ie s g iv e n t h e r i g h t s t i m u l i w ill

c o n t in u e t o e n c o u r a g e p a r e n t s . T h e v it a l in f l u e n c e o f n u r t u r e g iv e s a ll p a r e n t s

t h e c h a n c e t o h e lp t h e i r o f f s p r in g a s m u c h a s t h e y c a n , in w h a t e v e r w a y t h e y

s e e f it a n d f e a s ib l e .

W h e th e r d u e to g e n e tic p r o g r a m m in g , o r w h e t h e r d u e to th e in te r c o n n e c ­

t io n s m a d e b e t w e e n n e u r o n e s w h i l e s t ill in t h e w o m b a n d d u r i n g t h e c r it ic a l

f ir s t f e w m o n t h s , o u r a w a r e n e s s o f b a b i e s ’ m e n t a l a b ilit ie s a n d c a p a b i li t i e s is

g r o w in g . W h a te v e r w a y s p a r e n ts fin d to e n c o u r a g e a n d e n h a n c e th e ir c h il­

d r e n ’ s m e n t a l d e v e l o p m e n t , t w o k e y p o i n t s m u s t b e c o n s id e r e d .

F ir s t, c o n t in u i t y m u s t b e o b s e r v e d . A c h ild w h o s e a b il it ie s a r e m o r e d e v e l­

o p e d t h a n t h o s e o f h is o r h e r s c h o o l m a t e s m a y d e l i b e r a t e l y h o l d b a c k , in

o r d e r n o t t o a p p e a r d if f e r e n t o r t o a v o id je a lo u s d e r is io n .

S e c o n d ly , c a r e m u s t b e ta k e n t o t r u ly r e s p e c t th e d e v e lo p in g c h ild ’s

w i s h e s a n d i n t e r e s t s . H a v i n g in v e s t e d a lo t o f t i m e , e m o t io n a n d h o p e s , p a r ­

e n t s m u s t b e a w a r e o f n o t p u t t in g t o o m u c h c o n t r o l o n h o w t h e f r u i t s o f t h e i r

la b o u r a r e u s e d . T h e m a i n i s s u e is t h e h a p p in e s s a n d f u lf il m e n t o f t h e c h ild ,

a n d t h e jo y o f p a r e n t in g lie s in t a k i n g a n a c t i v e p a r t .

S T O P YO U R T IM E R N O W !

Length o f tim e :________________m ins

N e x t , c a l c u l a t e y o u r r e a d i n g s p e e d in w o r d s p e r m i n u t e ( w p m ) b y s i m p l y

d iv id in g t h e n u m b e r o f w o r d s in t h e p a s s a g e ( in t h is c a s e , 1 2 6 0 ) b y t h e t im e

( in m i n u t e s ) y o u t o o k .

. . . . » n u m b e r o f w o rd s
W o rd s p e r m in u te (w p m ) = ---------------------------------------
tim e

W h e n y o u h a v e c o m p l e t e d y o u r c a l c u l a t i o n , e n t e r t h e n u m b e r in t h e w o r d s

p e r m i n u t e ( w p m ) s lo t a t t h e e n d o f t h is p a r a g r a p h , a n d a ls o e n t e r it o n y o u r

p ro g re s s g ra p h a n d c h a rt o n p a g e s 2 2 2 - 3 .

Words per minute:____________

I ^ 2 1 T he Sp e ed R ea d in g Book
Sell-test 5: C om p reh en sio n
1 The human brain:
(a) has a full complement of cells at conception
(b) has a full complement of cells before birth
(c) has a full complement of cells one month after birth
(d) has a full complement of cells two years after birth

2 The first of the ‘brain spurts' begins:

(a) at conception
(b) eight weeks after conception
(c) four months after conception
(d) one month before birth

3 The second ‘brain spurt’ begins approximately:

(a) eight weeks after conception
(b) ten weeks after conception
(c) ten weeks before birth
(d) four weeks before birth

n At birth the human brain weighs what percentage of its adult weight?
(a) 10 per cent
(b) 15 per cent
(c) 25 per cent
(d) 40 per cent
5 At six months the brain weighs what percentage of its adult weight?
(a) 25 per cent
(b) 40 per cent
(c) 50 per cent
(d) 75 per cent

6 At two and a half years the brain weighs what percentage of its adult
weight?
(a) 50 per cent
(b) 75 per cent
(c) 80 per cent
(d) 90 per cent

7 At five years the human brain weighs what percentage of its adult
weight?

Accelerating your reading rhythm

 (a ) 8 5 per cent

(b ) 9 0 per cent

(c ) 9 5 per cent

(d ) 1 0 0 per cent

8 T h e h u m a n b a b y c a n r e s p o n d p o s itiv e ly a n d s p e c ific a lly

t o to n e s o f th e h u m a n v o ic e o n t h e d a y o f its b ir th . True/False

9 T o m B o w e r ’s r e s e a r c h o n in fa n t p e r c e p tio n a t th e U n iv e r s it y o f

E d in b u r g h s h o w s th a t a t b ir th a c h ild :

(a ) s e e s o n ly b lu rre d im a g e s

(b ) im m e d ia te ly f o c u s e s o n its m o th e r

(c ) c a n h e a r s o u n d s w e ll

(d ) e x p e r ie n c e s a t h r e e -d im e n s io n a l w o r ld im m e d ia t e ly

10 O th e r e x p e r im e n ts a t E d in b u r g h h a v e s h o w n t h a t s ig h t a n d s o u n d a re

a ls o in te g ra te d , a n e w b o r n tu r n in g its h e a d in t h e d ir e c tio n o f th e s o u n d ,

e s p e c ia ll y ______________

11 R o b e r t F ra n tz a n d M a r k J o h n s o n d is c o v e r e d t h a t a n e w b o r n c h ild

s h o w e d a m a r k e d p r e fe r e n c e f o r p ic tu re s o f:

(a ) its m o th e r

(b ) c o lo u r e d c irc le s

(c ) fa c e s

(d ) a n im a ls

12 C h ild re n w h o a r e ‘c o o e d ’ a t h a v e a m u c h g r e a t e r

o p p o r tu n ity t o p ic k u p la n g u a g e . True/False

13 M a r k R o s e n w e ig ’s e x p e r im e n t s w it h r a ts s h o w e d t h a t t h o s e in a n

e n r ic h e d e n v iro n m e n t:

(a ) h a d s m a lle r b ra in s

(b ) g r e w p h y s ic a lly b ig g e r

(c ) h a d n o c h a n g e s in th e ir b ra in

(d ) h a d m o r e c o n n e c tio n s b e t w e e n b ra in c e lls

14 N e u ra l in t e r c o n n e c tio n s a r e d e v e lo p e d in t h e b a b y ’s b ra in :

(a ) d u rin g ‘b ra in s p u r t s '

I The Speed Reading Book

 (b) before birth
(c) from storage compartments in our genes
(d) during the first tw o years of life

15 The main issue in parenting is:

(a) developing a genius
(b) providing a good academic education
(c) the happiness and fulfilment of the child
(d) not interfering with the child’s natural development

Check your answers against those on page 216. Then divide your score by
15 and multiply by 100 to calculate your percentage comprehension.

Comprehension s c o re :___________ out of 15

___________ per cent

Now enter your score on your progress graph and chart on pages 2 2 2 -3 .

Armed with information about the astonishing range of abilities and

sophistication of your eyes, and with techniques for getting the
m axim um benefit from your eye/brain system, you are ready to
tackle the main 'problem areas' in reading, namely lack of concen­
tration, lack of comprehension, as well as the various, usually
misnamed, 'learning difficulty' syndromes.

Accelerating your reading rhythm

 I am not a speed reader.

I am a speed understander.

SCIENTIST AND SCIENCE FICTION AUTHOR

ISAAC ASIMOV
 Part 3
Overcome
your reading
hurdles

In this p a rt w e e x p lo re th e b a rrie rs to c o n c e n tra tio n a n d c o m p re h e n ­

s io n - ty p ic a lly s u b -v o c a lis a tio n , fin g e r-p o in tin g , re g re s s io n a n d
b a c k -s k ip p in g - a n d h o w to o v e rc o m e th e m . O n c e a p ro b le m is
fa c e d , a n a ly s e d a n d u n d e rs to o d , it b e c o m e s a p o s itiv e e n e rg y
c e n tre fo r th e c re a tio n o f s o lu tio n s . I b e lie v e a ll re a d in g p ro b le m s
a n d le a rn in g d iffic u ltie s c a n b e d e a lt w ith a n d th e s itu a tio n
im p ro v e d . In m o s t c a s e s th e p ro b le m s c a n b e c o m p le te ly o v e r­
c o m e . T h is p a rt a ls o s h o w s y o u h o w to d e v e lo p a d v a n c e d s p e e d
re a d in g s kills a n d to m a s te r a n d m a s s ive ly in cre a se y o u r v o ca b u la ry
u s in g m n e m o n ic d e v ic e s to re m e m b e r p refixes, su ffixe s a n d ro o ts
 Troubleshooting
common reading
problems
This chapter discusses some of the most frequently men­
tioned reading problems - sub-vocalisation, finger-pointing,
regression and back-skipping - which are all major barriers
to efficient reading. New approaches, based on research on
the functioning and relationship of the eye and brain, are
offered to correct much of what has been written on these
subjects. In addition, this chapter deals with the two most
common ‘learning difficulty’ areas: dyslexia and attention
deficit/hyperactivity disorder (ADHD) attention disability dis­
order syndrome (ADDS) (also known as attention deficit
disorder syndrome).

Sub-vocalisation
A c o m m o n re a d in g 'p ro b le m ' is s u b -v o c a lis a tio n , th e te n d e n c y to
m o u th th e w o rd s y o u are re a d in g It is c a u s e d b y th e w a y in w h ich
c h ild re n a re ta u g h t to re a d u s u a lly b y th e p h o n e tic o r p h o n ic
m e th o d o r th e lo o k -s a y m e th o d (as d is c u s s e d o n p a g e s 1 -2 ).
A lm o s t e v e ry b o o k a n d c o u rs e o n s p e e d re a d in g m a in ta in s th a t
th is h a b it is o n e o f th e g re a te s t b a rrie rs to im p ro v e m e n t a n d th a t it
m u s t b e o v e rc o m e H ow ever, th e tru th o f th e m a tte r is th a t all o f us
can b e n e fit fro m sub -vo ca lisa tio n . In th e real s e n se o f th e w o rd , s u b ­
vo ca l isation c a n n o t a n d s h o u ld n o t b e c o m p le te ly e lim in a te d . O n ce
th is is u n d e rs to o d , th e ‘p ro b le m ’ m a y b e a p p ro a c h e d in its p ro p e r
p e rs p e c tiv e , le a d in g to m u c h m o re s a tis fa c to ry re a d in g h a b its .
P e o p le w h o a re in s tru c te d to e lim in a te s u b -v o c a lis a tio n o fte n
b e c o m e d is c o u ra g e d a n d lo se their e n jo y m e n t o f re a d in g a lto g e th e r
after s p e n d in g w eeks a tte m p tin g to a c c o m p lis h th e im p o s s ib le .
The p ro p e r a p p ro a c h to th is p ro b le m is to a c c e p t that, w h ile su b -
v o c a lis a tio n a lw a y s p e rs is ts , it c a n b e p u s h e d fu rth e r a n d fu rth e r
b a c k into the se m i-co n s c io u s. In o th e r w o rd s, w h ile never b e in g a b le
to e lim in a te the h a b it c o m p le te ly, y o u c a n b e c o m e le ss d e p e n d e n t
u p o n it. This m eans th a t you n e e d n o t w o rry w h e n yo u o c c a s io n a lly
realise that you are s u b -vo ca lisin g , b e c a u se it is a un ive rsa l habit.
The positive side to sub -vo ca lisa tio n is th a t yo u ca n a ctu a lly u se it
as an aid to rem em bering w hat you have read A ss u m in g th a t p ra ctice
has enabled you to b e co m e less d e p e n d e n t o n su b -vo ca l isation, y o u
c a n c o n s c io u s ly in c re a s e th e v o lu m e o f y o u r s u b -v o c a lis a tio n w h e n
re a d in g im p o rta n t w o rd s o r c o n c e p ts (s h o u tin g th e m in te rn a lly ),
th u s m a k in g th o s e b its o f in fo rm a tio n s ta n d o u t fro m th e rest.
In a d d itio n s u b -v o c a lis a tio n is n o t, b y d e fin itio n , a slow , p lo d d in g
p ro c e s s . It is q u ite p o s s ib le fo r y o u r b ra in to s u b -v o c a lis e a s m a n y
a s 2 0 0 0 w o rd s p e r m in u te In d e e d , th e re a re n o w a n u m b e r o f
p e o p le w h o c a n s p e a k a t a b o v e 1000 w o rd s p e r m in u te . S o o n ly
s ta rt w o rry in g a b o u t s u b -v o c a lis a tio n , if it is y o u r c h o ic e to w orry,
w h e n y o u re a ch th e s e s p e e d s !

Finger-pointing
T ra d itio n a lly c o n s id e re d a p ro b le m b e c a u s e o f o u r m is c o n c e p tio n
th a t it s lo w s th e re a d e r d o w n , fin g e r-p o in tin g is in fa c t (a s w e have
s e e n in C h a p te r 4) a n e x c e lle n t m e th o d o f m a in ta in in g c o n c e n tra ­
tio n a n d fo c u s T he o n ly d is a d v a n ta g e is th a t th e p h y s ic a l s iz e o f
th e fin g e r a n d h a n d b lo c k th e view . T h u s, th e ‘p r o b le m ’ s u g g e s ts
th e s o lu tio n - th e u s e o f a s lim g u id e m a k in g th e h a b it a p e rfe c t
o n e fo r a c c e le ra te d re a d in g s p e e d s .

T he Sp e ed R ea d in g Book
Regression and back-skipping
T h e se are tw o s im ila r b u t d is tin c t ‘p ro b le m s ’. R e g re s s io n is a c o n ­
s c io u s re tu rn in g to w o rd s , p h ra s e s o r p a ra g ra p h s th a t yo u feel yo u
have m is s e d o r m is u n d e rs to o d M any re a d e rs are u rg e d to return to
th e m m o rd e r to u n d e rsta n d th e m aterial. B a c k -s k ip p in g is a kin d o f
visual tic : an unco n scio u s skip p in g b a ck to w o rd s or p hrases that you
have just read. You are alm ost never aw are th a t you are ba ck-skip p in g
A s o u tlin e d in C h a p te r 4, b a c k -s k ip p in g a n d re g re s s io n a d d to
th e n u m b e r o f fixa tio n s p e r line, s lo w in g d o w n th e re a d in g p ro ce s s
B o th th e s e h a b its are u s u a lly u n n e c e s s a ry . S tu d ie s p e rfo rm e d o n
th e c o n s c io u s re -re a d in g of m a te ria l in d ic a te th a t re a d e rs w h o w e re
s u re th e y n e e d e d to re tu rn to c e rta in w o rd s o r s e c tio n s in o rd e r to
u n d e rs ta n d th e m s h o w e d little c h a n g e in th e ir c o m p re h e n s io n
s c o re s w h e n n o t a llo w e d to d o s o . It is n o t s o m u c h a m a tte r o f
c o m p re h e n s io n as o f h a v in g c o n fid e n c e in y o u r b ra in ’s ability.
The a p p ro a c h to e lim in a tin g or re d u c in g th e s e tw o h a b its is
tw ofold

1 First, y o u m u s t fo rc e y o u rs e lf n o t to re -re a d s e c tio n s th a t yo u

th in k y o u m a y have m is s e d .

2 S e c o n d , y o u m u s t g ra d u a lly p u s h u p y o u r s p e e d , try in g to
m a in ta in a n e ven rh y th m in y o u r e ye m o v e m e n ts.

3 B oth s p e e d a n d rh yth m w ill m a k e b a c k -s k ip p in g a n d re g re s s io n

m o re d iffic u lt, w h ile a c tu a lly im p ro v in g y o u r c o m p re h e n s io n .

T h e s e ‘p r o b le m ’ a re a s d e s c r ib e d a b o v e m a y n o w n o lo n g e r b e
se e n a s th e m a jo r b a rrie rs th a t s o m a n y p e o p le h a ve m a d e th e m
o u t to be. They are s im p ly h a b its th a t c a n be a d ju s te d a n d , in m a n y
c a s e s , u s e d to g re a t a d v a n ta g e .

Dealing with dyslexia

D y s le x ia ' is a te rm c o m m o n ly a p p lie d to a p e rs o n w h o h a s d iffi­
c u lty in d e c o d in g le tte rs o f th e a lp h a b e t a n d c o n s e q u e n tly in
re a d in g w o rd s . P e o p le w ith d y s le x ia o fte n g e t le tte rs re ve rse d a n d
te n d to h ave s c ra w ly h a n d w ritin g . In s o m e s c h o o ls a n d s c h o o l d is ­
tric ts , m o re th a n 2 0 p e r c e n t o f c h ild r e n a re la b e lle d w ith th is
‘le a rn in g d is a b ility '.

Troubleshooting co m m o n re a d in g prob lem s

 In m y o w n e x p e rie n c e , m o re th a n 8 0 p e r c e n t o f th o s e p e o p le I
have m e t w h o have been la b e lle d d ysle xic a re not. They have s im p ly
s tu m b le d at o n e o f th e m a n y early s ta g e s o f their re a d in g c a re e r a n d
never b e e n a llo w e d to g e t u p . To re a lise h o w e a s y it is to fall a t an
e a rly s ta g e , im a g in e th a t y o u a re a M a rtia n . Y ou la n d , c o m p le te ly
innocently, on th e p la n e t Earth S o m e o n e ra p id ly e xp la in s to yo u th a t
these p a rtic u la r s p a c e b e in g s have a se rie s o f ra n d o m s h a p e s th a t
th e y c a ll le tte rs a n d th a t th e y p u t in to w o rd s . J u s t to m a k e th in g s
m ore d ifficult, m a n y o f the sh a p e s a re in c re d ib ly similar.
To u n d e rs ta n d h o w d iffic u lt th e ta s k is, try th e fo llo w in g e x e rc is e
R a p id ly p o in t to e a c h of th e d iffe re n t s h a p e s in F ig u re 10 1, m o v in g
fro m o n e to th e next a s fa st a s y o u ca n , n a m in g th e m a c c u ra te ly a s
y o u g o . M o s t p e o p le fin d th a t, s o o n e r o r la te r, th e y s tu m b le a n d
m is id e n tify o n e of them .

Figure 10.1 H ard-to-learn shapes th a t can re su lt in a m isdiagnosis o f

dyslexia in the b eginning reader.

You a re n o w b a c k a s a M a rtia n , h a v in g b e e n to ld th e n a m e s o f
th e s e v a rio u s s q u ig g le s , a n d y o u a re a s k e d to w rite th e w o rd ‘g o d '.
You s e a rc h y o u r m e m o ry b a n k s a n d v a g u e ly r e m e m b e r th a t th e
three le tte rs p ro b a b ly h a ve a c irc le in th e m . W ritin g d o w n th re e c ir­
c le s . ‘o o o \ y o u th e n a ls o v a g u e ly re m e m b e r th a t th e re s e e m e d to

T he S p e ed R ea d in g Book
b e an u p w a rd s tic k a n d a d o w n w a rd s tic k s o m e w h e re in th e re , o n
th e firs t c irc le y o u p u t an u p w a rd s tic k o n th e rig h t-h a n d sid e o f th e
c irc le , a n d on th e la s t c irc le y o u p u t a d o w n w a rd s tic k , a ls o o n th e
rig h t-h a n d side. C o n fid e n tly b e lie v in g th a t y o u a re n e a rly if n o t p e r­
fe c tly c o rre c t, y o u h a n d in y o u r p a p e r, o n ly to b e g re e te d w ith
d e ris io n a n d th e s ta te m e n t th a t y o u a re p ro b a b ly d y s le x ic - or, to
p u t it m o re b ru ta lly , s u ffe rin g fro m s o m e m in o r fo rm o f b ra in
d a m a g e . (You h a v e in fa c t a rra n g e d th e w o rd ‘d o g ’ .) T h is w o u ld
o b v io u s ly p u t yo u in to a p a rtic u la rly te n s e fra m e o f m in d , in c re a s in g
th e p ro b a b ility th a t y o u w o u ld m a k e a m is ta k e o n y o u r next a tte m p t.
T h is s c e n a rio is p re c is e ly w h a t h a s h a p p e n e d to m a n y p e o p le
la b e lle d d y s le x ic , a n d all b e c a u s e , in th e b e g in n in g , th e y w e re n o t
g iv e n th e to o ls n e c e s s a ry fo r m e m o ry - n a m e ly a s s o c ia tio n a n d
im a g e - w h ic h w o u ld h ave e n a b le d th e m to re ca ll th e n a m e s o f th e
le tte rs easily. T heir firs t m is ta k e fitte d in to th e d e fin itio n o f d y sle x ia
a n d th e y w e re fa ls e ly la b e lle d , e n te rin g a d o w n w a rd s p ira l th a t
m a d e th e m g e t w o rs e a s th e ir a c a d e m ic c a re e rs p ro g re s se d .
V ery o fte n th e p e rs o n la b e lle d d y sle x ic trie s to re a d m o re slo w ly
a n d c a re fu lly in o rd e r to g a in b e tte r c o m p re h e n s io n , th e re b y u n w it­
tin g ly m a k in g th e p ro b le m e v e n w o rs e . If y o u h a v e e v e r b e e n
la b e lle d d ysle xic, the fo llo w in g tw o s to rie s m a y g iv e y o u ho p e .
A 1 6 -y e a r-o ld g irl in th e S c a n d in a v ia n S c h o o l o f B ru s s e ls
a tte n d e d a B uz a n C e n tre c o u rs e o n M in d M a p p in g a n d L e a rn in g
O n th e firs t d a y s h e d id e x c e p tio n a lly w e ll. O n th e m o rn in g o f th e
s e c o n d d a y sh e c a m e u p to th e te a c h e r a n d a s k e d to be e x cu s e d
fro m th e m o rn in g s e s s io n : it w a s o n s p e e d re a d in g a n d sh e
c o u ld n ’t re a d v e ry w e ll at a ll b e c a u s e s h e w a s ‘d y s le x ic ’ a n d
b e c a u s e , a s s h e p u t it. ‘I c a n ’t re a lly re a d p ro p e rly ' T h e te a c h e r
e n c o u ra g e d her to g iv e it a try, w h ic h sh e d id T h e result? F ro m an
initial re a d in g s p e e d o f 100 w o rd s p e r m in u te a n d p o o r c o m p re h e n ­
s io n , s h e g ra d u a te d a t th e e n d o f th e d a y w ith a s p e e d o f 6 0 0
w o rd s p e r m in u te a n d 70 p e r c e n t c o m p re h e n s io n .
T h e s e c o n d s to ry c o n c e rn s a s c rip t e d ito r w h o d e s c rib e d h e r
s c h o o l y e a rs a s 's h e e r h e ll’. H a vin g fa ile d to le a rn re a d in g p ro p e rly
a t s c h o o l, s h e h a d b e e n u tte rly d e v a s ta te d , b e c a u s e s h e lo v e d
re a d in g a n d lite ra tu re . B e in g o f a p e rs is te n t fra m e o f m in d , s h e
s tu c k to h e r re a d in g ta s k s , w o rk in g e x tra h o u rs a t a p a c e a t le a s t
fo u r tim e s a s s lo w a s he r c o n te m p o ra rie s .

T roubleshooting co m m o n re a d in g prob lem s

 H e r d re a m had a lw a ys b e e n to b e a s c rip t e d ito r, a jo b th a t sh e
fin a lly m a n a g e d to a c q u ire . H o w e v e r, a fte r s ix m o n th s , s h e w a s
b e g in n in g to sin k b e c a u s e s h e h a d to s p e n d n o t o n ly h e r fu ll w o rk ­
in g d a y b u t a ls o m o s t o f th e n ig h t w o rk in g th ro u g h h e r re a d in g
m aterial in o rd e r to ke e p u p w ith th e p a c e d e m a n d e d b y th e jo b .
Like the S candinavian girl, th e s c rip t e d ito r sta rte d w ith a re a d in g
s p e e d o f 100 w o rd s p e r m in u te a n d v e ry p o o r c o m p re h e n s io n
T h ro u g h o u t the c o u rs e sh e h a d k e p t h e r ‘s e c re t’ p riva te . A t th e en d
of th e final re a d in g test, sh e h a d in c re a s e d h e r s p e e d to 700 w o rd s
per m inute w ith g o o d c o m p re h e n s io n . S he s to o d u p th e in sta n t she
h a d c a lc u la te d h e r fin a l s p e e d a n d to ld h e r story. E ve ryo n e h a d
e x p e cte d her to be thrilled, bu t sh e w as tre m b lin g fro m h e a d to foot.
S he e xp la in e d that, fo r h e r e n tire life, sh e h a d b e e n e m b a rra s s e d
b y h e r in c o m p e te n c e a n d in a b ility a n d th a t s u d d e n ly a ll th a t w a s
d is a p p e a rin g : it w a s c a u s e fo r c e le b ra tio n . A t th e s a m e tim e , h o w ­
ever. she w a s e x p e rie n c in g an a lm o s t u n c o n tro lla b le fu ry a b o u t her
w a s te d years, her life tim e o f h u m ilia tio n , a n d h e r s u d d e n re a lis a tio n
th a t th e d y s le x ic la b e l h a d a b u s e d h e r a n d k e p t h e r in a m e n ta l
p riso n A n d all o f it unnecessa ry.
The h a p p y e n d in g to th e s to ry is th a t th e s c rip t e d ito r re tu rn e d to
h e r jo b a n d w a s a b le to c o m p le te h e r d a ily ta s k s in fe w e r th a n
n o rm a l w o rk in g hours.
A s I h a v e s a id , m a n y p e o p le la b e lle d d y s le x ic a re n o t a c tu a lly
dyslexic, a n d even if th e y are th e fu n d a m e n ta l s o lu tio n to th e ir re a d ­
in g p ro b le m s is th e sa m e : u s e a g u id e , g ra d u a lly a c c e le ra te th e
speed, a n d e s c a p e the se m a n tic p riso n o f s e n te n c e s b y u s in g M in d
M a p s a s a n o te -ta k in g a n d th in k in g d e v ic e . (F o r m o re o n M in d
M a p p in g , see The M in d M a p B o o k a n d visit w w w .im in d m a p .c o m ) At
th e tim e o f w ritin g , n e ith e r I n o r a n y o f m y te a c h e rs h a v e fo u n d
a nyone, either fa lse ly o r c o rre c tly la b e lle d as d ysle xic, w h o w a s n o t
able to im p ro ve their re a d in g s p e e d a n d c o m p re h e n s io n s ig n ific a n tly

ADDS/ADHD and hyperactivity

A g re a t d e a l o f c o n tro v e rs y s u rro u n d s A D D S /A D H D . O n e te rrify in g
s ta tis tic c o n firm s that, m th e U S A a lo n e , o v e r th re e m illio n c h ild re n
h ave b e e n d ia g n o s e d a s h a v in g th e d is o rd e r s o s e rio u s ly th a t th e y
are o n the d ru g m e th y lp h e m d a te h y d ro c h lo rid e (R ita lin *).

T he S p e ed R ea d in g Book
 The d e b a te ra g e s a s to w h e th e r th e s y n d ro m e e x ists a s a m e d ­
ic a lly d e fin a b le illn e s s , w h e th e r it is a d a n g e ro u s g e n e ra lis e d
d ia g n o s is m a d e b y ig n o ra n t d o c to rs , w h e th e r te a c h e rs a re s tic k in g
th e A D D S /A D H D la b e ls o n c h ild re n a s a c o v e r-u p fo r th e ir o w n
in a b ility to m a in ta in th e c h ild 's in te re st, a n d w h e th e r R italin is a m ir­
a c le d r u g o r o n e th a t is n o rm a lis in g , n u m b in g a n d d ru g g in g
fu n d a m e n ta lly a c tiv e a n d cre a tive c h ild re n in to a c o n fo rm is t stupor.
To h e lp y o u d ra w y o u r o w n c o n c lu s io n s , th e fo llo w in g in fo rm a ­
tio n m a y p ro v e useful.
A D H D is d e fin e d , b y th e A m e ric a n P s y c h ia tric A s s o c ia tio n a n d
o th e rs a s a c la s s ifia b le illn e s s if a n in d iv id u a l m e e ts e ig h t o r m o re
o f th e fo llo w in g criteria:

• C a n n o t re m a in s e a te d if re q u ire d to d o s o

• E asily d is tra c te d b y external s tim u li

• E xp e rie n ce s d iffic u lty fo c u s in g o n a s in g le ta s k or p la y a c tiv ity

• F re q u e n tly b e g in s a n o th e r a c tiv ity w ith o u t c o m p le tin g th e first (it

is in te re s tin g to n o te th a t L e o n a rd o d a V inci, n o rm a lly re g a rd e d
a s o n e o f th e g re a te s t g e n iu s e s o f all tim e , w a s c o n s is te n tly
a c c u s e d o f th is)

• F id g e ts o r s q u irm s (or feels re stle ss m entally)

• C a n 't (or d o e s n ’t w a n t to) w a it fo r his o r h e r tu rn d u rin g g ro u p

a c tiv itie s

• O fte n in te rru p ts w ith an a n s w e r b e fo re a q u e s tio n is c o m p le te d

• H a s p ro b le m s w ith c h o re s o r fo llo w in g th ro u g h on a jo b

• Likes to m a k e n o is e s w h ile p la y in g

• In te rru p ts o th e rs in a p p ro p ria te ly

• Talks im p u ls iv e ly o r e x ce s sive ly

• D o e s n ’t s e e m to liste n w h e n s p o k e n to b y a te a c h e r

• Im p u ls iv e ly ju m p s in to p h y s ic a lly d a n g e ro u s a c tiv itie s

• R e g u la rly lo s e s th in g s (p e n cils , to o ls, p a p e rs ) n e c e s s a ry to

c o m p le te s c h o o l w o rk p ro je c ts

Troubleshooting co m m o n re a d in g problem s
These fo rm s o f beh a vio u r m u s t have c o m m e n c e d b e fo re th e a g e o f
s e ve n y e a rs a n d m u s t o c c u r m o re fre q u e n tly th a n in th e a v e ra g e
person o f the s a m e age. This m e a n s th a t at least h a lf th e p o p u la tio n
w ill, b y d e fin itio n , e x h ib it th e s e fo rm s o f b e h a v io u r m o re fre q u e n tly
than th e average. A re the y all th e re fo re s u ffe rin g fro m an illness?
Two c la s s ic c a s e s are w o rth b e a rin g in m in d
A s a y o u n g g irl, M a ry -L o u R e tto n w a s s o s u p e ra c tiv e th a t h e r
p a re n ts w e re a d v is e d to p u t h e r o n a c o u rs e o f d ru g s th a t w o u ld
d ra m a tic a lly re d u c e h e r p h y s ic a l a c tiv ity . F o rtu n a te ly , h e r p a re n ts
w ere o f a d iffe re n t o p in io n a n d re q u e s te d th a t th e s c h o o l fin d w a y s
o f u s in g her e x tra o rd in a ry e n e rg y m o re a p p ro p ria te ly . T h irte e n y e a rs
later, M a ry -L o u R e tto n . in te rn a tio n a lly re n o w n e d fo r h e r b o u n d le s s
e n th u s ia s m , e a s ily w o n th e g o ld m e d a l in w o m e n 's g y m n a s tic s at
th e L o s A n g e le s O ly m p ic s .
A fe w y e a rs b e fo re M a ry -L o u e x p e rie n c e d h e r d iffic u ltie s in h e r
early s c h o o l years, a little b o y n a m e d D a le y T h o m p s o n w a s e x p e ri­
e n c in g th e s a m e p ro b le m s in E n g la n d S im ila rly, h is p a re n ts w e re
e n c o u ra g e d to p u t h im o n a c o u rs e o f tra n q u illis in g d ru g s . L ik e
M a ry -L o u ’s p a rents. D a le y 's in s is te d th a t he b e g iv e n e x e rc is e s a n d
a c tiv itie s th a t w o u ld a b s o rb h is e b u llie n c e . D a le y p ro v e d v irtu a lly
in d e fa tig a b le , w e a rin g o u t e v e ry p h y s ic a l e d u c a tio n te a c h e r a v a il­
a b le . It all p a id o ff w o n d e rfu lly w e ll w h e n D a le y T h o m p s o n b e c a m e
th e w o rld a n d O ly m p ic d e c a th lo n c h a m p io n a n d s ta y e d a t th e p e a k
o f h is s p o rt, s h a tte rin g a ll p re v io u s w o rld re c o rd s c o n s is te n tly , fo r
te n years.
T h o m H a rtm a n n , in h is e xce lle n t b o o k A tte n tio n D e fic it D is o rd e r:
A D iffe re n t P e rc e p tio n , is firm ly o f th e o p in io n th a t th e la b e ls a re
o fte n w ild ly in a p p ro p ria te . H a rtm a n n c la im s th a t s c h o o ls are s e t u p
fo r th e ‘fa rm e rs ' th o s e w h o w ill s it a t a d e s k , w a tc h a n d lis te n
atte n tive ly to th e teacher, a n d a lw a y s d o w h a t th e y a re to ld . T h is is
th e u ltim a te to rtu re fo r th e 'h u n te rs ’ , w h o a re p h y s ic a lly a c tiv e ,
a lw a ys s c a n n in g th e ir e n v iro n m e n t, cre a tive , im p u ls iv e , a n d a lw a ys
lo o k in g - like L e o n a rd o d a V in ci - fo r th e next e x c itin g event.
W h e th e r o r n o t y o u th in k y o u s u ffe r fro m d y s le x ia o r h y p e ra c tiv ­
ity. th e re a re s o m e g e n e ra l p o in te rs th a t w ill a llo w y o u to
c o n c e n tra te a n d c o m p re h e n d m o re e a s ily - a n d th e s e a re h ig h ­
lig h te d in th e next chapte r.

The S p e e d R ea d in g Book
 11

Improving your
concentration
and
comprehension
Having tackled some basic reading problems, we are now
ready to discuss what causes poor concentration and com­
prehension and suggest ways to tackle such shortcomings.
When you maintain concentration, your eye/braln system
becomes laser-like in its ability to focus and absorb.

The importance of reading goals

A n interesting exam ple o f one o f the great historical g e niuses a p p lyin g
his e n o rm o u s c o n c e n tra tio n p o w e rs to th e ta s k o f re a d in g is th a t of
P resident T h o m a s Jefferson, w id e ly re g a rd e d as the greatest all-round
intellect ever p ro d u c e d b y the USA. P rofessor R obert Zorn reports that
Je ffe rs o n b e lie v e d in m a p p in g o u t h is re a d in g in to a d e fin ite p la n o f
a c tio n , d e fin in g s p e c ific g o a ls fo r e a c h to p ic th a t he c o v e re d , an d
ne ver a llo w in g h im s e lf to d e v ia te fro m his re a d in g s ch e d u le until he
h a d c o m p le te d the task. N o d istra ctio n s a n d no d issip a tio n o f tim e by
‘s c a tte re d in a tte n tive n e s s ’ w e re th e keys to J e ffe rs o n 's m e th o d o lo g y
and to his unparalleled powers of concentration Jefferson offered this
very modern-sounding advice to the reader you should know ‘where
you are. and what you are doing, and what tim e it is. and whether you
are falling short of your schedule or not. and, if so. how far short.’ This
chapter will enable you to approach Jefferson’s extraordinary concen­
tration and comprehension levels.

What causes poor concentration?

The m any reasons for lack of concentration w hen reading include:

• vocabulary difficulties;

• conceptual difficulty of the material.

• inappropriate reading speed;

• incorrect m ind set;

• poor organisation.

• lack of interest;

• lack of motivation.

Vocabulary difficulties
O nce you have increased your vocabulary with the information and
exercises in Part 4. you will alread y b e on the w ay to solving this
one. In addition, if the m aterial you are rea d in g continually c o n ­
fronts you with w ords that you d o not u n d e rs ta n d or th at you
understand only vaguely, your concentration will gradually b eco m e
w o rse b e c a u s e the id e a s you a re trying to a b s o rb will b e inter­
rupted by g a p s in understanding. A sm ooth inflow of inform ation,
unham pered by the lurking fear of m isunderstanding, is a necessity
for efficient reading. The vocabulary analysis and exercises in this
book are designed to overcom e this difficulty
If you do co m e to a word that you d o not understand, just under­
line it and read on. Usually the m eaning b e com es vaguely apparent
from the context of the sentence. Then, at the end of the ch apter or
that day's reading, you can do a ‘dictionary run' an d look up all the
unknown w ords at the sa m e time.

The Speed Reading Book

C o n c e p t u a l d ifficu lty o f th e m a te ria l
T h is is a s lig h tly m o re d iffic u lt p ro b le m to o v e rc o m e a n d u s u a lly
a ris e s in a c a d e m ic b o o k s . T h e b e s t a p p ro a c h is to ‘m u ltip le re a d '
th e m a te ria l u s in g th e g u id e d re a d in g te c h n iq u e s as w e ll as s k im ­
m in g , s c a n n in g , p a ra g ra p h s tru c tu re a n d p re vie w in g (the la tte r are
d is c u s s e d in C h a p te rs 7 a n d 14).

I n a p p r o p r ia t e r e a d i n g s p e e d

T h is is o fte n a p r o d u c t o f th e s c h o o l s y s te m . W h e n c h ild re n are

g iv e n im p o rta n t o r d iffic u lt m a te ria l, th e y are u su a lly to ld : R ead this
s lo w ly a n d c a re fu lly .’ This a p p ro a c h e s ta b lis h e s a v ic io u s circle : th e
m o re s lo w ly y o u re a d , th e le ss y o u u n d e rs ta n d , w h ic h m a k e s th e
m a te ria l s e e m e ven m o re in c o m p re h e n s ib le . U ltim a te ly, a p o in t o f
c o m p le te fru s tra tio n is re a c h e d a n d th e m a te ria l is o fte n a b a n ­
d o n e d in despair.
If y o u have p o o r c o n ce n tra tio n a n d c o m p re h e n s io n , th is m ay w ell
be the p ro b le m , s o vary y o u r s p e e d s on d iffic u lt m aterial, trying to g o
fa s te r ra th e r th a n m o re slow ly, a n d y o u m a y fin d a g re a t im p ro v e ­
m ent. B y learning to s p e e d a n d ra n g e read, yo u w ill have c o n tro l a n d
c h o ic e of the a p p ro p ria te s p e e d fo r th e m aterial, n eeds, tim e o f day,
e n e rg y level, a n d internal a n d external e nvironm ents.

I n c o r r e c t m in d s e t

T h is s im p ly m e a n s th a t y o u r m in d h a s n o t re a lly b e e n d ire c te d in
th e b e s t w a y to w a rd s th e m a te ria l y o u are try in g to re a d . You m ay.
fo r in s ta n c e , still b e c o n c e n tra tin g o n an a rg u m e n t th a t to o k p la c e
in th e o ffic e o r a s o c ia l e n g a g e m e n t fo r th e c o m in g eve n in g .
W hat y o u m u s t try to d o is to s h a ke o u t th e u n n e c e s s a ry th re a d s
th a t are ru n n in g th ro u g h y o u r m in d a n d th e n d ire c t y o u rs e lf to th in k ­
in g a c tiv e ly a b o u t th e s u b je c t yo u are re a d in g . You m a y e ve n g o so
far a s to s to p fo r a m o m e n t a n d c o n s c io u s ly g a th e r to g e th e r y o u r
th o u g h ts . O n e w a y to d o th is m o s t e ffic ie n tly is to d o a ra p id tw o -
m in u te M in d M a p (se e The M in d M a p B o o k ) o n th e to p ic y o u a re
s tu d y in g in o rd e r to re c o lle c t y o u r th o u g h ts a n d to p ro v id e y o u w ith
an e v e n s tro n g e r o n g o in g m e n ta l set.

Im proving your co n c e n tra tio n a n d c o m p reh en sio n Q Q j

Poor organisation
This pro b lem is far m ore c o m m o n than m a n y p e o p le realise.
Actually getting dow n to reading a book is a battle of the will and
alm ost d e m a n d s a run-up to the d e s k in o rd e r to gain e n o u g h
im petus actually to sit d ow n at it. H aving arrived an d sta rted to
read, m any people su ddenly realise that they d o n ’t have a pencil,
notepaper. their g la s s e s an d any nu m b er of other things.
C onsequently, they then disrupt their co n cen tratio n to get these
materials. The solution is easy: before you sit dow n to read, m ake
sure that all the materials you will need are readily available.

Lack of interest
This is a problem m ost often ex p erie n ce d by stud ents or p e o p le
taking special courses, an d w e d e vo te extra attention to it in our
reading courses. The first step in solving this problem is to review
the points d is cu s se d in this ch apter, for lack of interest is often
related to other difficulties. For instance, interest will b e difficult to
maintain if a deficient vocabulary is continually interrupting under­
standing , if the m aterial is co nfusin g, if other th o u g h ts k e e p
popping up, and if the necessary m aterials are not available.
Assum ing that these problem s are overcom e and that your inter­
est is still not as high as it should be, you n e ed to an a ly s e your
personal ap p ro ach to the m aterial. First, m a k e sure that the tec h ­
nique being used is appropriate. If this fails, you can try the 'severe
critic ap proach : rather than reading the m aterial as you norm ally
w ould, get an noyed at it for having p resented you w ith problem s
an d try to an aly se it thoroughly, co n ce n tra tin g e s p e c ia lly on the
n e g ativ e as p e c ts . You will find yourself ac tu ally b e c o m in g inter­
ested in the material, m uch in the w ay that you b e c o m e interested
in listening to the argum ents of som eone w hom you d o n ’t particu­
larly like and wish to oppo se vigorously.

Lack of motivation
This is a different problem , often stem m ing from having no clearly
d e fin ed p u rp o s e to your rea d in g O n c e you h a ve a n a ly s e d your

The Speed Reading Book

re a s o n s fo r re a d in g th e b o o k o r a rtic le , y o u r m o tiv a tio n m a y a u to ­
m a tic a lly in c re a s e . A lte rn a tiv e ly , y o u m a y c o n c lu d e th a t y o u n e e d
n o t re a d it a t a ll. If y o u r re a s o n s a re v a lid , th e re m a y in d e e d b e n o
p o in t in re a d in g th e b o o k - b u t m a k e s u re th e y a re re a lly va lid .

Harnessing your concentration

In m y 3 0 y e a rs o f le c tu r in g a r o u n d th e w o rld o n s p e e d re a d in g
s k ills . I h a v e fo u n d th a t 9 9 9 p e r c e n t o f p e o p le a d m it to h a v in g
p ro b le m s w ith c o n c e n tra tio n . T h is p ro b le m re g u la rly m a n ife s ts its e lf
in p e rio d s o f d a y -d re a m in g , w h ic h o c c u r a t le a s t o n c e e v e ry 3 0 - 4 0
m in u te s . O n c e a g a in , o u r in a p p ro p ria te tra in in g h a s m a d e u s s e e
s o m e th in g th a t is a c tu a lly g o o d in a b a d lig h t. W h e n y o u r b ra in d a y ­
d re a m s a fte r 3 0 o r 4 0 m in u te s , it is d o in g e x a c tly w h a t it s h o u ld -
ta k in g a b re a k a t e x a c tly th e rig h t tim e . S o, in m o s t c a s e s , it is n o t a
q u e s tio n o f lo s in g c o n c e n tra tio n b u t ra th e r a m o re p o s itiv e m a tte r
o f ta k in g a b re a k w h e n y o u s h o u ld .
L e t u s , th o u g h , e x a m in e w h a t a c tu a lly h a p p e n s w h e n y o u ‘lo s e
c o n c e n tra tio n * w h ile re a d in g a b o o k : w h a t a c tu a lly h a p p e n s is th a t
y o u c o n c e n tra te o n a fe w p a g e s o f th e b o o k , a fte r w h ic h y o u c o n ­
c e n tra te o n s o m e o n e w a lk in g by, a fte r w h ic h y o u c o n c e n tra te o n a
fe w m o re lin e s o r p a g e s o f th e b o o k , a fte r w h ic h y o u c o n c e n tra te
o n a b ir d la n d in g o n a tre e o u ts id e y o u r w in d o w , a fte r w h ic h y o u
c o n c e n tra te o n th e b o o k a g a in , a fte r w h ic h y o u c o n c e n tra te o n y o u r
fin g e r n a il, a fte r w h ic h y o u c o n c e n tr a te o n th e b o o k a g a in , a fte r
w h ic h y o u c o n c e n tr a te o n a d a y -d re a m , a fte r w h ic h y o u c o n c e n ­
tra te o n th e b o o k o n c e m o re .
T h ro u g h o u t th e e n tire p e rio d y o u h a v e b e e n c o n c e n tra tin g '. T h e
p r o b le m is n o t w ith y o u r c o n c e n tra tio n , fo r y o u a re c o n c e n tra tin g
1 0 0 p e r c e n t o f th e tim e . T h e p r o b le m is w ith th e d ir e c tio n a n d
fo c u s o f th a t p e rfe c t c o n c e n tra tio n . C o n c e n tra tio n c a n th u s b e s e e n
a s a w ild s ta llio n , w ith y o u a s th e rider. In m o s t in s ta n c e s , th e s ta l­
lio n h a s its w a y , g o in g o ff a t fu ll g a llo p in w h a te v e r d ir e c tio n it
p le a s e s . A s a m a s te r fu l rid e r/re a d e r. it is u p to y o u to re in in th e
s ta llio n o f y o u r c o n c e n tra tio n , s te e rin g it in th e d ire c tio n a p p ro p ria te
to th e re a d in g ta s k a t h a n d .

Improving your concentration and comprehension

 S o re m e m b e r to ta k e b re a k s e v e ry 3 0 - 6 0 m in u te s in o rd e r to
im p ro v e c o n c e n tra tio n a n d g iv e y o u r e ye s a n d b ra in a n e e d e d re st
W h e n y o u re tu rn to re a d in g , c h e c k th a t y o u r re a d in g s p e e d s a re
a p p ro p ria te to th e m a te ria l y o u a re re a d in g A g a in , m a k e s u re yo u
are fo llo w in g th e a p p ro p ria te g o a ls y o u s e t o u t b e fo re y o u s ta rte d
to re a d , a n d c h e c k th a t y o u r e n v iro n m e n t is a p p ro p ria te ly o rg a n ­
is e d fo r y o u r re a d in g task.
N o w th a t y o u r v isu a l s kills a re ra p id ly im p ro v in g , a n d y o u r c o n ­
c e n tra tio n s ta llio n is u n d e r y o u r c o n tro l, y o u a re re a d y to m o v e o n
to Part 4 - M a s te rm in d Your S p e e d R e a d in g S kills. In th is p a rt, yo u
w ill le a rn th e a rt a n d te c h n iq u e o f p re v ie w in g w h ic h a llo w s y o u to
d e v e lo p a s tru c tu re to se e th e w h o le te x t ‘to v ie w b e fo re d e lv in g
into th e detail. You w ill a ls o b e g iv e n th e m a jo r k e ys to u n lo c k y o u r
v o c a b u la ry p o w e r - o n e o f th e p rim e fa c to rs in o v e ra ll re a d in g s u c ­
c e s s . T h e n y o u w ill d is c o v e r h o w s p e e d re a d in g c a n b e a p p lie d
e q u a lly e ffe c tiv e ly to litera tu re a n d p o e try a s it c a n b e to in fo rm a tio n
a n d s tu d y . F in a lly y o u w ill le a rn h o w to s p e e d re a d p rin te d a n d
o n lin e in fo rm a tio n a n d a v o id in fo rm a tio n o ve rlo a d .

T h e S p e e d R ea d in g Book
 What you have been
learning and will continue to
learn throughout these pages
is an entire range of reading
skills from which you can
pick the appropriate
individual item or
combination of items to
revolutionize your reading
process - and ch an ge
your life!

TONY BUZAN
 Part 4
Mastermind
your speed
reading skills

S in ce 1966 I have ta u g h t the fu n d a m e n ta l p rin ciple s of speed a nd range

reading in m ore than 50 countries, to students ranging from three-year*old
children to chief executives o f m ultinational corporations. In every country,
regardless of age and status, sim ilar q uestions arise. These include:
• 'I c a n see how you w o u ld u s e th is fo r o th e r s u b je cts, b u t yo u
c o u ld n 't really u s e it fo r the scie n ce s, c o u ld y o u ? ’
• ‘You w o u ld n ’t a p p ly sp e e d a n d ra n g e re a d in g to th e a p p re c ia tio n of
literature a n d poetry, w o u ld y o u ? '
• 'You s u re ly w o u ld n 't p re vie w a d e te c tive s to ry!'
• 'O n really difficult material, y o u 'd have to read slowly, w o u ld n 't you?'
• ‘S urely y o u w o u ld n 't use s p e e d a n d ra n g e re a d in g if yo u w ere
re a d in g for relaxation a n d p le a su re ? '
Intriguingly, the answ er is that your grow ing know ledge can b e a p p lie d to
a ll of these situations. From n o w on. every p a g e o f every b o o k yo u read
w ill b e a p p ro a ch e d slightly differently from every other page, a nd you will
b e to th e p rin te d w o rd a s a d o lp h in is to water. Part 4 g iv e s y o u m ore
d e ta ile d inform ation on advance d applications.
 The art of
previewing
‘Preview’ means just what it says: you break the word into its
component parts and pre-view - see before. When you allow
your brain to see the whole text beforehand you navigate far
more effectively on your second run-through. The purpose of
the preview is to develop a structure into which your mind
can more easily fit the smaller details of that structure, thus
immediately improving your comprehension of the whole.

Scouting lor words

The preview er ca n be likened to a ‘m in d re co n n a is s a n c e s c o u t' w h o
g o es ah e a d o f the tro o p s to d e te rm ine the lie o f the land, the position
o f the enem y forces a n d areas o f tactical a d vantage. It is easier for an
a rm y to m anoeuvre and o p e ra te in unknow n territory if it has m ajor ref­
e re n ce p o in ts; in th e s a m e way, it is e a s ie r fo r th e m in d to a tta c k or
u n d e rsta n d in form ation o n c e it has m a jo r landm arks b y w h ich to go.
P re v ie w in g s h o u ld b e a p p lie d to w h a te v e r k in d o f m a te ria l yo u
a re g o in g to re a d , w h e th e r it b e le tte rs , re p o rts , re fe re n c e w o rk s ,
n o v e ls o r artic le s . In all c a s e s , it w ill s p e e d u p y o u r o ve ra ll re a d in g
a n d w ill im p ro v e y o u r u n d e rs ta n d in g b e c a u s e y o u w ill n o lo n g e r be
s tu m b lin g o v e r ite m s o n e a fte r th e o th e r b u t in s te a d w ill b e fittin g
p ie c e s in to a g e n e ra l p ic tu re .
Your a p p ro a c h to the p re vie w sh o u ld c o m b in e th e e le m e n ts of s k im ­
m in g w ith w hat yo u have le a rn t a b o u t p a ra g ra p h s tru ctu re . In o th e r
w o rd s , y o u w ill s e n s ib ly a n d ra p id ly g o o v e r th e m a te ria l y o u a re
a b o u t to re a d , s e le c tin g th o s e a re a s m o s t like ly to h o ld th e m a jo r
c h u n k s of in fo rm a tio n W h e n y o u a re p re v ie w in g , a lw a y s u s e y o u r
favourite g u id in g tech n iq u e . The c o n c e p t o f p re vie w in g a s d e s c rib e d
here is fo r use in y o u r general reading.

Strategies for previewing

P laying th e fo llo w in g a c tiv e re a d in g g a m e s w ill g u a ra n te e th a t y o u r
m e n ta l s e t is m o re a p p ro p ria te , th a t y o u r b ra in /e y e s y s te m is
s e a rc h in g fo r th e b e s t in fo rm a tio n a s y o u p re v ie w , a n d th a t th e
w h o le p ro c e s s b e c o m e s m o re fun

A p p ly w hat you a lr e a d y k n o w
W h e n yo u a p p ly w h a t y o u a lre a d y know , y o u w ill o fte n fin d th a t y o u
k n o w m o re th a n y o u th o u g h t. M a n y p e o p le in c o rre c tly a s s u m e th a t
the a u th o r is the e xp e rt, w h e n in fa c t ve ry o fte n th e re a d e r k n o w s a s
m u c h a s o r m o re th a n th e a u th o r. A lw a y s q u ic k ly M in d M a p y o u r
k n o w le d g e o f th e s u b je c t ju s t b e fo re y o u re a d a n e w b o o k . You c a n
th e n u se th is k n o w le d g e to m a k e n e w a s s o c ia tio n s fro m th e b o o k
a n d to a s k a p p ro p ria te q u e s tio n s .

In te ra c t a ctiv ely with th e a u th o r

W h e n y o u re a d a b o o k , it s h o u ld be a c o n v e rs a tio n b e tw e e n y o u
a n d th e b ra in th a t c re a te d th e b o o k , n o t a o n e -w a y le c tu re . It is
m o s t im p o rta n t th a t y o u in te ra c t w ith w h a te v e r te x t y o u re a d b y
n o tin g d o w n q u e s tio n s o r c o m m e n ts in th e m a rg in o f th e b o o k o r
o n a s e p a ra te p ie c e o f paper.

B e a d e t e c t iv e
C o n s ta n tly try to p re d ic t w h a t is g o in g to h a p p e n n e x t in th e te xt,
w h a t ‘p la n o f a c tio n ' th e a u th o r h a d . K e e p try in g to b e o n e s te p
a h e a d in s o lvin g th e p u z z le o f th e in fo rm a tio n yo u a re a b s o rb in g .

T he Sp e ed R ea d in g Book
 P review everyth in g yo u read fo r th e next tw o w e e ks, c h e ck in g h o w
m u c h k n o w le d g e y o u g a in fro m e a c h p re vie w a n d h o w m u c h m o re
e ffe c tiv e ly it e n a b le s y o u to u n d e rs ta n d w h e n y o u a re re a d in g th e
m a terial fo r the s e c o n d tim e. P ra ctise th e p re vie w in g te c h n iq u e s you
h a v e le a rn t o n a b o o k , w h ile a t th e s a m e tim e u s in g an a d v a n c e d
g u id in g te c h n iq u e to read th e entire b o o k in less th a n ten m inutes.
O n e o f th e o b s ta c le s to e ffe c tiv e s p e e d re a d in g is h a v in g a
lim ite d v o ca b u la ry . The next c h a p te r s h o w s yo u h o w to e x p a n d y o u r
k n o w le d g e o f w o rd s b e y o n d w h a t yo u e ver th o u g h t p o s s ib le

T he a rl ol p review ing |Q | I
 Mastermind your
vocabulary
Having dealt with the workings of the eye/brain system, the
theory behind eye movements and the major problem areas in
reading, we now move on to vocabulary. The average person s
conversational vocabulary is about 1000 words; the number of
available words is over a million. Of our three vocabularies
(conversational, written and recognition), recognition is the
largest. Improving your vocabulary raises your intelligence.
This chapter introduces you to three kinds of vocabulary and
provides key lists of prefixes, suffixes and roots that will give
you access to the meanings of thousands of words.

The importance ol vocabulary

T h e e x te n t o f o n e 's v o c a b u la ry is an in d ic a tio n o f th e a m o u n t o f
m a te ria l th a t o n e h a s b e e n a b le to a s s im ila te a n d re a d . S c h o o ls ,
c o lle g e s a n d u n iv e rs itie s th e re fo re in c lu d e g e n e ra l v o c a b u la ry te s t­
in g a s o n e o f th e m a jo r c rite ria b y w h ic h th e y ju d g e th e su ita b ility o f
a p p lic a n ts , a n d th e s u c c e s s o r fa ilu re o f s tu d e n ts o fte n d e p e n d s on
th e ir a b ility to u n d e rs ta n d a n d u se w o rd s properly.
T he im p o rta n c e o f v o c a b u la ry e xte n d s, o f c o u rs e , fa r b e y o n d th e
a c a d e m ic w o rld : th e b u s in e s s p e rs o n w h o h a s a t th e ir c o m m a n d a
w id e r ra n g e o f w o rd s th a n th e ir p e e rs is a t a n im m e d ia te a d v a n ­
tage; a n d th e p e rs o n w h o , in s o c ia l s itu a tio n s, c a n b o th u n d e rs ta n d
ea s ily a n d c o m m e n t c re a tive ly a ls o h a s th e u p p e r h a n d .

Our three kinds of vocabulary

M o st of us have m ore th a n o n e v o ca b u la ry ; in fa ct, w e u su a lly have
at least three. First is th e v o c a b u la ry w e use in co n ve rsa tio n , a n d in
m any c a se s this m ay no t e xce e d 1000 w o rd s (even th o u g h it is e s ti­
m a te d th a t th e E nglish la n g u a g e c o n ta in s w ell o ve r a m illio n w o rd s).
O u r s e c o n d v o c a b u la ry is th e o n e w e u s e w h e n w ritin g . T h is
te n d s to b e la rg e r th a n th e s p o k e n o n e , b e c a u s e m o re tim e is
d e v o te d to th e c o n s tru c tio n a n d c o n te n t o f s e n te n c e s a n d b e c a u s e
there is le ss p re ssu re o n th e writer.
T he la rg e s t o f th e th re e is o u r re c o g n itio n v o c a b u la r y - th e
w o rd s th a t w e u n d e rs ta n d a n d a p p re c ia te w h e n w e h e a r th e m in
c o n v e rs a tio n o r w h e n w e re a d th e m , b u t th a t w e o u rs e lv e s m a y n o t
use eith e r in w ritin g o r in c o n v e rs a tio n . Ideally, o f c o u rs e , b o th o u r
s p e a k in g a n d o u r w ritin g v o c a b u la ry s h o u ld b e a s la rg e a s o u r
re c o g n itio n vo ca b u la ry, b u t in p ra c tic e th is is s e ld o m th e c a se . It is
p o s s ib le , how ever, to in c re a s e all th re e q u ite d ra m a tic a lly

The power of prefixes

The p u rp o s e o f this c h a p te r is to in tro d u c e y o u to o v e r 8 0 p re fix e s
(le tte rs , s y lla b le s o r w o rd s p la c e d a t th e b e g in n in g o f a w o rd ).
M a n y o f th e m a re c o n c e rn e d w ith p o s itio n , o p p o s itio n a n d m o v e ­
m e n t. A s th e E n g lis h la n g u a g e h a s a la rg e e le m e n t o f G re e k a n d
Latin, m a n y o f the p re fix e s a re fro m th e s e tw o la n g u a g e s .
J u s t to g iv e y o u s o m e id e a o f th e in c re d ib le p o w e r o f th e s e
b a s ic u n its o f v o c a b u la ry . D r M in n in g e r o f th e U n iv e rs ity o f
M in n e s o ta h a s e s tim a te d th a t 14 o f th e s e a lo n e o ffe r th e k e y s to
o v e r 14,000 w o rd m e a n in g s S h e fu rth e r c o n firm s th a t, b y th e a g e
o f 2 5 y e a rs , th e a v e ra g e p e r s o n 's v o c a b u la ry d e v e lo p m e n t h a s
b e c o m e a lm o s t m o rib u n d . It is 9 5 p e r c e n t c o m p le te , le a v in g a
m ere 5 p e r c e n t to b e a d d e d o ve r th e p o s s ib le 75 ye a rs o f life th a t
s till re m a in . T he 14 p re fix e s a n d ro o ts lis te d b e lo w w e re fo u n d in
o v e r 1 4 ,0 0 0 w o rd s fro m a s ta n d a rd d e s k to p d ic tio n a ry a n d w e re
fo u n d in ro u g h ly 100,000 w o rd s fro m a la rg e u n a b rid g e d d ictio n a ry .

T he S p e ed R ea d in g Book
 T h e s e 'm in i p o w e r w o rd s ’ h a v e b e e n e x tra c te d fro m th e la rg e r
lis ts fo r y o u . A s y o u re a d th ro u g h th is c h a p te r, b e o n th e lo o k -o u t
fo r th e m , a s w ell a s a b s o rb in g all th e o th e rs.

14 w ords co n ta in in g key prefixes

W o rd P re fix Com m on R oot C om m on

m e a n in g m e a n in g

P re c e p t pre- b e fo r e capere t a k e , s e iz e

D e ta in de- aw ay, dow n tenere h o ld , h a v e

In t e r m it t e n t inter- b e tw e e n , a m o n g mittere send

O ffe r ob- a g a in s t ferre b e a r, c a r r y

.
In s is t in - in to stare s ta n d

M o n o g ra p h m ono- a lo n e , o n e graphem w r it e

E p ilo g u e epi- upon logos s p e e c h , s tu d y o f

A dvance ad- to , t o w a r d s specere see

U n c o m p lic a t e d un- not plicare fo ld

com - to g e th e r , w it h

N o n -e x te n d e d non- not tendere s tr e t c h

ex- o u t, b e y o n d

R e p r o d u c t io n re- b a c k , a g a in ducere le a d

pro- fo rw a r d , fo r

In d is p o s e d in- not ponere p u t , p la c e

dis- a p a rt, n o t

O v e r - s u f fic ie n t over - above facere m ake, do

sub- under

M is t r a n s c r ib e m is- w ro n g scribere w r it e

trans- a c ro s s , beyond

S tu d y th e fo llo w in g ta b le th o ro u g h ly : it w ill g iv e y o u th e key to th o u ­

s a n d s o f u n fa m ilia r w o rd s For a m e th o d o f p e rfe c tly m e m o ris in g
th is a n d th e o th e r v o c a b u la ry lists, refer to The M e m o ry B o o k

M asterm ind your v o c a b u la ry

85 p re fix e s

Prefix Meaning Example

a -, an- (6 ) w it h o u t , n o t a n a e r o b ic

ab - , abs- (L ) a w a y , fro m , a p a rt absent

ad-, a c -, a f- (L ) to , to w a rd s a d v e n t, a d v a n c e

aero- a ir a e r o p la n e , a e r o n a u t

am b-, a m bi- (G ) b o th , a ro u n d a m b ig u o u s

am phi- (G ) b o th , a ro u n d a m p h ith e a tr e

ante- (L ) b e fo re a n te n a ta l

anti- (G ) a g a in s t a n t id o t e , a n t it o x ic

apo- (G ) a w a y fro m a p o s ta s y

arch- (G ) c h ie f , m o s t i m p o r t a n t a r c h b is h o p , a r c h - c r i m i n a l

auto- (G ) s e lf a u t o m a t ic , a u t o c r a t

be- a b o u t, m a k e b e lit t le , b e g u il e , b e s e t

bene- (L ) w e ll, g o o d b e n e d ic t io n

b i- ( G ) tw o b ie n n i a l, b ic y c le

by-, bye- (G ) a d d e d to b y w a y , b y e -la w

cata- (G ) dow n c a t a lo g u e , c a t a r a c t

centi-, cente- (L ) h u n d red c e n tig r a d e , c e n te n a r y

c irc u m - (L ) a ro u n d c ir c u m f e r e n c e ,

c ir c u m a m b ie n t

co -, c o l-, co m -, cor-, t o g e t h e r , w it h c o m p a n i o n , c o ll e c t ,

con- (L ) c o o p e ra te

contra- (L ) a g a in s t , c o u n t e r c o n t r a d ic t , c o n t r a c e p t iv e

de- (F ) dow n d e n u d e , d e c e n t r a l is e

deca-, d e ci- (G ) te n decade, decagon

d em i- (L ) h a lf d e m ig o d

dia- (G ) th ro u g h , b e tw e e n d ia m e te r

d is- (L ) n o t. o p p o s ite to d is lik e , d i s a g r e e

duo- (G ) tw o d u o lo g u e , d u p le x

d ys- (G ) ill, h a r d d y s e n te ry

T h e S p e e d R e a d in g Book
 e-, ex­ out of e x h a le , e x c a v a t e

ec- • ( L ) out of e c c e n t r ic

en-, in-, em -, in t o , n o t e n r a g e , in a b ilit y ,

im - (L . G , F) e m u l a t e , im p r e s s

epi- (G ) u p o n , a t, in a d d it io n e p id e m ic , e p id e r m is

equi- e q u a lly e q u id i s t a n t

extra- (L ) o u t s id e , b e y o n d e x t r a m a r it a l

fo r-, fo re - (E ) b e fo re fo re s e e

h e m i- (G ) h a lf h e m is p h e r e

hepta- (G ) seven h e p ta g o n

hexa- (G ) s ix h e x a g o n , h e x a te u c h

hom o- (L ) sam e hom onym

hyper- (G ) a b o v e , e x c e s s iv e h y p e r c r it ic a l,

h y p e rtro p h y

il- not ille g a l, illo g ic a l

in -, im - ( u n - ) (L , G , F ) not i m p e r f e c t , i n a c c e s s ib l e

in te r- (L ) a m o n g , b e tw e e n in t e r r u p t , i n t e r m a r r ia g e

intra-, in tro - (L ) in s id e , w it h in in t r a m u r a l, in t r o v e r t

is o - (G ) e q u a l, s a m e is o b a r i c , is o s c e l e s

m a l- (L ) b a d , w ro n g m a l f u n c t io n , m a l f o r m e d

m e ta - (G ) a ft e r , b e y o n d m e t a b o li s m , m e t a p h y s i c a l

m is - w ro n g ly m i s f i t , m i s le a d

m ono- (G ) o n e , s in g le m o n o t o n o u s , m o n o c u la r

m u lti- (L ) m any m u lt ip u r p o s e ,

m u lt im ill io n

non­ not n o n s e n s e , n o n p a r e il

o b -, o c -, o f-, o p - (L ) in t h e w a y o f, o b s tr u c t, o b s ta c le ,

r e s is t a n c e oppose

o cta-, o c to - (G ) e ig h t o c ta h e d ro n , o c ta v e

o ff- a w a y , a p a rt o ffs e t

out- beyond o u tn u m b e r, o u ts ta n d in g

over­ above o v e rh e a r, o v e rc h a rg e

p a ra - (G ) a s id e , b e y o n d p a r a b le , p a r a d o x

M a ste rm in d yo u r v o c a b u la r y 163
| P re fix M e a n in g E x a m p le

penta- (G) five pentagon, pentateuch

per- (L) through perennial, peradventure

peri- (G) around, about perimeter, pericardium

poly- (G) many polygamy, polytechnic

post- (L) after postscript, postnatal

pre- (L) before prehistoric, pre-war

prime-, primo- (L) first, important primary, prime minister

pro- (L) in front of, favouring prologue, pro-British

quadri- (1) four quadrennial, quadrangle

re- (L) again, back reappear, recivilise

retro- (L) backward retrograde, retrospect

se- aside secede

selt- personalising self-control, self-taught

semi- (G) half semicircle, semidetached
sub- (L) under submarine, subterranean
super- (L) above, over superfluous, superior
syl- with, together syllogism
syn-, sym- (G) together sympathy, synchronise
tele- (G) far, at or to a distance telegram, telepathy
ter- (L) three times tercentenary
tetra- (G) four tetrahedron, tetralogy
trans- (L) across, through transatlantic, translate

tri- (L, G) three triangle, tripartite

ultra- (L) beyond ultramarine, ultraviolet
un- (im-) (L, G, F) not unbroken, unbutton,
unable
under- below underfed, underling
uni- (L) one unicellular, uniform
vice- (L) in place of viceroy, vice-president
yester- (E) preceding time yesterday, yesteryear

E. English, F, French, 6, Greek, L, Latin.

The Speed Reading Book

E X E R C IS E

Vocabulary mastermind
T h e f o llo w in g e x e r c is e s a re n o t v o c a b u la r y t e s t s in t h e s tr ic t s e n s e . In m a n y

c a s e s , d e fin it io n s h a v e b e e n ’s tr e tc h e d ' a little in o r d e r to in c lu d e a k e y w o r d

t h a t c a r r ie s a n a p p r o p r ia te p re fix .

A t t h e t o p o f e a c h v o c a b u la r y e x e r c is e t h e r e a re 1 5 w o r d s , f r o m w h ic h

y o u c a n c h o o s e th e c o r r e c t a n s w e r t o e a c h o f th e 1 5 q u e s tio n s .

W h e n d o in g th is e x e r c is e , b r e a k u p e a c h o f th e w o r d s y o u s e le c t in to its

c o m p o n e n t p a r t s , tr y in g to e s ta b lis h its m e a n in g f r o m its s tr u c tu r e . T o h e lp

y o u w ith th is , h a v e a d ic tio n a r y a t h a n d .

W h e n y o u h a v e fille d in e a c h o f th e 1 5 b la n k s p a c e s w it h t h e le t t e r o f th e

w o r d y o u th in k is c o r r e c t , c h e c k y o u r a n s w e r s o n p a g e 2 1 8 .

Vocabulary 1 (a)
(a) polyglot (b) amphibian (c) disenchantment (d) centipede (e) biped
(f) confluent (g) illiterate (h) antipathetic (i) retroactive (j) contravene
(k) tertiary (I) arch-enemy (m) paragon (n) triumvirate (o) impregnation
1 T h e m o s t im p o r t a n t a n d m o s t d a n g e r o u s o f o n e ’s o p p o n e n t s is o n e ’s

2 A ______________ is a t w o - f o o t e d a n im a l.

3 A p e r s o n o r th in g b e y o n d c o m p a r is o n , a m o d e l o f e x c e lle n c e , is k n o w n

a s a ______________

4 S tr e a m s t h a t f lo w t o g e th e r a r e s a id to b e ______________

5 A c o a litio n o f th r e e m e n f o r th e p u r p o s e s o f g o v e r n m e n t o r

a d m in is t r a tio n is c a lle d a ______________

6 M a n y p e o p le in th e w o r ld a re n o t a b le t o re a d ; t h e y a r e ______________

7 ______________ is th e in tr o d u c tio n o f o n e s u b s ta n c e in to a n o th e r.

8 B e c a u s e p e o p le e s t im a t e d t h a t t h is c r e a t u r e h a d 1 0 0 le g s , t h e y c a lle d it

a ______________

9 ______________ m e a n s th ir d in r a n k , o r d e r o r s u c c e s s io n .

10 O n e o p p o s ite o f fa s c in a t io n i s _____________

M asterm in d your v o c a b u la ry Q Q
11 T o g o a g a in s t re s tr ic tio n s la id d o w n is t o ______________ th e r u le s .

12 A c re a tu r e t h a t c a n liv e in b o th a ir a n d w a t e r is c a lle d a n __________

13 ______________ m e a n s o p e r a tin g in a b a c k w a r d d ir e c t io n .

14 A ______________ is a p e r s o n w h o s p e a k s m a n y la n g u a g e s .

15 If y o u h a v e a s tr o n g fe e lin g a g a in s t s o m e t h in g y o u a r e s a id t o b e

Vocabulary 1 (b)
(a) intravenous (b) autobiographer (c) abdicates (d) decalogue (e) atheist
(f) undermine (g) supercilious (h) isotherm (i) monomaniac (j) octagon (k)
catacomb (I) obfuscate (m) periscope (n) prominent (o) heminaopsia
1 S o m e o n e w h o d o e s n o t b e lie v e in G o d is a n ______________

2 H e w a s a ______________ b e c a u s e h e h a d a fix a tio n o n a s in g le o b je c t .

3 T h e T en C o m m a n d m e n t s a re o f t e n c a lle d t h e ______________

4 A n o u t s ta n d in g o b je c t o r p e rs o n is s a id t o b e ______________

5 A p la n e fig u r e w ith e ig h t s id e s a n d a n g le s is k n o w n a s a n ______________

6 T o ______________ m e a n s t o d ig a w a y th e fo u n d a t io n s , t o b rin g d o w n f r o m

b e lo w .

7 A ______________ is a g r a v e y a r d b e lo w g r o u n d .

8 A p e r s o n w h o ______________ g iv e s u p a c la im , r e s ig n s , g e t s a w a y f r o m a
s itu a tio n .

9 A n in je c tio n in to th e r e tu r n in g b lo o d s tr e a m is c a lle d a n ______________

in je c tio n .

10 W h e n s o m e th in g g e ts in th e w a y o f lig h t o r m e a n in g , it is s a id to

11 T o c o n s id e r o n e s e lf t o b e a b o v e o t h e r s is t o p o s s e s s a ______________

a ttitu d e .

12 T h e m e d ic a l c o n d itio n in w h ic h o n e lo s e s o n e h a lf o f o n e ’s fie ld o f

v is io n is k n o w n a s

The Speed Reading Book

1 3 A ___________ is an instrument that enables observers to look over an
object.

1 4 A line on a map that connects those places having equal average

temperature is called a n ___________

1 5 A n ___________ is a person who writes their own life story.

V o c a b u la r y 1 (c )

(a) metaphysical (b) regurgitate (c) forebear (d) extravagate

(e) misconstrue (f) primordial (g) circumspect (h) diaphragm
(i) subjugate (j) predeterminable (k) nonentity (I) pentameter
(m) beneficence (n) pervade (o) malediction
1 A dividing membrane between two areas is called a ___________

2 ___________ applies to what is immaterial, incorporeal, super-sensory,

beyond the physical.

3 A ___________ is a curse.

4 ____________means to bring up or throw back from a deep place; to vomit.

5 A ___________ is someone who is of no importance.

6 An ancestor m ay also be called a ___________

7 When something passes through, permeates, extends and is diffused, it

is said t o ___________

8 If y o u ___________ you are going beyond ordinary limits.

9 A verse containing five feet is called a ___________

1 0 ___________ is charity, kindness or generosity.

11 If you are prudent and wary, and look all around before doing anything,
you a re ___________

1 2 Something capable of being calculated beforehand is ___________

1 3 That which has existed from the beginning, we c a ll___________

1 4 T o ___________ means to subdue by superior force; to bring under

the yoke.

1 5 If we interpret something wrongly, w e ___________

Mastermind your vocabulary

E X E R C IS E

Detecting prefix
W ith y o u r n e w k n o w le d g e o f p r e fix e s , r e a d t h r o u g h a n y p a r t o f The Speed
Reading Book th a t y o u h a v e a lr e a d y c o m p le te d a n d u n d e r lin e a ll t h e p r e fix e s

y o u c a n . Y o u w ill fin d th a t th e y p o p u p a t le a s t o n c e in a lm o s t e v e r y 1 0 0

w o r d s y o u r e a d . R e p e a t th is s a m e e x e r c is e a t t h e e n d o f t h e n e x t t w o

s e c tio n s , a d d in g fir s t s u ffix e s a n d fin a lly r o o t s , e s p e c ia lly c o n c e n tr a t in g o n

th e 1 4 k e y p o w e r w o r d s .

Suffixes - getting to the point

You are now ready to learn the suffixes - letters, s ylla b le s a n d
w ords placed at the end of words. As in the section on prefixes you
will notice that m ost suffixes are taken from Latin and Greek.

The po w er o f su ffixes
This chapter introduces you to 51 suffixes, m any of w hich are c o n ­
cerned w ith ch a ra c te ris tic s or q u a litie s, or c h a n g in g o n e p a rt o f
speech into another (e g. adjectives into adverbs).

51 suffixes

I S uffix M ea n in g Exam ple

-able, -ible (L ) c a p a b le o f, fit fo r d u ra b le , c o m p r e h e n s ib le

-acy (L , G) s ta te o r q u a lity of a c c u ra c y

-age (L ) a c tio n o r s ta te o f b re a k a g e

-al, -ial (L ) re la tin g to a b d o m in a l

-an (-ane, -ian) (L ) th e n a tu re of G re c ia n , A fric a n

-ance, -ence q u a lity o r a c tio n o f in s u ra n c e , c o rp u le n c e

-ant (L ) fo rm in g a d je c tiv e s of d e fia n t, s e rv a n t

q u a lity , n o u n s s ig n ify in g

a p e rs o n a l a g e n t o r

s o m e th in g p ro d u c in g

a n e ffe c t

The Speed Reading Book

-arium , -o riu m (L ) p la c e f o r a q u a r iu m , a u d it o r iu m

-a ry (L ) p la c e f o r . d e a lin g w it h s e m in a r y , d ic t io n a r y

-atable (L ) (s e e -able, -ible)

-ate (L ) c a u s e t o b e , o f f ic e o f a n im a t e , m a g i s t r a t e

-ation, -ition (L ) a c tio n o r s ta te o f c o n d it i o n , d ila p id a t io n

-cle, -icle (L ) d im in u t i v e ic ic le

-bom (E ) c o n d it i o n o r c o n t r o l k in g d o m

■en (E ) s m a ll m itte n

-en (E ) q u a lit y g o ld e n , b ro k e n

-e r(E ) b e lo n g in g t o fa rm e r, N e w Y o rk e r

-ess (E ) f e m i n i n e s u f f ix h o s te s s , w a itr e s s

-et, -ette (L ) s m a ll p u p p e t, m a rio n e tte

-ferous (L ) p ro d u c in g c o n if e r o u s

-M ( E) f u ll o f c o lo u r f u l, b e a u t if u l

-fy, -ify (L ) m ake s a t is f y , f o r t if y

-hood (E ) s t a t e o r c o n d it i o n o f b o y h o o d , c h ild h o o d

-ia (L ) n a m e s o f c la s s e s , b a c t e r i a . L ib e r ia

n a m e s o f p la c e s

-ian (L ) p r a c t it io n e r s o r m u s i c i a n . P a r is ia n

in h a b i t a n t s

-ic (G ) r e la t in g t o h is t o r ic

-id(e) (L ) a q u a li t y a c id

-ine (G , L ) a com pound c h lo r in e

-ion (L ) c o n d it i o n o r a c t io n o f p e rs u a s io n

-ish (E ) a s im ila r i t y o r c h il d is h , g r e e n is h

r e la t io n s h i p

-ism (G ) q u a li t y o r d o c t r in e o f r e a lis m , s o c ia lis m

•is t (G ) o n e w h o p r a c t is e s c h e m is t , p e s s i m i s t

-itis (L ) i n f l a m m a t io n o f b r o n c h it is

( m e d ic a l)

-ity, -ety, -ty (L ) s t a t e o r q u a li t y o f lo y a lt y

Mastermind your vocabulary

 Suffix Meaning Example

-ive (L ) n a tu r e o f c r e a t iv e , r e c e p t iv e

ize , -ise (G ) m a k e , p r a c t is e , a c t lik e m o d e r n iz e , a d v e r t is e

-lent (L ) fu lln e s s v io le n t

•less (E ) la c k in g f e a r le s s , f a c e le s s

•logy (G ) in d ic a t in g a b r a n c h b io lo g y , p s y c h o lo g y

o f k n o w le d g e

h a v in g t h e q u a lit y o f s o f tly , q u ic k ly
■IK E )
m ent (L ) a c t o r c o n d it io n o f re s e n tm e n t

•metry, -m eter (G ) m e a s u re m e n t g a s o m e te r, g e o m e try

-mony r e s u lt in g c o n d it io n t e s t im o n y

■old (G ) r e s e m b lin g o v o id

-or (L ) a s ta t e o r a c t io n , e rro r , g o v e r n o r , v ic to r,

a p e rs o n w h o o r g e n e ra to r

th in g w h ic h

-osis p r o c e s s o r c o n d it io n o f m e t a m o r p h o s is

-ous, -ose (L ) fu ll o f m u r d e r o u s , a n x io u s ,

o f f ic io u s , m o r o s e

-som e lik e g la d s o m e

-tude (L ) q u a lit y o r d e g r e e o f a lt it u d e , g r a t it u d e

-ward (E ) d ir e c t io n b a c k w a rd , o u tw a rd

-y (E ) c o n d it io n d if f ic u lty

E = English. F = French. G = Greek. L = Latin.

| Q | T h e S p e e d R e a d in g B o o k
E X E R C IS E

Vocabulary mastermind
Vocabulary 2 (a)
(a ) in d e f a t ig a b le ( b ) v ig n e t t e ( c ) d e m o b ili s e ( d ) e p id i d y m it is

(e ) p r a c t it io n e r ( f ) ig n o m in y ( g ) s u p r e m a c y ( h ) p la t it u d e ( i ) u n t o w a r d

( j ) c u r s iv e ( k ) c h a u v i n is t ( I ) p r io r e s s ( m ) h e d o n is m ( n ) e m b o ld e n

(o ) bondage

1 ______________ is th e c o n d itio n o f b e in g m a r k e d w it h d is g r a c e .

2 A ______________ is a w o m a n w h o g o v e r n s a n u n n e ry .

3 S o m e o n e w h o h a s v e r y s tr o n g n a t io n a lis t ic f e e lin g s a n d w h o m a k e s a

p r a c tic e o f th is s o m e w h a t e x a g g e r a t e d p a t r io t is m is c a lle d a

4 T h a t w h ic h is in tr a c ta b le , u n ru ly , p e r v e r s e , w h ic h g o e s in t h e w ro n g

u n p r e d ic ta b le d ir e c tio n i s ______________

5 A ______________ is o n e w h o w o r k s in a c e r t a in f ie ld , s u c h a s m e d ic in e .

6 A ______________ is a c o m m e n t o r s t a t e m e n t t h a t is in s ip id a n d trite .

7 T h e u n p le a s a n t m e d ic a l c o n d it io n in w h ic h p a r t o f th e t e s t ic le b e c o m e s

ir r ita te d a n d in fla m e d is k n o w n a s ______________

8 T o ______________ is t o im b u e w it h t h e a d d e d q u a litie s o f c o u r a g e ,

in s p ir a tio n a n d fe a r le s s n e s s .

9 T h e d o c tr in e o f p u r s u in g p le a s u r e a s t h e h ig h e s t g o o d is k n o w n a s

10 If y o u a r e c a p a b le o f w o r k in g 1 2 h o u r s a d a y w it h o u t a re s t, if y o u c a n

e n g a g e in p h y s ic a l e x e r c is e f o r h o u r s w it h o u t s e e m in g to g e t tir e d , th e n

y o u a r e ______________

11 H a n d w r it in g th a t is in t h e n a t u r e o f a r u n n in g h a n d , t h a t f o r m s th e

c h a r a c t e r r a p id ly w it h o u t r a is in g t h e p e n , is k n o w n a s ______________

h a n d w r itin g .

12 ______________ is a s m a ll o r n a m e n t a l d e s ig n , d r a w in g o r p ic tu re .

13 T h e q u a lity o r s ta te o f b e in g u p p e r m o s t , o f h a v in g c o m p le t e a u t h o r it y o r

p o w e r , is th e s ta te o f ______________

Mastermind your vocabulary Q Q

 14 T o ______________ is t o r e n d e r s o m e t h in g u n a b le to o p e r a t e o r m o v e ; to

d is b a n d .

15 ______________ is t h e s ta te o f b e in g b o u n d o r t ie d t o s o m e t h in g , e it h e r

p h y s ic a lly o r m e n ta lly .

Vocabulary 2 (b)
(a) winsome (b) minimal (c) irritant (d) enervation (e) vociferous
(f) bellicose (g) aviary (h) corpuscle (i) magnate (j) hoydenish (k) baleful
(i) placid (m) osmosis (n) planetarium (o) martyrdom
1 S o m e o n e w h o p la c e s h im s e lf in a c o n d it io n o f s u f fe r in g f o r h is b e lie fs

is p la c in g h im s e lf in a p o s itio n o f ______________

2 A d im in u tiv e p a r t ic le o f m a t t e r is s o m e t im e s k n o w n a s a ______________ .

a lth o u g h th is t e r m n o w u s u a lly a p p lie s t o t h e s m a ll p a r t ic le s

c o n s titu tin g b lo o d .

3 A g irl w h o is jo y fu l, a ttr a c t iv e a n d e n g a g in g i s ______________

4 A c h a r g e f o r s o m e th in g th a t r e la t e s t o t h e lo w e s t o r s m a lle s t p r ic e is

5 ______________ is th e p r o c e s s in w h ic h f lu id s t e n d to m ix . e v e n th r o u g h

p o ro u s m e m b ra n e s .

6 A ______________ is a p la c e w h e r e o n e g o e s t o s e e m o d e ls o r p r o je c t io n s

o f th e s o la r s y s t e m a n d o t h e r p a r t s o f t h e u n iv e r s e .

7 P e o p le w h o s p e a k lo u d ly a n d o f t e n a r e ______________

8 ______________ is th e s ta te o f b e in g e x h a u s t e d .

9 A r u d e g irl o r t o m b o y is s a id to b e ______________

10 A ______________ p e r s o n is fu ll o f a n t a g o n is m a n d t h e d e s ir e t o q u a r r e l o r

fig h t.

11 A p la c e w h e r e b ir d s a re k e p t is k n o w n a s a n ______________

1 2 A ______________ lo o k is o n e fu ll o f m is c h ie f o r m a lic e .

13 A ______________ is a p e r s o n w h o h o ld s h ig h r a n k o r s ta t u s .

14 T o b e g e n tle , q u ie t, p e a c e f u l a n d s e r e n e is t o b e ______________

H O The Speed Reading Book

15 A n _____________is t h a t w h ic h p r o v o k e s o r p r o d u c e s d is c o m f o r t o r
in f la m m a t io n .

Vocabulary 2 (c)
(a) mundane (b) narcissistically (d) intelligentsia (d) insatiable (e) intensify
(f) rhetorician (g) deity (h) psychology (i) physiology (j) pestilence
(k) hardihood (I) annulment (m) anthropoid (n) metabolism (o) indolent
1 T o b e fille d w ith th e d e s ir e t o d o n o th in g , to b e la z y , p h le g m a tic a n d id le

is t o b e ______________

2 A ______________ is a n e lo q u e n t s p e a k e r o r w rite r.

3 T h e ______________ is th a t c la s s o f e d u c a t e d p e o p le w h o te n d t o f o r m

m u c h o f p u b lic o p in io n .

4 ______________ r e la te s o r p e r t a in s to t h e c o n s t a n t c h e m ic a l c h a n g e s in
liv in g m a tte r .

5 A n ______________ is a n y c r e a tu r e t h a t r e s e m b le s m a n .

6 T h e b r a n c h o f k n o w le d g e th a t d e a ls w ith t h e b o d y ’s o r g a n s a n d th e ir

f u n c tio n s i s ______________

7 A w o r d fo r a s ta te o f b o ld n e s s , c o u r a g e a n d r o b u s t n e s s i s ______________

8 T h a t w h ic h is ‘o f t h e n a tu r e o f t h e w o r ld ' is o f t e n s a id to b e ______________

9 A d is e a s e , th e q u a litie s o f w h ic h a r e p la g u e - lik e a n d v ir u le n t, is o fte n

c a lle d a ______________

Io ______________ is t h e a c t o f h a v in g a c o n t r a c t o r m a r r ia g e a b o lis h e d .

I I T o lo o k a t o n e s e l f ______________ is t o h a v e t h e q u a lity o f t h e v a in g o d w h o

fe ll in lo v e w it h h is r e fle c te d im a g e .

12 T o ______________ is to ra is e t o a h ig h e r o r m o r e e x t r e m e d e g re e .

13 W h e n w e a ttr ib u te d iv in e q u a litie s t o s o m e o n e o r s o m e t h in g , w e m a k e

t h e m o r it a ______________

14 S o m e o n e w h o s e a p p e tite c a n n o t b e s a t is f ie d i s ______________

15 T h e b r a n c h o f k n o w le d g e th a t d e a ls w it h t h e h u m a n m in d a n d its

fu n c tio n in g i s ______________

N o w c h e c k y o u r a n s w e rs on p a g e 2 1 9 . ►

Mastermind your vocabulary |

E X E R C IS E

Suffix expansion
A f t e r c o m p le tin g t h e v o c a b u la r y t e s t s to y o u r s a t is f a c tio n , b r o w s e t h r o u g h a

g o o d d ic tio n a r y , s tu d y in g th e v a r io u s w a y s in w h ic h t h e s e s u f fix e s a r e u s e d .

K e e p a r e c o r d o f e x c e p tio n a lly g o o d e x a m p le s o r e x a m p le s t h a t y o u fin d

in te r e s tin g a n d u s e fu l.

N o w th a t y o u h a v e le a r n t t h e b e g in n in g s a n d e n d in g s o f m o d e r n E n g lis h

w o r d s , y o u c a n m o v e o n t o ro o t s , t h o s e e le m e n t s f r o m L a tin a n d G r e e k t h a t

c a n b e fo u n d a n y w h e r e in a m o d e r n w o r d .

Roots - the key elements of words

The final v o ca b u la ry s ectio n d e a ls w ith Latin a n d G reek ro o ts -
w ords from w hich others are derived - and also suggests five steps
for continuing your vocabulary developm ent.

Five step s to continue m a sterm in d in g your

vocabulary
1 Perform the exercise described in the previous section - brow se
through a good dictionary, studying the various w ays in w hich
the prefixes, suffixes and roots you have learnt are used. Keep a
record of noteworthy exam ples and useful w ords.

2 Make a continuing and concentrated effort to introduce into your

vocabulary at least one new w ord a day. New w ords are retained
only if they are repeated a num ber of tim es, so once you have
selected your w ord or w ords, m ake sure you use them often and
effectively.

3 Be on the look-out for new and exciting w o rd s in conversations.

If you are em barrassed about asking a speaker to define their
term inology, m ake a quick mental note or jot d ow n the w ord and
look it up later.

4 Keep an eagle eye out for unfam iliar w o rd s in anything you read.
D on’t write them dow n as you read, but m ake a m ark w ith a
pencil and look them up afterwards.

The Speed Reading Book

5 If you feel so inclined, go to your local bookshop or library and
ask for a book on vocabulary training - there are a number and
most of them are quite helpful.
4 9 r o o ts

1 Root M e a n in g E x a m p le

aer air aerate, aeroplane

am(from amare) love amorous, amateur,
amiable
arm(from annus) year annual, anniversary

aud(from audire) hear auditorium, audit

bio life biography
cap (from capire) take captive

cap (from caput) head capital, per capita,

decapitate

chron time chronology, chronic

cor heart cordial

corp body corporation

de god deify, deity

die, diet say, speak dictate

due (from ducere) lead aqueduct, duke, ductile

ego 1 egotism
equi equal equidistant

lac, tic (from tacere) make, do manufacture, efficient

frat (from trater) brother fraternity

geo earth geology

graph write calligraphy, graphology,

telegraph

loc (from locus) place location, local

loqu, loc (from loqui) speak eloquence, circumlocution

luc (from lux) light elucidate

man (from manus) hand manuscript, manipulate

Mastermind your vocabulary

1 Root M e a n in g E x a m p le

mit, miss (from mime) send admit, permission

mort (from mors) death immortal

omni all omnipotent, omnibus

pal (from pater) father paternal

path suffering, feeling sympathy, pathology

ped (from pes) toot impede, millepede, pedal

phobia, phobe fear hydrophobe, xenophobia

photo light photography

pneum air, breath, spirit pneumonia

pos, posit place deposit, position

pot, poss, poten be able potential, possible

(from ponere)
quaerere ask, question, seek inquiry, query

rog (from rogare) ask interrogate

scrib, scrip write scribble, script, inscribe

(from scribere)
sent, sens feel sensitive, sentient
(from sentire)

sol alone soloist, isolate

soph wise philosopher

sped (from spicere) look introspective, inspect

spir (from spirare) breathe inspiration
ten (from tendere) stretch extend, tense
ten (from tenere) hold tenant
therm(from thermos) warm thermometer
utilis useful utility, utilise
ven, vent (from venire) come, arrive advent, convenient
vert, vers (from vertere) turn revert, adverse
viP, vis (from videre) see supervisor, vision,
provident

The Speed Reading Book

E X E R C IS E

Vocabulary mastermind
Vocabulary 3 (a)
(a) expire (b) translucent (c) audition (d) sophist (e) annuity
(f) agoraphobia (g) querulous (h) amiable (i) thermal (j) dislocated
(k) graphology (I) impotent (m) telepathy (n) soliloquy (o) homologous
1 A p e r s o n w h o is f r ie n d ly a n d lo v e a b le is o f t e n d e s c r ib e d a s ______________

2 A ______________ is a w is e o r w o u ld - b e le a r n e d p e rs o n .

3 M a te r ia l th r o u g h w h ic h lig h t c a n t r a v e l i s ______________

4 Y o u a r e ______________ if y o u a r e u n a b le to p e r f o r m o r a c t .

5 A n ______________ is a p a y m e n t m a d e y e a rly .

6 W h e n a n a c t o r s ta n d s a lo n e o n a s ta g e a n d s p e a k s t o h im s e lf , h is

s p e e c h is k n o w n a s a ______________

7 T h e w o r d ______________ , w h ic h n o w u s u a lly m e a n s to p a s s a w a y o r d ie ,

d e r iv e s f r o m t h e id e a o f b re a th in g o u t.

8 If a b o n e is o u t o f jo in t, o r m is p la c e d , w e s a y it i s ______________

9 T h e t r a n s fe r e n c e o f t h o u g h ts f r o m o n e m in d to a n o t h e r o v e r a d is t a n c e

is k n o w n a s ______________

10 ______________ m e a n s t o b e a lik e in p r o p o r t io n , v a lu e o r s tr u c tu r e ; to b e in

a c o r r e s p o n d in g p o s itio n .

11 A p e r s o n w h o is q u a r r e ls o m e a n d d is c o n t e n t e d , a n d w h o c o m p la in s in

a q u e s tio n in g m a n n e r , i s ______________

1 2 ______________ m e a n s p e r ta in in g t o h e a t.

13 A tria l h e a r in g o f a n a p p lic a n t f o r e m p l o y m e n t e s p e c ia lly in t h e c a s e o f

a c to r s a n d s in g e r s , is k n o w n a s a n ______________

14 ______________ is th e c o n tr o v e r s ia l a r t o f a n a ly s in g p e r s o n a lity f r o m

h a n d w r itin g .

15 If y o u h a v e a f e a r o f o p e n s p a c e s , y o u s u f f e r f r o m ______________ ^

Mastermind your vocabulary | y j

Vocabulary 3 (b)
(a) tendentious (c) artefact (c) convene (d) decapitate (e) corporeal
(f) manciple (g) equinox (h) captivate (i) abduction (j) egocentric
(k) geomorphology (I) omniscient (m) interdict (n) utilitarian (o) patricide
1 If y o u b e h e a d s o m e o n e y o u ______________ t h e m .

2 A ______________ a r g u m e n t is o n e t h a t s tr e t c h e s t h e t r u t h in o r d e r to

c o n v in c e .

3 ______________ is th e s tu d y o f t h e p h y s ic a l f e a t u r e s o f t h e c r u s t o f th e

E a r th .

4 ______________ is t o ta k e c o m p le t e c o n t r o l o f t h e a tte n t io n ; t o o v e r c o m e b y

c h a rm of m a n n e r an d a p p e aran ce .

5 A p e r s o n w h o c o n s id e r s t h e m s e lv e s t o b e t h e c e n tr e o f t h e u n iv e r s e is

d e s c r ib e d a s ______________

6 ______________ , a t e r m u s u a lly r e s e r v e d f o r G o d , is o c c a s io n a lly a p p lie d to

p e o p le w h o s e e m t o k n o w e v e r y t h in g .

7 A ______________ is s o m e o n e w h o h o ld s t h a t a c t io n s a r e rig h t o n ly if t h e y

a re u s e fu l.

8 A n ______________ is a s ta t e m e n t t h a t c o m e s b e t w e e n a p e r s o n a n d t h e ir

in te n d e d a c tio n ; a p ro h ib itio n .

9 T h e m u r d e r o f o n e ’s o w n f a t h e r is k n o w n a s ______________

10 If s o m e t h in g is m a d e b y , o r r e s u lt s f r o m a r t , if it is in s o m e w a y

a r t if ic ia l, w e s a y it is a n ______________

11 T h e ______________ is t h a t t im e o f y e a r w h e n b o th d a y a n d n ig h t a r e o f
e q u a l le n g th .

12 A ______________ is a s te w a r d o r s e r v a n t ( s o m e o n e w h o w a it s o n y o u

h a n d a n d f o o t ).

13 ______________ m e a n s t o c a u s e t o c o m e t o g e th e r , t o c a ll t o a n a s s e m b ly .

14 T h a t w h ic h h a s a m a te r ia l b o d y is s a id to b e ______________

15 ______________ is le a d in g o r c a r r y in g a w a y , u s u a lly b y f r a u d o r f o r c e .

The Speed Reading Book

Vocabulary 3 (c)
(a) chronometer (b) imposition (c) subrogation (d) elucidate (e) insensate
(f) desolation (g) morbid (h) vertigo (i) remittance (j) fraternise
(k) empathy (I) pneumatic (m) bioplasm (n) aerodynamics (o) tenacious
1 A p e r s o n w h o is d e s titu te o f s e n s e o r g iv e n to e x t r e m e s , w e c a ll

2 ______________ is th e p o w e r to p r o je c t o n e 's f e e lin g s in to a n o b je c t o r

p e r s o n , a n d s o r e a c h fu ll u n d e r s t a n d in g .

3 ______________ m e a n s t o s h e d lig h t o n , t o m a k e c le a r.

4 A ______________ d rill is o n e th a t u s e s c o m p r e s s e d air.

5 A n in s t r u m e n t th a t fin e ly m e a s u r e s t im e is a ______________

6 A ______________ p e r s o n is o n e w h o h o ld s o n . n o m a t t e r w h a t th e

c ir c u m s t a n c e s .

7 A ______________ is m o n e y s e n t t o y o u .

8 T h e s c ie n c e t h a t d e a ls w ith th e f o r c e s e x e r t e d b y a ir a n d b y g a s e o u s

flu id s is______
9 T h e g e r m in a l m a t t e r f o r a ll liv in g t h in g s i s ______________

10 W h e n p e o p le a s s o c ia t e a s b r o th e r s , w e s a y t h e y ______________

11 If s o m e t h in g i s ______________ . it r e m in d s u s o f d e a th .

12 A n ______________ m a y b e d e fin e d a s t h e a c t o f p la c in g o r p u ttin g o n ; a

b u r d e n , o f t e n u n w e lc o m e .

13 ______________ is w h e n y o u s u b s tit u te s o m e o n e e ls e f o r y o u r s e lf in

r e s p e c t o f y o u r le g a l rig h ts .

14 .......................r e fe r s t o t h a t w h ic h is d e s e r t e d , la id w a s t e , s o lita ry .

fo rs a k e n .

15 .......................is a fe e lin g o f g id d in e s s .

N o w c h e c k y o u r a n s w e rs on p a g e s 2 2 0 - 1 .

Mastermind your vocabulary

W ith your increasing facility at speed reading and assim ilating infor­
mation, and your new -found ability to select and order inform ation
from new spapers and m agazines and via your com puter, laptop or
PDA. it is just as essential to develop your speed reading skills in
fictional w orks - in literature and poetry We will d iscu ss this in the
next chapter.

The Speed Reading Book

 Speed and range
reading for
literature and
poetry
Why read poetry and literature? Because the great minds of his­
tory have left us, in them, easy stepping stones into the worlds
of imagination, fantasy, ideas, philosophy, laughter and adven­
ture; because by reading them you add to your own knowledge
and your own historical and cultural data banks; because they
are food for your soul. Literature is among the greatest expres­
sions of human creativity. In this chapter you will be given the
basic tools to appreciate it in the true sense of the word.
A novel is a massive conceptual achievement, and to appre­
ciate it fully you need to be aware of the following aspects: plot,
theme, philosophy, standpoint, character development, mood
and atmosphere, setting, imagery, symbolism and use of lan­
guage. Likewise, to appreciate poetry you should be aware of
the different levels of meaning within any poem.
The more you understand each of these elements, the more
your reading speed and comprehension will increase. If you are
studying literature at school or university, the following aspects
are invaluable as guide-posts for analysis. These guide-post
areas provide good headings in essays and examinations - and
make ideal main branches for Mind Map notes.
Many people proclaim that you cannot speed read a novel,
because if you do you will lose the meaning and miss the
rhythm of the language.
Nothing could be further from the truth.
A novel can be likened to an ocean. The little waves we see
lapping the shore are in fact carried on waves that are nine ordi­
nary waves long. These waves are themselves carried by waves
that carry nine of them, and these larger waves are similarly car­
ried by waves that carry nine of them. Some waves in the ocean
are miles long.
It is similar with a novel. The rhythms of language can be
likened to the surface waves. The other, larger rhythms are
the other, deeper elements of the novel. The speed reader can
appreciate them all.

The elem ents of literature

Plot
P lo t is th e b a s ic s tru c tu re o f e v e n ts in a n o v e l - th e s to ry lin e , if y o u
w is h It m a y p la y a r e la tiv e ly m in o r ro le in p r im a r ily d e s c r ip tiv e
w ritin g o r a m a jo r ro le in th e b e tte r w h o d u n n its a n d m y s te ry n o v e ls .

Theme
T h e th e m e is w h a t th e p lo t is a b o u t. F o r e x a m p le , in The F o rs y te
S a g a , a s e rie s o f n o v e ls d e a lin g w ith th e h is to r y o f a V ic to ria n
fa m ily , th e m a m th e m e m ig h t v a rio u s ly b e c o n s id e re d to b e c a p ita l­
is m v e rs u s c re a tiv ity , c o n s e r v a tis m v e rs u s lib e r a lis m , c o n fo r m ity
v e rs u s in d iv id u a lity , o r w e a lth v e rs u s p o v e rty S u b -th e m e s ru n n in g
p a r a lle l to th e m a in o n e fr e q u e n tly o c c u r in n o v e ls . S u b - th e m e s
o fte n c o n c e rn m in o r lo v e a ffa irs a n d s e c o n d a ry c h a ra c te rs .

Philosophy
P h ilo s o p h y is th e s y s te m o f id e a s g o v e r n in g th e u n iv e rs e o f th e
w o rk a n d c a n o fte n b e th o u g h t o f a s th e a u th o r ’s c o m m e n ta ry o n

T h e S p e e d R e a d in g Book
th e th e m e s w ith w h ic h th e b o o k d e a ls . N o v e lis ts k n o w n fo r th e
p h ilo s o p h ic a l c o n te n t in th e ir n o v e ls in c lu d e D o sto e vsky, D icke n s,
S artre a n d T h o m a s M ann.

S ta n d p o in t
S tandpoint is not necessarily only th e a uthor's p oint o f view o r personal
fe e lin g a b o u t w h a t he o r she is w ritin g It is m o re o fte n th e p h y sic a l
sta n d p o in t from w hich the events de scrib e d are seen. The author may,
for instance, be all-know ing, standing apart, an d view ing th e past, p res­
e n t a n d fu tu re o f th e e vent he o r sh e is d e s c rib in g (H e n ry Ja m e s
a d vo ca te d aband o n in g this device, a s he felt it clo u d e d true represen­
ta tio n ). In c o n tra s t to th is o m n is c ie n t p o in t o f view, th e a u th o r m ay
p la ce them selves in the first pe rso n (the author b e co m e s th e T o f the
b o ok), as in H am m o n d Innes’ adventure stories an d Lolita by Nabokov.

C h a r a c t e r d e v e lo p m e n t
C h a ra c te r d e v e lo p m e n t c o n c e rn s th e c h a n g e s th e p e o p le in th e
s to ry u n d e rg o . It m a y ra n g e fro m o n e e x tre m e , s u c h a s Ian
F le m in g 's J a m e s B o n d , w h o re m a in s c o m p le te ly u n c h a n g e d
th ro u g h o u t h is s e rie s o f n o v e ls, to E tie n n e in Z o la ’s G erm inal, w h o
s ta rts a s a re b e llio u s y o u th b u t e v o lv e s in to a m a tu re a n d d e d i­
c a te d m a n . C h a ra c te r d e v e lo p m e n t c a n a ls o re fe r to th e w a y th e
a u th o r p re s e n ts th e c h a ra c te r, b y d e s c rip tio n o f th e ir p h y s ic a l o r
m e n ta l cha ra cte r, m o v e m e n t, a n d s o on.

Mood a n d a t m o s p h e r e
T h e s e tw o te rm s re fe r to th e m a n n e r in w h ic h th e a u th o r e v o ke s a
s e n se o f reality o r unre a lity a n d th e e m o tio n a l re sp o n se o f th e reader.
S o m e p e o p le p re fe r to use o n ly o n e o f th e s e te rm s , a lth o u g h they
c a n b e d is tin g u is h e d fro m e a c h o th e r: m o o d c a n be d e s c rib e d as
th e re a ctio n felt b y the individu a l to th e a tm o s p h e re o f a p ie c e o f w rit­
ing. For exa m p le , the a tm o s p h e re in E d g a r A llan P oe’s sto rie s m ig h t
b e d e s c rib e d a s m o rb id a n d m e n a cin g , w h ile th e m o o d o f his re a d ­
ers m ig h t va ry fro m frig h te n e d to exhilarated

S p e e d a n d r a n g e re a d in g for literatu re a n d poetry

Setting
Setting refers to the physical locale and the tim e period in w hich the
events take place. Because the setting is usually quite apparent, its
im portance is often unde re stim a ted - a n d yet the slig h te st va ria ­
tions in tim e and place often have very significant e ffe cts on plot,
m ood, atm osphere and imagery.

Im a gery
Im agery is often d e s c rib e d as th e use o f sim ile a n d m etaphor,
m eaning that objects, people and events are described in creative
or fanciful language. The root w ord ‘im age’ is perhaps m ost useful
in com ing to an understanding of this term. For exam ple. Sir W alter
Scott, m The Heart o f M idlothian, d e scribed Edinburgh as ‘the p u l­
sating heart core of the Scottish scene'; and D ickens, in A Tale o f
Two C ities, w hen d e s crib in g the u n co ve rin g o f a p riso n e r b u ried
alive for 18 years, uses im a g e s o f d e a th a n d b u ria l - heavy
w reaths, cada ve ro u s co lo u rs and e m a c ia te d h e a d s a n d fig u re s.
Darkness and shadow s prevail

Symbolism
Simply explained, sym bolism means that one thing stands for or rep­
resents another. Throughout m uch of literary history, the Earth, for
example, has sym bolised fertility and reproduction. Since the p u b li­
cation of Freud's theories, sym bolism has becom e an increasingly
im portant elem ent in literature, w ith a new em phasis on the sexual.
Any jutting object, such as a gun or tree, m ay be used to sym bolise
the male sex organ; and any circular or hollow object, such as a box
or a circular pond, can be used to sym bolise the fem ale sex organ.
An excellent example of sym bolism can be found in A Tale o f Two
C itie s , w hen a cask o f red w ine is spilt. The p o p u la c e d rin ks the
m uddy dregs w ith relish, signifying the desperate hunger that later
results in the spilling of real blood in the French Revolution. In D. H.
Lawrence's The Fox. the frozen waste in w hich two w om en live sym ­
bolises their frigidity, w hile the m ale c h a ra c te r’s s h o o tin g o f a fox
(sym bolising the general male ‘threat’) places him in the d o m inant
m ale role S ym bolism is often a great deal m ore o b scu re than in

The Speed Reading Book

th e s e e x a m p le s , a n d the re a d e r w h o u n d e rs ta n d s it m a y b e o n e o f
th e very fe w w h o g ra s p s th e full m e a n in g o f m u c h o f g re a t literature.

U se ot l a n g u a g e
A u th o rs ’ u s e o f la n g u a g e v a rie s fro m th e to u g h m a s c u lin e style o f
H e m in g w a y to th e flo w in g a n d p o e tic p ro s e o f N a b o ko v . T h e la n ­
g u a g e th a t a n a u th o r u s e s is a lw a y s re v e a lin g , a n d if y o u p a y
c a re fu l a tte n tio n to it y o u w ill o fte n g a in fa r d e e p e r in s ig h t in to th e
s h a d e s o f m e a n in g a n d m o o d w ith in th e w o rk.
In d is c u s s in g th e s e a s p e c ts o f th e n o ve l, I have d e a lt w ith e a ch
ite m sep a ra te ly, b u t it is im p o rta n t to re m e m b e r th e y a re all inextri­
c a b ly lin k e d . T h e v e ry s e ttin g o f a s to ry , fo r e x a m p le , m a y b e
s y m b o lic - a n d s o it is w ith th e o th e r a s p e c ts . W h e n y o u re a d lite ra ­
tu re , a lw a y s try to b e a w a re o f th e in tric a te in te rre la tio n s h ip s
b e tw e e n all th e s e a s p e c ts

EXERCISE

Novel
C h o o s e a n o v e l b y o n e o f y o u r f a v o u r it e a u t h o r s a n d r e a d it , u s in g a ll t h e

s p e e d r e a d in g s k ills y o u h a v e a c q u ir e d s o f a r . M a k e s u r e y o u p r e v i e w it,

M i n d M a p it, u s e y o u r g u i d e t h r o u g h o u t , a n d a n a ly s e it a c c o r d i n g t o t h e

e l e m e n t s o f t h e n o v e l.

Poetry
M a n y p e o p le in s is t th a t p o e try s h o u ld b e re a d ve ry slowly. O u r ta lk­
in g s p e e d is a b o u t 2 0 0 w p m , b u t m a n y o f us te n d to re a d p o e try at
le ss th a n 100 w p m A c tu a lly th is h in d e rs a p ro p e r a p p re c ia tio n , for
a s lo w , p lo d d in g tr u d g e th ro u g h a p o e m e ffe c tiv e ly d e s tro y s th e
n a tu ra l rh y th m a n d c o n s e q u e n tly c o n c e a ls m u c h o f th e m e a n in g
fro m th e reader. In s c h o o ls , th is p ro b le m is m a d e w o rs e b y te a c h ­
e rs w h o fail to c o rre c t s tu d e n ts w h e n th e y re a d e a c h line a s th o u g h
th e m e a n in g la y at th e e n d . T h is is o fte n s im p ly n o t th e c a s e .
S o p h is tic a te d p o e ts let th e ir m e a n in g flo w th ro u g h th e lines.

S p e ed a n d r a n g e re a d in g for literatu re a n d poetry

 The best approach to reading poetry is as follows:

1 Begin with a very rapid preview, enabling you to find out roughly
what the poem is about and where it leads.
2 Do a rapid but m ore thorough reading to get a m ore accurate
idea of the w ay the lines relate to each other and the w ay the
thought and rhythm interlink and progress.

3 Take a leisurely ram ble through the poem , concentrating on

areas of particular interest.

4 Read the poem aloud.

In t h e f in a l a n a ly s i s , s p e e d is o f t e n n o t a m a i n f in a l g o a l w h e n it

c o m e s to lite ra tu re a n d p o e t r y - w h ic h c a n b e s t b e lik e n e d t o lis te n in g

to m u s ic o r a p p r e c ia t in g a r t . O n e d o e s n o t lis te n t o B e e t h o v e n ’s F ifth

S y m p h o n y o n c e a n d t h r o w o u t t h e r e c o r d i n g w it h t h e t r iu m p h a n t

c la im , ‘W e ll, I ’v e d o n e t h a t a t a n a v e r a g e s p e e d o f 3 3 r p m ! ‘

W h e n r e a d in g li t e r a t u r e a n d p o e t r y , b r in g t o b e a r o n it a ll y o u r

k n o w le d g e a n d p e r s o n a l ju d g e m e n t , a n d if y o u f e e l it is t h e k in d o f

w r it in g y o u w is h t o t r e a s u r e f o r e v e r , f o r g e t a b o u t s p e e d in g t h r o u g h it

a n d r e s e r v e it f o r t h o s e o c c a s io n s w h e n t im e is n o t s o p r e s s in g .

Buy or borrow a book of poems, and read in the w ay described. Your

approach should be to apply whatever seem s m ost appropriate from
all that you have learnt. You s h o u ld now be g in to m ake yo u r ow n
decisions about the way you will tackle any given material.
When making these decisions, there are certain things that should
rem ain constant, including your use of a guide, your fo cu s on the
goals for the reading, and your continuing ability to accelerate your
reading speed while maintaining and improving your comprehension.

The Speed Reading Book

EX ER C ISE

P o etry
R e a d t h e f o l l o w i n g p o e m s b y t h e a u t h o r , u s in g t h e f o r m u l a o u t lin e d e a r lie r .

A c lu e t o t h e f ir s t o n e is t h a t it r e la t e s v e r y s t r o n g ly t o t h e in f o r m a t io n in

C h a p t e r 4 . A c lu e t o t h e s e c o n d is t h a t it r e la t e s t o t h e o n g o i n g t h e m e o f

s p e e d r e a d in g : t h e e y e / b r a i n p e r c e p t u a l s y s t e m . T h e a u t h o r w o u ld

a p p r e c i a t e y o u r i n t e r p r e t a t io n s a n d c o m m e n t s .

Dumbfounded

A P ictu re is W orth a T h o u sa n d W ords.

I a m le d to u n d e rs ta n d th a t m y th re e h u n d re d m illio n
re tin a l lig h t-re c e ive rs a b s o rb
o n e th o u s a n d tw o h u n d re d m illio n p h o to n s
each
o n e five -h u n d re d th o f a s e c o n d

Five h u n d re d
reality
s n a p s h o ts o f You,
every s e c o n d

A s I gaze,
am azed.

a n d y o u a s k s o m e w h e re in th e fa r d is ta n c e :

'W hat d o y o u think?"

‘W hy d o n 't y o u ta lk to m e ? ’

Cliff and Man

The c liff-e d g e b e c k o n e d
a s k e d h im to w alk near,
d a re d h im to s ta n d o n e d g e ;

b u t h e tric k e d Her.
a p p ro a c h e d o n c a t fe e t

S p e ed a n d r a n g e re a d in g lor literatu re a n d poetry

 and buckled
his ow n length away -
s lid his b ody forward;
safely m oved his Seeing
over.
A nd she, laughing, m ade him swim,
stretched him in H er space,
dragged his m ind's laceworks
dow n to the rock-m ossed edges o f depth,
reeled him dow n H er sides a n d ledges,
yo y o ’d his Eye
a n d dow n a n d distantly
roared at him with H er sea.
He w restled with h e r offering,
w arped his tiny space;
engulfed Her.
So she flung him H er earth-bird
sea gull
who w rung his m in d
to ecstasy,
rode the funnel
o f H er deepness
feathered the winds that shoved him
still on that cliff edge
sw ept any curve
stilled any wind-rush
d ro p p e d in any air rise
erased ledge a n d edgeness for him
drew him drew him out

The engulfer
Engulfed.

N ow you have learnt how sp eed reading can help you to appreciate
literature an d poetry fully, let's try another self-test. This one will give
you further inform ation on yo ur a m a z in g brain. W h ile re a d in g it,
bring to bear all the relevant know ledge you have gained from The

The Speed Reading Book

S p e e d R eading B oo k , and d o everything you can to surpass your
p re vio u s p e rfo rm a n c e s Your c o n tin u in g s u cc e ss in all fie ld s of
speed reading depends on your personal decision to continue the
course you have begun, and on the capacity of your brain to read,
a s sim ila te , co m p re h e n d , recall, c o m m u n ic a te and create - a
capacity w hich w e know approaches the infinite!

SELF-TEST 6

Your brain - the en c h a n te d loom, by Tony Buzan

The h u m an b ra in a n d its p o ten tial
‘T h e h u m a n b ra in is a n e n c h a n te d lo o m w h e r e m illio n s o f fla s h in g s h u ttle s

w e a v e a d is s o lv in g p a tte r n , a lw a y s a m e a n in g fu l p a t te r n , t h o u g h n e v e r a n

a b id in g o n e . It is a s if t h e M ilk y W a y e n te r e d u p o n s o m e c o s m ic d a n c e .'

S ir C h a r le s S h e r rin g to n

T o c o m p a r e th e b ra in w ith a g a la x y is in f a c t a m o d e s t a n a lo g y . E v e r y in ta c t

p e r s o n o n o u r p la n e t c a r r ie s a r o u n d h is t h r e e - a n d - a - h a l f - p o u n d m a s s o f

tis s u e w ith o u t g iv in g m u c h th o u g h t to it; y e t e v e r y n o r m a l b ra in is c a p a b le o f

m a k in g m o r e p a tte r n e d in t e r c o n n e c tio n s th a n t h e r e a re a t o m s in th e u n iv e rs e .

T h e b r a in is c o m p o s e d o f a b o u t t e n b illio n n e r v e c e lls a n d e a c h o n e is
c a p a b le o f b e in g in v o lv e d in a v a s t s e r ie s o f c o m p le x c o n n e c tio n s th o u s a n d s

o f t im e s e v e r y s e c o n d . A t a m a t h e m a t ic a l le v e l a lo n e , t h e c o m p le x it y is
a s t o u n d in g . T h e r e a r e t e n b illio n n e u r o n s in t h e b r a in a n d e a c h o n e h a s a

p o te n tia l o f c o n n e c tio n s o f 1 0 2 8 . In m o r e c o m p r e h e n s ib le t e r m s , th is m e a n s

t h a t , if th e t h e o r e tic a l n u m b e r o f p o te n tia l c o n n e c tio n s in y o u r b ra in w e r e to

b e w r itte n o u t, y o u w o u ld g e t a fig u r e b e g in n in g w it h 1 , f o llo w e d b y a b o u t te n

a n d a h a lf m illio n k ilo m e tr e s o f n o u g h ts .
A ll th is is p o te n tia l, o f c o u r s e , a n d . d e s p ite t h e m a n ifo ld d e ta ile d d is c o v e r ­

ie s o f n e u r o -p h y s io lo g y , it is y o u r b r a in ’s p o te n tia l w h ic h is m o s t e x c itin g . It is

u n d is p u te d t h a t w e a ll u n d e r - u s e o u r b r a in s - if w e d o n o t a c t u a lly a b u s e

t h e m . T h is is h a r d ly s u rp ris in g . F e w o f u s w ill e v e r s e e a h u m a n b ra in . T h o s e

w h o h a v e , d o n o t d e s c r ib e it a s a p a r t ic u la r ly r e m a r k a b le s ig h t.

It is u n d e r s ta n d a b le th a t a c o n c e r t p ia n is t o r a c a r p e n te r s h o u ld v a lu e h is

h a n d s a b o v e a ll, th a t a p a in te r s h o u ld c h e r is h h is e y e s , t h a t a r u n n e r s h o u ld

b e m o s t c o n c e r n e d a b o u t h is le g s . B u t h a n d s a re a s u s e le s s w it h o u t a b ra in

a s t h e p ia n o it s e lf w it h o u t a p la y e r . T h e b r a in ’s p o t e n t ia l h a s b e e n la r g e ly

Speed an d ra n g e reading lor literature an d poetry

u n d e r e s tim a te d p r e c is e ly b e c a u s e o f its o m n ip r e s e n c e . It is in v o lv e d in a ll w e
d o , in e v e r y th in g th a t h a p p e n s to u s . a n d s o w e n o te t h a t w h ic h is d if f e r e n t in

e a c h e x p e r ie n c e , o v e r lo o k in g t h a t w it h o u t w h ic h n o th in g is p o s s ib le f o r u s .
W e h a v e b e e n to o m u c h c o n c e r n e d w it h d if f e r e n c e s r a t h e r t h a n p o te n tia l

in a n o th e r, m o r e im p o r t a n t , s e n s e . S in c e w e h a v e k n o w n t h a t s u c h t h in g s a s
b r a in s e x is te d , w e h a v e d e v o te d m o s t o f o u r e f f o r t s n o t t o im p r o v in g t h e m

b u t t o d e v is in g s y s t e m s t o d e m o n s t r a t e t h e d if f e r e n c e s b e t w e e n t h e m . T h is
a p p lie s n o t o n ly in e d u c a tio n , w h e r e p a s s o r fa il is th e u lt im a t e c r ite rio n , b u t in

e v e r y a s p e c t o f o u r liv e s . W e a re A m e r ic a n o r C h in e s e , s c h o la r o r p e a s a n t ,

a r tis t o r s c ie n tis t. T h e s e d is t in c t io n s e x is t, o f c o u r s e , a n d it w o u ld b e f o o lis h

to d is m is s t h e m c o m p le te ly . B u t th e in h e r e n t a b ilit y o f e a c h b r a in in its o w n

rig h t is im p o r ta n t to o . In e v e r y h e a d is a f o r m id a b le p o w e r h o u s e , a c o m p a c t ,

e ffic ie n t o r g a n w h o s e c a p a c it y s e e m s t o e x p a n d f u r t h e r t o w a r d s in fin ity th e

m o r e w e le a rn o f it.

J o h n R a d e r P la tt e x p r e s s e d t h is v ie w :

If th is p r o p e r ty o f c o m p le x ity c o u ld s o m e h o w b e t r a n s f o r m e d in to v is ib le

b rig h tn e s s s o th a t it w o u ld s ta n d f o r t h m o re c le a rly to o u r s e n s e s , th e b io ­

lo g ic a l w o rld w o u ld b e c o m e a w a lk in g fie ld o f lig h t c o m p a r e d to th e p h y s ic a l

w o rld . T h e s u n w ith its g re a t e ru p tio n s w o u ld f a d e to a p a le s im p lic ity c o m ­

p a re d to a ro s e b u s h , a n e a r th w o r m w o u ld b e a b e a c o n , a d o g w o u ld b e a

c ity o f lig h t, a n d h u m a n b e in g s w o u ld s ta n d o u t lik e b la z in g s u n s o f c o m ­

plexity. fla s h in g b u rs ts o f m e a n in g to e a c h o th e r t h ro u g h th e d u ll n ig h t o f th e

p h y s ic a l w o r ld b e t w e e n . W e w o u ld h u r t e a c h o t h e r ’s e y e s . L o o k a t th e

h a lo e d h e a d s o f y o u r ra re a n d c o m p le x c o m p a n io n s . Is it n o t s o ?

T h e b a s is o f th is ‘p r o p e r ty o f c o m p le x ity ’ is th e n e r v e c e ll - t h e n e u r o n . E v e n

t h o s e w h ic h a r e m i c r o s c o p ic a lly s m a ll a r e in t h e m s e lv e s r e m a r k a b ly c o m ­

p le x . N e u r o n s d iffe r f r o m m o s t o t h e r c e lls in t h a t t h e y a r e a m o r e c o m p lic a te d

s h a p e a n d h a v e m a n y b r a n c h in g p r o lo n g a t io n s w h ic h c a n c o n n e c t w it h e a c h

o th e r t o t r a n s m it n e r v e im p u ls e s . T h r o u g h o u t t h e n e r v o u s s y s t e m t h e n e u ­

r o n s v a r y t r e m e n d o u s ly in s iz e . S o m e , r u n n in g f r o m t h e t o e s o r t h e f in g e r s

in to t h e s p in a l c o r d , c a n b e a s m u c h a s a m e t r e in le n g th . O th e r s , in t h e c e r e ­

b ra l c o r t e x f o r e x a m p le , a re m o r e t h a n a t h o u s a n d t im e s s m a lle r .

E v e r y t h in g w e d o , f r o m m o v in g a m u s c le t o t h in k in g g r e a t t h o u g h t s ,

in v o lv e s in t r ic a t e n e u r o n a l f u n c t io n in g . W h a t e v e r t h e a c t iv ity , h o w e v e r , t h e

p r o c e s s is s im ila r a n d is fo u n d e d o n t h e e x c ita tio n o f t h e n e u r o n . T h e p r o c e s s

c o n s is t s o f e l e c t r o c h e m ic a l s ig n a ls b e in g p a s s e d f r o m o n e n e u ro n to

The Speed Reading Book

a n o t h e r : n o t j u s t s in g l y o r s l o w l y b u t in r a p id , m u lt ip l e w a v e s o f c o m m u n i c a ­

tio n . E a c h n e u r o n h a s a m a in b o d y w h ic h c o n ta in s s p e c ific c h e m ic a l a n d

g e n e t i c i n f o r m a t io n , a n d a n a x o n w h ic h c o n d u c t s t h e v it a l n e r v e im p u ls e s . It

w ill a ls o h a v e a v a r ia b le n u m b e r o f b r a n c h in g d e n d r ite s . T h e s e a r e th e

r e c e i v e r s o f t h e i m p u ls e s o r i n f o r m a t io n , e it h e r d ir e c t ly f r o m a s e n s e o r g a n o r,

m o r e c o m m o n l y , f r o m o t h e r n e u r o n s in t h e t a p e s t r y o f c o n n e c t i o n s .

T h e p r e c is e lo c a t io n o f t h e t r a n s m i s s i o n o f t h e i m p u ls e f r o m o n e n e u r o n

t o a n o t h e r is y o u r s y n a p s e w h e r e t h e i n f o r m a t i o n ‘ f l o w s ’ a c r o s s a m i c r o ­

s c o p i c g a p n o t u n l i k e t h e s p a r k p l u g g a p o r t h e d i s t r i b u t o r p o i n t s in t h e

in t e r n a l c o m b u s t i o n e n g in e . T h e p h y s i c s a n d c h e m i s t r y o f t h is p r o c e s s a r e

i m m e n s e l y in t r i c a t e . In t h e s y n a p s e c h e m i c a l s u b s t a n c e s a r e r e le a s e d w h ic h

e n a b le t h e e le c t r ic a l i m p u ls e s t o b e t r a n s m it t e d a n d t h e s y n a p s e h a s a t h r e s h ­

o l d w h i c h a f f e c t s h o w r e a d i l y t h e i m p u l s e is a c c e p t e d . In f a m i l i a r o r r e f le x

a c t i v i t y t h e t h r e s h o l d is l o w e r s o t h a t t h e c i r c u i t o p e r a t e s m o r e r e a d il y . A

h ig h e r t h r e s h o ld m e a n s t h a t t h e s ig n a l is m o r e d if f ic u l t t o t r a n s m it .

A n im p u ls e f r o m a s i n g l e n e u r o n c a u s e s a c t i v a t i o n in t h e s y n a p s e s it

f o r m s w i t h o t h e r s a n d e v e n t h e s i m p l e s t m e n t a l o r p h y s ic a l p r o c e s s in v o lv e s

c e r t a i n l y h u n d r e d s o f n e u r o n s r e c e i v in g a n d t r a n s m it t in g im p u ls e s in c o m p l e x

c a s c a d in g w a v e s o f c o m m u n ic a t io n a n d c o -o p e r a tio n . A h u n d r e d th o u s a n d

n e u r o n a l ‘ m e s s a g e s ' a s e c o n d is c o m m o n p l a c e .

E v e r y t h i n g w e d o a n d e x p e r i e n c e , t h e r e f o r e , in v o l v e s t h i s in t r i c a t e b i o ­

e le c tr ic a l p r o c e s s - f r o m p l a y i n g t e n n i s t o p a y i n g t h e b il ls . T h i s is n o t a s

p e r p l e x in g a s it m i g h t s e e m . W e k n o w t h a t t h e e y e s d o n o t in t h e m s e l v e s s e e :

t h e y a r e m e r e l y l e n s e s . T h e e a r s d o n o t in t h e m s e l v e s h e a r : t h e y a r e . s o t o

s p e a k , m i c r o p h o n e s . W h e n w e w a t c h a c r ic k e t m a t c h o n t e l e v i s i o n w e d o n o t

s e e t h e p la y e r s t h e m s e l v e s b u t e l e c t r o n ic r e p r e s e n t a t io n s o f t h e m o n t h e p ic ­

t u r e t u b e . W h a t is b e t w e e n t h e c a t y o u s e e in t h e f le s h a n d y o u r b r a in ’ s im a g e

o f t h e c a t is a s e r i e s o f n e u r o - p h y s i o l o g i c a l p r o c e s s e s , j u s t a s t h e r e is a

s e r ie s o f e le c tr o n ic p r o c e s s e s b e tw e e n th e a c tu a l c r ic k e t m a t c h a n d th e

im a g e y o u s e e o n t e l e v i s i o n .

O u r b r a in s a r e . a l m o s t lite r a lly , e v e r y t h in g . W e c a n g iv e m o r e t o t h e m a n d

in t u r n , a n d in a d d i t i o n , t h e y c a n g iv e t o u s . T h e b r a in is o u r s e c r e t , s ile n t

w e a p o n . If w e c a n ju s t b e g in t o u s e m o r e o f it s p o w e r , w e w ill in d e e d s e e a

lig h t t h a t w ill h u r t , b u t a s t o n i s h , o u r e y e s . T o q u o t e J o h n R a d e r P la t t a g a in :

M a n y o f o u r m o s t s e n s i t i v e s p ir i t s t o d a y s till s e e M a n a s t h e a n t ih e r o ; t h e

h e lp l e s s v i c t i m o f w e a p o n s a n d w a r s , o f g o v e r n m e n t s a n d m e c h a n i s m s

Sp e ed a n d r a n g e re a d in g for lile ra lu re a n d poetry

 a n d s o u l-d e s tr o y in g o r g a n is a tio n s a n d c o m p u t e r s - a s in d e e d h e is . B u t in

th e m id s t o f t h is m a n - m a d e a n d in h u m a n e n t r o p y , lik e a F o u r th L a w o f

M a n , t h e r e g r o w s u p e v e n in t h e la b o r a t o r ie s , a r e a lis a tio n t h a t M a n is a ls o

m y s t e r io u s a n d e lu s iv e , s e lf - d e t e r m in in g a n d p e r p e t u a l. A lig h t h o u s e o f

c o m p le x ity a n d t h e o r g a n is in g c h ild o f t h e u n iv e r s e . O n e e q u ip p e d a n d

p ro v id e d f o r t o s ta n d a n d c h o o s e a n d a c t a n d c o n tro l a n d b e .

STOP YOUR TIMER NOW!

Length of time:_______ min

N e x t, c a lc u la te y o u r re a d in g s p e e d in w o r d s p e r m in u t e ( w p m ) b y d iv id in g th e

n u m b e r o f w o r d s in th e p a s s a g e (in th is c a s e , 1 2 5 0 ) b y t h e t im e (in m in u t e s )

y o u to o k .

n u m b er of w ords
W ords per m in ute (w p m )
tim e

W h e n y o u h a v e c o m p le te d y o u r c a lc u la t io n , e n t e r th e n u m b e r in th e w p m s lo t

a t t h e e n d o f t h is p a r a g r a p h a n d a ls o e n t e r it o n y o u r p r o g r e s s g r a p h a n d

c h a rt on p ages 2 2 2 - 3 .

Words per minute:_______

S e ll- t e s t 6 : C o m p r e h e n s io n

W h o d e s c r ib e d t h e h u m a n b ra in a s a n e n c h a n te d lo o m ?

(a ) S ir C h a r le s S h e r rin g to n

(b ) P e te r R u s s e ll

(c ) J o h n R a d e r P la tt

(d ) Is a a c N e w to n

2 T h e h u m a n b ra in w e ig h s a p p r o x im a te ly :

(a ) 2161>
(b ) 21b

(c ) 3 V 2 lb

(d ) 31b

3 T h e n u m b e r o f p o te n tia l c o n n e c tio n s f o r o n e b ra in c e ll is:

(a ) 1010

(b ) 1019

(c ) 1028

The Speed Reading Book

 (d) 10
4 S in c e w e h a v e k n o w n t h a t s u c h t h in g s a s b ra in s e x is te d , w e h a v e

d e v o te d m o s t o f o u r e ffo r ts :

(a ) t o im p r o v in g t h e m

(b ) t o d e v is in g s y s t e m s t o d e m o n s t r a t e t h e d if f e r e n c e s b e t w e e n t h e m

(c ) t o d is m is s in g th e m

(d ) t o d e s tr o y in g th e m

5 W h o c o m p a r e d th e c o m p le x ity o f t h e b ra in , t r a n s fo r m e d in to v is ib le

b r ig h tn e s s , w ith th e p h y s ic a l w o r ld ?

(a ) S ir C h a r le s S h e r rin g to n

(b ) J o h n R a d e r P la tt

(c ) G a lile o

(d ) E in s te in

6 ‘T h e s u n w ith its g r e a t e r u p tio n s w o u ld f a d e to a p a le s im p lic ity

c o m p a r e d to a ______________ /

7 A n d ‘a d o g w o u ld b e a ’:

(a ) ro s e b u s h

(b ) beacon

(c ) sun

(d ) c it y o f lig h t

8 T h e b a s is o f t h e ‘p r o p e r ty o f c o m p le x ity o f t h e b r a in ’ is th e :

(a ) n e r v e c e ll o r n e u ro n

(b ) d e n d rite

(c ) axon

(d ) c o r te x

9 N e u r o n s d iffe r f r o m m o s t o th e r c e lls in t h a t t h e y a re :

(a ) s im p le r

(b ) m o r e c o m p lic a te d in s h a p e

(c ) b ig g e r

(d ) s m a lle r

10 N e u r o n s c a n re a c h :

(a ) a c e n tim e tr e

(b ) a n in c h

(c ) a fo o t

(d ) a m e tr e

Speed an d ra n g e reading Jor literature an d poetry Q O

 11 T h e p r o c e s s o f e le c tr o c h e m ic a l s ig n a ls b e in g p a s s e d f r o m o n e n e u ro n

to a n o th e r p r o g re s s e s :

(a ) s in g ly a n d s lo w ly

(b ) in ra p id , m u ltip le w a v e s o f c o m m u n ic a t io n

(c ) f a s t e r t h a n th e s p e e d o f lig h t

(d ) o n ly w h e n w e a re th in k in g

12 A n axo n:

(a ) is b ig g e r t h a n th e b ra in c e ll

(b ) is th e m a in p a r t o f th e s y n a p s e

(c ) c o n d u c ts v ita l n e r v e im p u ls e s

(d ) is a n o th e r n a m e f o r t h e b ra in c e ll

13 T h e p h y s ic s a n d c h e m is t r y o f t h e p r o c e s s e s in th e

s y n a p s e a re f u n d a m e n ta lly s im p le . True/False
14 A c o m m o n n u m b e r o f n e u ro n a l ‘m e s s a g e s ’ p e r s e c o n d is:

(a ) 100

(b ) 1000

(c ) 1 0 .0 0 0

(d ) 1 0 0 .0 0 0

15 W h o w r o te a b o u t th e F o u r th L a w o f M a n ?

(a ) E in s te in

(b ) F re u d

(c ) P la tt

(d ) S h e r rin g to n

C h e c k y o u r a n s w e r s a g a in s t t h o s e o n p a g e 2 1 7 . T h e n d iv id e y o u r s c o r e b y

1 5 a n d m u ltip ly b y 1 0 0 to c a lc u la t e y o u r p e r c e n ta g e c o m p r e h e n s io n .

Comprehension score:_______ out of 15

________per cent

N o w e n te r y o u r s c o r e o n y o u r p r o g r e s s g r a p h a n d c h a r t o n p a g e s 2 2 2 - 3 .

I B 3 The Speed Reading Book

 Assimilating
printed and
online
information
This chapter provides you with highly efficient new ways to
extract relevant information from newspapers, magazines and
computer screens, which, together, make up more than 50 per
cent of most people’s reading (in some cases, 100 per cent).
Newspapers, magazines, computer screens and PDA
displays are some of your windows on the world and, increas­
ingly, the universe. It is possible, by understanding their
nature, and some new approaches to them, to increase your
efficiency in this arena by a factor of ten.

Newspapers
N e w s p a p e rs are s o m u c h a p a rt o f o u r e ve ryd a y life th a t w e se ld o m
s to p to think that th e y are a very recent de ve lo p m e n t. Before th e tw e n ­
tieth century, the vo ice of jo urna lism w as virtually non-existent as far as
th e m a s s e s w e re c o n c e rn e d N e w s p a p e rs w ere, in th e m am , new s-
sh e ets co n ta in in g very little ana lysis o r editorial co m m e n t. There w as.
however, o n e notew orthy excep tio n , The Times, w h o se critical reports
 on the C rim ean W ar in 1855 have been c ite d a s influential in th e d o w n ­
fall o f the C abinet a n d the re o rganisation o f th e B ritish army.
T he n in e te e n th c e n tu ry s a w a s te a d y g ro w th in th e w o rld p re ss ,
s tim u la te d b y th e in tro d u c tio n o f th e F o u d rin ie r m a c h in e , w h ic h p ro ­
d u c e d p a p e r in a c o n tin u o u s s h e e t P a ra lle l to th is d e v e lo p m e n t
w a s th e u n iv e rs a l g ro w th o f c o m m u n ic a tio n n e tw o rk s a n d e d u c a ­
tio n : m o re in fo rm a tio n w a s re q u ire d m o re ra p id ly, a n d m o re p e o p le
w e re a b le to re a d . A s a re s u lt, m a n y o f th e w o rld s n e w s p a p e rs
w e re fo u n d e d b e tw e e n 1840 a n d 1900.
In th e e a rly tw e n tie th c e n tu ry, n e w s p a p e rs flo u ris h e d , b u t e ve n
now . a fte r a fa irly s h o rt e x iste n ce , m a n y a re e n te rin g m o re d iffic u lt
tim e s. R e a so n s c ite d in c lu d e th e rise o f te le v is io n w ith its m o v in g -
im a g e c o v e ra g e o f n e w s e v e n ts a n d th e s p re a d o f th e c o m p u te r
n e w s b u lle tin a n d th e Internet, w h ic h g iv e m o re im m e d ia te a n d p e r­
s o n a l c o v e ra g e o f n e w s e v e n ts . N e w s p a p e rs a re c u rre n tly fig h tin g
b a c k , in te g ra tin g th e m se lv e s w ith o n lin e v e rsio n s.
In th e W e st w e m a y w ell b e e n te rin g a tim e in w h ic h th e n e w s p a ­
p e r w ill c h a n g e its fu n c tio n , d e a lin g le ss w ith im m e d ia te n e w s a n d
m o re w ith s u m m a rie s , a n a ly se s a n d c o m m e n t

A p p r o a c h e s to r e a d i n g n e w s p a p e r s

H a ving v ie w e d n e w s p a p e rs in th e ir in te rn a tio n a l a n d h is to ric a l c o n ­

text. let us b rie fly d is c u s s h o w b e s t to re a d th e m :

1 First, it is m o s t im p o rta n t to h a ve an o rg a n is e d a p p ro a c h .
M any p e o p le s p e n d h o u rs re a d in g a n e w s p a p e r a n d c o m e
a w ay fe e lin g n o m o re e n lig h te n e d th a n w h e n th e y b e g a n

2 W h a te v e r n e w s p a p e r y o u re a d , it is a lw a ys h e lp fu l to d e c id e
b e fo re h a n d e x a ctly w h a t y o u r a im is. To a s s is t y o u in th is
d e c isio n , a lw a ys ra p id ly p re v ie w th e n e w s p a p e r b e fo re y o u re a d
it. s e le c tin g th e v a rio u s p a s s a g e s a n d a rtic le s th a t y o u w is h to
re a d m o re thoroughly.

3 M ake a note of the layout and typography. K now ing w here articles
are continued, for instance, saves a lot o f p a g e-turning an d fum bling.

4 M ost p e o p le have a te n d e n c y to b u y a n e w sp a p e r th a t su p p o rts

their general view s - in other w o rd s, they g ive th e m se lve s a little pa t
on the b a c k every m orn in g o r evening It can b e a m o s t interesting

|Q Q T he S p e ed R ea d in g Book
 exercise to bu y a different n e w sp a p e r e a ch d a y fo r a week,
c o m p a rin g and c ontrastin g th e different layouts, th e political bias,
th e a p p ro a ch o f the reporters, th e interpretation o f new s events an d
th e extent of the coverage. Try th is d u rin g the c o m in g w eek

5 N e w s p a p e r re p o rts s h o u ld b e c h e c k e d fo r a ccu ra cy. I a m su re

th a t th o s e o f y o u w h o h a ve b e e n in v o lve d in a fu n c tio n o r event
th a t w a s re p o rte d the next d a y h a v e o fte n th o u g h t 'T h a t's
n o th in g lik e w h a t h a p p e n e d a t a ll!' N e w s is w ritte n b y p e o p le
w h o are likely to b e b ia s e d o r to b e fo llo w in g a p a rtic u la r
e d ito ria l policy. T his 'm is re p o rtin g ', if w e c a n c a ll it th a t, is no t
n e c e s s a rily in te n tio n a l. E ach p e rs o n te n d s to se e a n y g iv e n
s itu a tio n in a d iffe re n t light. N e w s p a p e r re p o rte rs a re in d ivid u a ls,
a n d th e y m a y be s e e in g a g iv e n e ve n t fro m a d iffe re n t p h y sic a l
lo c a tio n . For e xa m p le , b e in g in th e m id d le o f a s ta m p e d in g
c ro w d a n d b e in g in a b u ild in g w a tc h in g th a t c ro w d s ta m p e d e
a re b o u n d to p ro d u c e d iffe re n t re p o rts.

6 A c c e p tin g th is b a s ic a n d in e v ita b le b ia s, w e m o v e o n to th e
re p o rtin g o f th e e vent itself. T h e jo u rn a lis t w ill ta k e d o w n b rie f
n o te s o f w h a t h e o r s h e w is h e s to re p o rt, w ill s p e n d tim e
tra v e llin g b a c k to th e ir co m p u te r, a n d w ill th e n re c o n s tru c t in
th e ir m in d 's e y e th e e v e n ts th a t h a v e ta k e n p la ce . O n c e a g a in ,
th e re w ill b e s lig h t a n d in e v ita b le c h a n g e s in e m p h a s is , w h ich
w ill b e e m b e llis h e d b y th e w o rd s u s e d to d e s c rib e th e situation.
O n c e th e re p o rt ha s b e e n w ritte n , it h a s to b e e d ite d , a n d th e n
re -e d ite d , b e fo re fin a lly re a c h in g th e p a g e s o f th e n e w sp a p e r. It
c a n b e se e n th a t, e ven w ith th e m o s t s in c e re o f in te n tio n s, it is
a lm o s t im p o s s ib le to g iv e a c o m p le te ly o b je c tiv e report.
N e w s p a p e rs , m a g a z in e s a n d jo u rn a ls s h o u ld th e re fo re be read
w ith a fa r m o re c ritic a l e ye th a n th e y u s u a lly are, a n d w h a t th e y
re p o rt s h o u ld b e c h e c k e d a g a in s t o th e r s o u rc e s s u ch a s ra d io ,
te le vis io n , o th e r jo u rn a ls a n d c o m p u te r ne tw o rks.

7 H a v in g a s s im ila te d s te p s 1 -6 . y o u c a n n o w ta k e y o u r re a d in g o f
n e w s p a p e rs a g ia n t le a p fo rw a rd b y fo llo w in g th e s e g u id e lin e s :

(a ) D e c id e o n y o u r m a in g o a ls in re a d in g a n e w sp a p e r, an d
e n d e a v o u r to s tic k to th e s e g o a ls a s c lo s e ly a s p o s s ib le
(b) S kim a n d s c a n a rtic le s a n d p a g e s u s in g th e te c h n iq u e s
o u tlin e d in C h a p te r 9

A ssim ilating p rin ted a n d o n lin e Inform ation

 (C) U se a g u id e th ro u g h o u t.
(d) A s yo u s k im a n d s ca n , m a rk a n y a rtic le s th a t a re o f
p a rtic u la r in te re s t to yo u
(e ) C u t o u t a n y a rtic le s th a t a re g o in g to b e o f la s tin g u s e a n d
in te re s t to you.
(f) T h ro w th e rest o f th e n e w s p a p e r o u t a s s o o n a s p o s sib le .
(g) U se a M in d M a p to re c o rd a n y m a jo r n e w in fo rm a tio n o r
a n y in fo rm a tio n th a t is b u ild in g o n a d a ily o r w e e k ly o r
a n n u a l basis.

Magazines
M a g a z in e s are like n e w s p a p e rs in m o s t re sp e c ts , a n d th e re fo re th e
a p p ro a c h e s o u tlin e d s o fa r in th is c h a p te r w ill a ls o a p p ly to th e m .
H o w e v e r, th e re a re a n u m b e r o f s ig n ific a n t d iffe re n c e s th a t a re
w o rth n o tin g :

• T he a rtic le s in m a g a z in e s te n d to b e lo n g e r th a n th e a rtic le s in
n e w sp a p e rs.

• M a g a z in e s te n d to h ave m o re illu s tra tio n s a n d m o re c o lo u r in

th o s e illu s tra tio n s c o m p a re d w ith n e w s p a p e rs

• M a g a z in e s are n o t p ro d u c e d w ith in s u c h a tig h t s c h e d u le a s

n e w s p a p e rs, a n d th e re fo re th e y te n d to b e m o re d is c u rs iv e

B e c a u s e o f th e s e d iffe re n c e s , it is u s u a lly e a s ie r to p ic k o u t a
lo g ic a l s tru ctu re in a m a g a z in e a rtic le . In d e e d , m o s t m a g a z in e jo u r­
n a lis ts a re ta u g h t th a t th e y s h o u ld ‘te ll y o u r re a d e r w h a t y o u ’re
g o in g to tell ’em , tell ’e m . a n d th e n tell 'e m y o u ’v e to ld 'e m .'
T h is m e a n s th a t m o s t m a g a z in e a rtic le s s ta rt w ith a ‘te a s e r’ o r
gra b b e r', im m ediately fo llo w e d b y a c o g e n t sta te m e n t o f th e p u rp o se
o f the article. All this is th e ‘tell 'e m w h a t y o u 're g o in g to tell 'e m '
N ext w ill fo llo w th e m a m b o d y a n d b u lk o f th e a rtic le . In a g o o d
article, th is w ill in c lu d e lo g ic a l a rg u m e n ts , illu s tra tio n s , p h o to g ra p h s
a n d o th e r e le m e n ts d ra w in g o n th e c o rtic a l s k ills to h e lp p e rs u a d e
y o u o f th e w rite r's p o in t. T h is is th e 'tell 'e m '.
T he fin a l p a rt o f th e a rtic le , its c lim a x , is w h e re th e w rite r u s e s
s o m e s o rt o f d ra m a tic o r 'p u n c h y ' e n d in g , in c o rp o ra tin g a re vie w o f
th e m am th e sis, in a n a tte m p t to ra m h o m e th e p o in t. T h is is th e tell
’e m y o u ’ve to ld 'e m ’.

The Sp e ed R ea d in g Book
 K n o w in g th is s tru c tu re w ill a llo w y o u to s c a n a ll m a g a z in e a rti­
c le s fa r m o re e ffe c tiv e ly , fo r y o u w ill k n o w p re c is e ly w h e re to lo o k
fo r th e in fo rm a tio n . S k im m in g w ill a ls o b e m u c h e a s ie r w h e n y o u d o
it w ith th is a rtic le s tru c tu re u p p e rm o s t in y o u r m in d .

H a v in g a m a g a z i n e blitz
O n e w o n d e rfu l a n d e n jo y a b le w a y o f g e ttin g th ro u g h y o u r m a g a ­
z in e s is to h a v e a m o n th ly ‘m a g a z in e b litz ’ T h is m e a n s s a v in g all
y o u r m a g a z in e s fo r o n e s p e c ia l m o n th ly o c c a s io n , in w h ic h y o u
p re p a re y o u rs e lf fo r a s u p e r m e ta -g u id e s p e e d th ro u g h e ve ry p a g e
o f every m a g a z in e y o u have c o lle c te d th a t m o n th .
It is u se fu l to s e t y o u r m e tro n o m e to a t le a st 6 0 b e a ts p e r m in u te
a n d to fo rc e y o u rs e lf to tu rn th e p a g e w ith e v e ry b e a t, w h ip p in g
y o u r m e ta -g u id e d o w n th e p a g e . T h e p u rp o s e o f th is e xe rcise is fo r
y o u to s e le c t o n ly th o s e p a g e s fro m th e m a g a z in e th a t y o u feel m a y
b e o f in te re s t to y o u You s h o u ld im m e d ia te ly rip th e s e p a g e s o u t
and c o n tin u e p r o g re s s in g th ro u g h th e m a g a z in e at your
m e tro n o m e p a c e . T he p a g e s y o u s e le c t s h o u ld in c lu d e a rtic le s o f
p a rtic u la r in te re s t, b u t th e y m a y a ls o in c lu d e p h o to g ra p h s o r
im a g e s that are p a rtic u la rly a p p e a lin g , c a rto o n s y o u e s p e c ia lly like,
a d v e rtis e m e n ts th a t m a y b e o f use. a n d s o on. Th e se y o u k e e p in a
n e a t pile, d is c a rd in g w ith a flo u ris h th e irre le va n t m a te ria l
In th e B u z a n C e n tre A d v a n c e d R e a d in g C o u rs e s , a fa s c in a tin g
s ta tis tic h a s e m e rg e d : in o v e r 9 9 p e r c e n t o f c a s e s , th e a v e ra g e
a m o u n t o f m a te ria l re ta in e d a fte r th is first re a d in g is b e tw e e n 2 per
c e n t a n d 10 p e r c e n t S o m e s tu d e n ts fe e l s o re lie v e d b y th e ir
s u d d e n re le a s e fro m th e m a s s iv e w e ig h t o f u n re a d -m a te ria l-th a t-
h a d -to -b e -c o m p le te d th a t th e y w h o o p a n d h o lle r g le e fu lly a s th e y
flin g th e ir d is c a rd e d m a g a z in e s in to th e ce n tre o f th e c la ss ro o m .
O n c e y o u h a v e s e le c te d th e re le v a n t m a te ria l, d o a s e c o n d
re a d -th ro u g h , th is tim e s o rtin g a n d c o lla tin g th e p ie c e s in to a p p ro ­
p ria te c a te g o rie s . B e c a u s e o f th e s im ila rity o f m a g a z in e s a im e d at
th e s a m e re a d e rs h ip , y o u w ill o fte n fin d th a t a n u m b e r o f a rtic le s
c o v e r s im ila r p o in ts ; y o u r re a d in g v o lu m e is th u s re d u c e d e ve n fu r­
ther. P a rtic u la rly b e a u tifu l im a g e s o r w itty c a rto o n s c a n e ith e r b e
in te rs p e rs e d in o th e r re a d in g m a te ria l to g iv e y o u d e lig h tfu l b re a ks
a s y o u study, o r th e y c a n b e file d in th e ir o w n s p e c ia l se ctio n s.

A ssim ilating printed a n d o n lin e inform ation

 Em ploying this approach usually results in less than 1 per cent
of the m agazine a c tu a lly n e e d in g to b e read - sa vin g th e o th e r
99 per cent o f effort.

Computer screens
Reading from a com puter screen or PDA display can be m a d e far
easier by adjusting two main variables the environm ent (especially
lighting) and your reading technique

Im proving your co m p u ter environm ent

1 Lighting - experim ent with different kinds of lighting You need
an even, clear, soft light, with no glare. Inappropriate lighting can
reduce your reading speed by as m uch as 50 per cent, so m ake
sure that yours is appropriate for your needs.
2 C ontrast - high contrast m akes reading easier and therefore
com prehension better and speed faster. Different people prefer
different colour com binations for print and background, so once
again experim ent to find the one m ost suitable for you. C om m on
favourites include black print on a w hite background, orange on
black, and navy-blue on white. W hatever your preference, adjust
the contrast and brightness of your screen until you achieve the
greatest possible print clarity. If the light in your office varies, vary
your screen contrast to com pensate.

Using s p e e d r e a d in g te c h n iq u e s on your
co m p u ter s c r e e n
Use a g u id e d reading te ch n iq u e - th a t is, w ith a lo n g thin g u id e ,
such as a c h o p s tic k or k n ittin g needle. This is p a rtic u la rly useful
w hen reading from a c om p u te r screen. It allow s you to read m ore
com fortably and at a greater d ista n ce fro m the screen. The te c h ­
nique is identical to reading from the page of a book.

1 You can use the guide in conjunction w ith the c o m p u te r line

pacer. Press the dow n arrow, setting it at an appropriate speed,
and let the guide cruise backw ards and forw ards as the pages
reveal them selves before you. If your posture and p oise are

T he S p e ed R e ad in g Book
 a p p ro p ria te , y o u w ill b e m o re re la xe d a n d a t e a s e th a n th e
p e rs o n w h o d o e s n o t u s e a g u id e .

2 M ake sure that every 10 o r 15 m in u te s o f c o m p u te r s p e e d reading

is p u n c tu a te d b y a visual rest in w h ich you allow yo u r eyes to
w a n d e r a ro u n d the room and. ideally, into th e m e d iu m an d long
distance. In this way. yo u elim inate sta n d a rd eye fa tig u e U sing this
te c h n iq u e w ill g e t rid o f th e eye strain so co m m o n ly experienced by
co m p u te r readers, a n d will help to elim inate a stiff neck, restricted
breathing, h unched shou ld e rs a n d low er b a ck pain

3 C h o o s e th e rig h t ty p e fa c e . T h e m o d e rn c o m p u te r h a s a n u m b e r
o f ty p e fa c e s . D o n ’t g e t s tu c k o n a 's ta n d a rd ' o n e s e le ct th e
ty p e fa c e that, at th e tim e fe e ls e a s ie st fo r y o u r e y e /b ra in sys te m
to a s sim ila te .

4 C h o o s e th e rig h t line s p a c in g . Your c o m p u te r h a s a v a rie ty o f

line s p a c e s e ttin g s. C h o o s e th e o n e th a t s u its y o u b e st. M ost
p o p u la r is s in g le -s p a c e d se ttin g , fo r th is a llo w s y o u r p e rip h e ra l
v isio n a g re a te r o p p o rtu n ity to ta k e in la rg e c h u n k s of
in fo rm a tio n p e r fixation.

E x e c u tiv e s e c re ta rie s o n a re c e n t M a n a g e m e n t C e n tre E u ro p e

c o u rs e fo r a s s is ta n ts to th e d ire c to rs o f m u ltin a tio n a l o rg a n is a tio n s
re p o rte d th a t 2 0 -6 0 p e r c e n t o f th e ir d a y w a s s p e n t re a d in g in fo r­
m a tio n d ire c tly fro m c o m p u te r s c re e n s o r fro m p rin t-o u ts . T h e y sa id
th a t, w ith th e in c re a s e in th e a m o u n t o f m a te ria l fa x e d a n d e m a ile d ,
th e s e p e rc e n ta g e s w e re s te a d ily in c re a s in g . T h e n e e d fo r s p e e d
re a d in g is th u s e ven g re a te r in th e m o d e rn o ffice
T he c o m p u te r s p e e d re a d in g a p p ro a c h e s o u tlin e d a b o v e w ill at
le a s t trip le y o u r s p e e d on th e c o m p u te r scre e n . This m e a n s th a t th e
n u m b e r o f h o u rs y o u w ill n e e d to s p e n d in fro n t o f th e s cre e n w ill b e
c o n s id e ra b ly re d u c e d , th u s fu rth e r e a s in g th e stra in o n y o u r eyes
T h e w o rld o f th e w e b a n d in te rn e t h a s a d d e d a n e w d im e n s io n
to re a d in g a n d a n e w im p o rta n c e to th e n e e d a n d n e c e s s ity o f
k n o w in g h o w to read.
R e a d in g o n th e w e b c a n b e lik e n e d to re a d in g a b o o k in w h ich
y o u h ave th e o p p o rtu n ity, o n every p a g e , to b ra n c h o u t o r w a n d e r o ff
o r ‘g o w ith th e flo w ’ in lim itle s s d ire ctio n s . T h e W o rld W id e W e b has
b e c o m e a n in d e fin ite ly larg e , s e m i-c h a o tic , c o lle c tio n o f in fo rm a tio n

A ssim ilating p rin ted a n d o n lin e lnlorm atlon

m a p ro fu s io n of texts, g ra p h ic s , im a g e s , s o u n d b ite s a n d a n im a tio n s
p o s te d b y a nyone. T his m a k e s it e sse n tia l th a t th e o n lin e rea d e r h a s
th e a b ility to d is c rim in a te b e tw e e n th e little re le va n t a n d th e v a s t irre l­
evant flo o d s o f d a ta . There is a ls o th e vital re q u ire m e n t o f s to rin g th e
in fo rm a tio n s elected.
W ith a fu ll k n o w le d g e o f h o w to re a d a n d s p e e d re a d y o u c a n
n e g o tia te th e s e 'c u rre n ts ’ o f in fo rm a tio n w ith c o n fid e n c e , e a s e , a n d
s u c c e s s . W ith o u t s u c h k n o w le d g e y o u w ill d rift in to b a c k w a te rs , o r
w o rs e in to ra p id s , o r e ve n N ia g a ra s ’ o n e ve ry p a g e .
In th is n e w re a d in g u n iv e rs e y o u m u s t b e a b le to ta k e c o n tro l;
y o u m u s t b e a b le to s e le c t th e rig h t d ire c tio n s a n d n a v ig a te th e cu r­
re n ts w h ile a v o id in g th e ra p id s a n d N ia g a ra s '.
D r C yn th ia D oss, w h o h a s b e e n w o rk in g w ith m e in th is fie ld h a s
id e n tifie d , in he r g ro u n d b re a k in g s tu d y o n h y p e rte x t re a d in g , th re e
key ty p e s o f h ypertext reader, o n ly o n e o f w h o m y o u w is h to be:

1 T h e N o v ic e R e a d e r is o n e w h o c lic k s o n a ll o r m o s t o f th e
h y p e rlin k s in th e h ype rte xt. N o v ic e o n lin e re a d e rs d o n o t s kim
th ro u g h th e text in th e h y p e rlin k a s th e y s h o u ld ; th e y re a d a lm o s t
eve ry ‘u n n e c e s s a ry ’ line in th e te x t in th e h y p e rlin k . A t th e e n d ,
th e n o v ic e o n lin e re a d e r lo s e s fo c u s o n th e re a d in g p u rp o s e s o r
leaves th e h y p e rlin k e ve n m o re c o n fu s e d o r d is o rie n ta te d T h is
is b e c a u s e the n o v ic e re a d e r is u n w ittin g ly a tte m p tin g to re a d
th e w e b in th e s a m e w a y th e y tra d itio n a lly re a d a b o o k . If th e y
a p p lie d th e s p e e d re a d in g e le m e n ts o f th is b o o k , th e y w o u ld
b e c o m e s kille d h y p e rte xt re a d e rs w h o w o u ld b e a b le to se le ct,
m a n a g e a n d c o m p re h e n d fra m e s o f p a g e s th a t c o u ld le a d to
in fo rm a tio n o v e rlo a d

2 T h e C a u tio u s R e a d e r is th e o n e w h o , a fra id o f b e in g s w a m p e d
b y th e ts u n a m is o f in fo rm a tio n , e ith e r ig n o re s all th e h y p e rlin k s
o r ju s t c lic k s o n th e h y p e rlin k o n ly w h e n he o r sh e h a s fin is h e d
re a d in g th e p a ra g ra p h , p a g e o r th e w h o le text T h e c a u tio u s
o n lin e re a d e r d o e s no t e n g a g e a c tiv e ly in re a d in g re le va n t
h yp e rte xt c o n te n t.

3 T h e S k ille d R e a d e r (th e o n e y o u a re b e c o m in g !) is th e o n e w h o
m o n ito rs his o r her c o m p re h e n s io n of. a n d g o a ls for, th e text
b e fo re d e c id in g w h e th e r o r n o t to c lic k o n th e h y p e rlin k .
If th e skille d o n lin e re a d e rs fin d th a t th e y h a ve u n d e rs to o d th e
p a ra g ra p h o r p a g e th e y w o u ld no t c lic k o n th e h y p e rlin k .

The S p e ed R ea d in g Book
 This is an e ffective s tra te g y to a v o id w a stin g tim e o r g e ttin g
d is tra c te d H ow ever, if the skille d re a d e rs e n te re d a h yp e rlin k they
w o u ld o n ly s ca n a n d skim ra p id ly fo r o n ly th e relevant in fo rm a tio n

In her w o rk w ith Tony Buzan. D r C ynthia D o ss has co n firm e d tha t the

s kille d re a d e r w ill be th e o n e w h o a p p lie s all th e m ain p rin c ip le s as
o u tlin e d in th e n e w d e fin itio n o f re a d in g (se e p a g e 18} a n d th e
o n e w h o u se s M in d M a p s a s th e u ltim a te h yp e rte xt n a vig a tio n to o l
The M in d M a p allow s you to navigate hypertext - to gather, organize,
evaluate a n d ta ke action on a va st a m o u n t o f so m e tim e s ra n d o m infor­
m a tio n , k n o w le d g e a n d id e a s - like a m a s te r g a m e -p la y e r (see The
M in d M a p B ook). M in d m a p p in g so ftw a re (see w w w .im in d m a p .c o m )
e s p e cia lly e n a b le s yo u to m o ve to p ic s a n d s u b to p ic s a ro u n d , attach
notes, links a n d d o c u m e n ts to th e m that p ro vid e m e a n in g an d context,
a n d play w h a t if w ith your ideas.
In c o n c lu s io n h y p e rte x t is n o b ig d e a l y o u s im p ly re q u ire th e
s a m e fu n d a m e n ta l, m a rv e llo u s, w o n d e rfu l p ie c e o f e q u ip m e n t (your
e y e -b ra in s ys te m ) y o u have b e e n u s in g fo r n o rm a l te x t re a d in g . The
w o rd s are th e sa m e , th e s e n te n c e s a re th e sa m e , th e p rin tin g is th e
s a m e , th e in fo rm a tio n is th e s a m e ; th e o n ly d iffe re n c e is th a t y o u r
b ra in n e e d s to ju m p fro m s cre e n ite m to s c re e n ite m a n d it n e e d s
to h ave a m a trix, a m a n a g e r o f th a t in fo rm a tio n S p e e d re a d in g w ith
th e s u p p o rt o f M in d M a p s w ill h e lp y o u m a n a g e a n d s u rf h yp e rte xt
s u c c e s s fu lly a n d ra p id ly
A t th is p o in t, y o u are a p p ro a c h in g th e ta il e n d o f th e s e lf-te s ts .
B e fo re c o m p le tin g S e lf-te s t 7, in c re a s e y o u r m o tiv a tio n , p ra c tis e
a c c e le ra tio n e x e rc is e s w ith y o u r g u id e , m a k e s u re y o u a re h o ld in g
th e b o o k a g o o d d is ta n c e fro m yo u . a n d p re vie w w ell a s e xp la in e d
in C h a p te r 12, to h e lp yo u in c re a s e y o u r s p e e d a n d c o m p re h e n s io n
e ven further. A t th is s ta g e y o u s h o u ld a ls o c o n s id e r m y s tu d y skills
te c h n iq u e s fo r s tu d y re a d in g s e t o u t in The B u z a n S tu d y S kills
H a n d b o o k a n d th e u s e o f M in d M a p s to s e a rc h y o u r m e m o ry fo r
p re v io u s k n o w le d g e o f th e to p ic (se e The M in d M a p B o o k a n d The
M e m o ry B o o k ), th u s e n s u rin g y o u h a v e a n a p p ro p ria te m in d set
B e fo re w e ta c k le th e p e n u ltim a te te s t, h e re is a ve ry b rie f re c a p o f
m y s tu d y te c h n iq u e , b ro k e n d o w n in to p re p a ra tio n a n d a p p lic a tio n
S tu d y re a d in g is an area to w h ic h all th e te c h n iq u e s c o n ta in e d in
th is b o o k c a n b e a p p lie d You c a n th e n a d d to th a t m y B O S T "
(B uzan O rg a n ic S tu d y Tech n iq u e ) s tu d y skills, w h ic h in c o rp o ra te all
th e b ra in -c o m p a tib le s k ills , in c lu d in g M in d M a p p in g , th e m e m o ry

A ssim ilating p rin ted a n d o n lin e inform ation

principles and systems, and the speed reading processes. BOST is
explained in full in The Buzan Study Skills Handbook but, very briefly,
the technique is divided into two parts, preparation and application

1 Preparation
(a) Browse - use the previewing skills taught in Chapter 12 to
gain a bird's eye view of the text.
(b) Time a n d am ount - set the time periods and the quantities
of material to be covered in these periods (Figures 15,1
and 15.2).
(c) Previous know ledge M ind M ap - using a Mind Map,
search your memory for previous knowledge on the topic,
thus ensuring that you have an appropriate mental set.
(d) Goals an d objectives - establish clearly why you are
reading the material and what you want to get out of it.

Figure 15. i Graph showing that we recall more from the beginning and end
ol a learning period. We also recall more when things are associated or
linked (A. B, C) and more when things are outstanding or unique (0).

The Speed Reading Book

 2 Application

(a ) O ve rvie w - do a second, d eeper browse, using your goals

and questions to select appropriate foundation
information.
(b) P review - having established the basic structure of the
information, begin to zoom in on the relevant parts,
focusing on beginnings and endings (Figure 15.2).
(c) Inview - fill in the bulk of the remaining information and build
up your Mind M ap. leaving difficult areas for the final stage
(d ) R eview - this is the final integration. C om plete your Mind
M a p , solve any rem aining problem s answer any
rem aining questions an d com plete all your goals

High points o f recall

toox

SS!nplanned breaks
a n taken

Rccatlcune
when no breaks
taken and
learning continues
for more thar.
two hours

0
5hours

Figure 15.2 Recall during learning, with and without breaks. A learning
period of 2 0 -5 0 minutes produces the best relationship between
understanding and recall.

Assimilating printed an d online information

 SELF-TEST 7

E m b ra ce creativity a n d w atch your profits grow!,

b y Tony Buzan
T h e b e s t w a y t o g e t a g o o d id e a is t o g e t a lo t o f id e a s !

L in u s P a u lin g

Crisis + creativ ity = opportunity

C r e d it c r u n c h , f in a n c ia l d o w n t u r n , f a llin g s a le s , r is in g p r ic e s , b u d g e t c u t s -

a re y o u c o n c e r n e d a b o u t h o w t h e s e w ill h it y o u r b o t t o m lin e ? Im a g in e if y o u

c o u ld im p r o v e th e b ra in p o w e r o f e a c h o n e o f y o u r m a n a g e r s a n d e m p lo y e e s ,

e s p e c ia lly y o u r o w n . In a m a r k e t p la c e w h e r e c o m p e t it io n is f ie r c e a n d it is s o

d if f ic u lt t o m a in ta in c o r p o r a t e f la ir a n d in d iv id u a lit y , it r e a lly is p o s s ib le to

le a rn te c h n iq u e s th a t c a n a ff e c t y o u r t u r n o v e r in a p o s it iv e w a y . B y f o c u s in g

o n le a r n in g , a n d p r a c tis in g c r e a t iv e b e h a v io u r s , y o u w ill e n e r g is e b o t h y o u r

c o r e b u s in e s s a n d th e in d iv id u a ls w it h in it.

I h a v e s p e n t m a n y y e a r s re s e a r c h in g th e w o r k in g s o f t h e b ra in a n d t r a n s ­

fo r m in g t h is k n o w le d g e in to m o d e ls t h a t c a n e m p o w e r e a c h p e r s o n t o u s e

h is /h e r in te lle c t to th e m a x im u m . T h e s e f o r m t h e c e n tr a l t r ip t y c h o f m y t r a in ­

in g s e s s io n s : M in d M a p s : M e m o r y ; a n d S p e e d R e a d in g a n d In f o r m a t io n

M a n a g e m e n t. In e s s e n c e t h e y c o n s titu te a C r e a tiv ity T o o lk it f o r t h e B ra in .

W hat is creativ ity a n d why should you work creativ ely ?

C re a tiv ity is th e d e v e lo p m e n t o f o rig in a l id e a s , im a g e s a n d s o lu t io n s b a s e d o n

e x is tin g o ld id e a s b y u s in g Im a g in a t io n a n d A s s o c ia t io n . W e s e e h e r e h o w

im p o r t a n t th e c u r r e n t k n o w le d g e b a s e is in p r o m o t in g n e w c o n c e p ts .

T h e d r iv in g f o r c e b e h in d y o u r c r e a t i v i t y is y o u r im a g in a t io n . C r e a t i v it y

in v o lv e s g o in g o n im a g in a tiv e jo u r n e y s , t a k in g p e o p le in to o rig in a l a n d p r e v i­

o u s ly u n e x p lo r e d r e a lm s . T h e s e n e w a s s o c ia t io n s g iv e r is e t o t h e n e w

r e a lis a t io n s t h a t t h e w o r ld c a lls ‘c r e a t iv e b r e a k t h r o u g h s ’ . T h u s it b e c o m e s

c le a r th a t m e m o r y is th e u s e o f im a g in a t io n a n d a s s o c ia t io n t o h o ld t h e p a s t

in its a p p r o p r ia te p la c e a n d to r e - c r e a t e th e p a s t in t h e p r e s e n t, w h e r e a s c r e ­

a tiv ity is th e u s e o f im a g in a tio n a n d a s s o c ia t io n t o p la n t t h e p re s e n t t h o u g h t in

th e fu tu r e , a n d t o r e - c r e a t e th e p r e s e n t t h o u g h t in s o m e f u tu re t im e . W o r k in g

c r e a t iv e ly p r o d u c e s m u lt ip le id e a s , w h ic h c a n t h e n b e f u lly a s s e s s e d a n d

a n a ly s e d , w ith th e v e r y b e s t o f t h e s e in n o v a t io n s b e in g p r o c e s s e d a n d tu r n e d

in to p r o d u c ts o r s e r v ic e s . T h is is w h e r e y o u r c o m p a n y c a n r e a p t h e r e w a r d s

o f s u c h c r e a tiv ity th r o u g h c r e a t iv e b e h a v io u r s , a n d t h e e n s u in g v a lu a b le in te l­

le c tu a l p r o p e r ty , w h ic h in c r e a s e s t u r n o v e r a n d p u s h e s u p p ro fits .

JJJJ The Speed Reading Book

 It is e a s y t o c a ll y o u r s e lf ‘c r e a t iv e ’ b u t a c t u a lly b e c o m in g c re a tiv e re q u ire s

t h a t y o u u n d e r s ta n d w h a t c r e a tiv ity is , a n d le a rn h o w t o d e v e lo p t h a t c r e a t iv ­

ity. D e d ic a tio n a n d e n e r g y a re t h e n n e e d e d t o e m b e d t h is n e w w a y o f th in k in g

in t o th e c u ltu r e o f y o u r b u s in e s s . It m e a n s r e a lly w o r k in g a t it a n d s h o w in g

o t h e r s h o w t o d o th e s a m e .

B e c o m in g a t r u ly c r e a tiv e o r g a n is a t io n is n o t a c h ie v e d e a s ily . It re q u ire s a

r a d ic a l p a r a d ig m s h ift in th in k in g a n d a c t io n . E v e r y b ra in in y o u r c o m p a n y is

a n in fin ite r e s o u r c e t h a t m u s t b e s tim u la te d a n d d e v e lo p e d t o m a in ta in y o u r

c o m p e titiv e e d g e in th e m a r k e t p la c e . P e o p le o fte n ta lk o f th e b ra in a s b e in g a

‘P r o b le m S o lv in g O r g a n ’ w h e n in f a c t it is a S o lu tio n s F in d in g O rg a n '.

O n c e y o u r e m p l o y e e s u n d e r s t a n d t h a t c r e a t iv it y is n o t s o m e t h in g y o u

h a v e a g o a t o n c e a w e e k f o r a n h o u r, t h e y w ill u n d e r s t a n d t h a t c r e a t iv ity is

a v a ila b le t o e v e r y o n e - a ll th e tim e .

C r e a tiv it y c a n - a n d s h o u ld - b e a p p lie d in a ll a r e a s o f y o u r b u s in e s s .

B e in g c r e a tiv e c a n b e d iffic u lt w h e n y o u a re o b lig e d to w o r k w it h in c o d e s o f

c o n d u c t a n d r u le s a n d re g u la tio n s , w h ic h s e e m to d e a d e n a ll le v e ls o f t h in k ­

in g . T h a t is p r e c is e ly w h e n y o u n e e d t o lo o k f o r f re s h p e r s p e c t iv e s . T h is c a n

f e e l d a n g e r o u s a t firs t, b u t it s o o n b e c o m e s e x c itin g a n d lib e ra tin g .

H o w c a n y o u a c h ie v e t h is ? B y a p p ly in g t e c h n i q u e s t h a t , o n c e t h e y

b e c o m e s e c o n d -n a t u r e , w ill s u p p o r t y o u in a ll y o u r e n d e a v o u r s , w h e t h e r y o u

a r e in m e e tin g s , m a n a g in g c lie n ts a n d p r o je c t s , d e v e lo p in g b u s in e s s e tc .

Mind M aps a n d creativ ity

In a Newsweek a r t ic le in 2 0 0 6 . e n t it le d ‘T h e R o a d A h e a d : H o w “ in t e llig e n t

a g e n ts " a n d M in d M a p p e r s a re ta k in g o u r in f o r m a t io n d e m o c r a c y t o th e n e x t

s t a g e ’. B ill G a t e s s ta te d h is c o n v ic tio n th a t:

‘ . . . a n e w g e n e r a tio n o f M in d M a p p in g s o f t w a r e c a n b e u s e d a s a d ig ita l

“b la n k s la t e ” t o h e lp c o n n e c t a n d s y n th e s iz e id e a s a n d d a ta - a n d u ltim a te ly

c r e a t e n e w k n o w le d g e . . . a n d m e n ta l m o d e ls t o h e lp p e o p le m in e a n d a s s e s s

th e v a lu e o f a ll th a t in fo r m a tio n . . . ’

M in d M a p p in g is th e in trin s ic M e n t a l M o d e l, w h ic h lie s a t th e h e a r t o f h is

s ta t e m e n t. W h y is a M in d M a p s u c h a p o w e r f u l c r e a t iv e t o o l? C re a tin g a M in d

M a p r e q u ir e s w h o l e - b r a i n ’ , s y n e r g e t ic t h in k in g t h a t r e f le c t s t h e e x p lo s iv e

n a t u r e o f th e n e u r o n s z a p p in g a c r o s s th e b ra in in s e a r c h o f n e w c o n n e c tio n s

d u r in g t h e p r o c e s s o f t h in k in g . It is lik e s o m e v a s t p in b a ll m a c h in e w it h

b illio n s o f s ilv e r b a lls w h iz z in g a t th e s p e e d o f lig h t f r o m f lip p e r to flip p e r.

Assimilating printed an d online iniormation

 Y o u r b ra in d o e s n o t th in k lin e a r ly o r s e q u e n tia lly lik e a c o m p u te r . It t h in k s

m u lti-la te r a lly : ra d ia n tly . W h e n y o u c r e a t e a M in d M a p t h e b r a n c h e s g r o w o u t ­

w a r d s t o f o r m a n o th e r le v e l o f s u b - b r a n c h e s e n c o u r a g in g y o u t o c r e a t e m o r e

id e a s o u t o f e a c h t h o u g h t y o u a d d t o it - ju s t a s y o u r b r a in d o e s . A ls o ,

b e c a u s e a ll th e id e a s o n th e M in d M a p a re lin k e d to e a c h o th e r, it h e lp s y o u r
b ra in to m a k e g r e a t le a p s o f u n d e r s ta n d in g a n d im a g in a t io n th r o u g h a s s o c ia ­

tio n . M in d M a p s a re th e th in k in g to o l to u n lo c k y o u r b ra in p o w e r ; t h e y re f le c t

th e in te rn a l M in d M a p s o f y o u r b ra in . If y o u h a v e lo s t s ig h t o f y o u r g o a ls , o r

th e b ig g e r p ic tu r e h a s b e c o m e b lu r r e d , d r a w a M in d M a p a n d t h e o v e r v ie w
th a t e m e r g e s w ill b rin g c la rity a n d p o te n tia l to t h e f o r e fr o n t.

Quick start: Mind M apping

S ta r t in th e c e n tr e w ith a n im a g e o f t h e t o p ic , u s in g a t le a s t 3 c o lo u r s .

U s e im a g e s , s y m b o ls , c o d e s a n d d im e n s io n th r o u g h o u t y o u r M in d M a p .

S e le c t k e y w o r d s a n d p rin t, u s in g u p p e r o r lo w e r c a s e le tte rs .
O n ly o n e w o r d o r im a g e t o s it o n its o w n lin e .

T h e lin e s m u s t b e c o n n e c te d , s ta r t in g f r o m t h e c e n tr a l im a g e . T h e c e n tr a l
lin e s a re th ic k e r, o r g a n ic a n d f lo w in g , b e c o m in g t h in n e r a s t h e y r a d ia t e o u r

f r o m t h e c e n tr e .

M a k e th e lin e s th e s a m e le n g th a s t h e w o r d o r im a g e .

U s e c o lo u r s - y o u r o w n c o d e - th r o u g h o u t t h e M in d M a p .

D e v e lo p y o u r o w n p e r s o n a l s ty le o f M in d M a p p in g .

U s e e m p h a s is a n d s h o w a s s o c ia t io n s in y o u r M in d M a p .

K e e p th e M in d M a p c le a r b y u s in g h ie ra rc h y , n u m e r ic a l o r d e r o r o u t lin e s to

e m b r a c e y o u r b ra n c h e s .

M emory a n d creativ ity

W h a t ’s m e m o r y g o t t o d o w it h it ? I h a v e d e v e l o p e d a n e w f o r m u l a t h a t

d e m o n s t r a t e s , f o r th e f ir s t t im e , t h e in t im a t e r e la t io n s h ip b e t w e e n m e m o r y

a n d c re a tiv ity , w h ic h h ith e r to h a d b e e n t h o u g h t t o b e s e p a r a t e c o g n it iv e s k ills .

T h e f o r m u la is r e v e a le d h e r e f o r t h e firs t t im e in a b u s in e s s p u b lic a tio n :

E+M =C °

C a n y o u w o r k o u t w h a t t h e s y m b o ls s ta n d f o r ?

B o th m e m o r y a n d c r e a t iv it y a r e b a s e d o n im a g in a t io n a n d a s s o c ia t io n .

T h u s , p u ttin g e ff o r t in to d e v e lo p in g y o u r m e m o r y w ill s im u lt a n e o u s ly d e v e lo p

y o u r c r e a tiv ity a n d v ic e v e r s a . T h e r e f o r e , t h e f o r m u la d e c o d e s to : e n e r g y +

a n d in to m e m o r y y ie ld s in f in it e c r e a t iv it y . W h e n e v e r y o u a r e p r a c t is in g o r

The Speed Reading Book

a p p ly in g m n e m o n ic t e c h n i q u e s , y o u a r e a t t h e s a m e t im e p r a c t is in g a n d

e n h a n c in g y o u r p o w e r s o f c re a tiv ity .

Q uick start: m em ory

U s e im a g in a tio n a n d a s s o c ia tio n p lu s th e f o llo w in g 1 2 s te p s :

Synaesthesia. T h is is a b le n d in g o f t h e s e n s e s : s ig h t; s m e ll: h e a rin g ; ta s te :

to u c h ; a n d k in a e s th e s ia (a n a w a r e n e s s o f y o u r b o d y a n d its m o v e m e n t ) .

Movement. In a n y m n e m o n ic im a g e , m o v e m e n t a d d s a h u g e r a n g e o f

p o s s ib ilitie s fo r y o u r b ra in t o lin k t o ( m a k e t h e m t h r e e -d im e n s io n a l).

Association. W h a te v e r y o u w a n t t o m e m o r is e , m a k e s u re y o u a s s o c ia t e it
w ith s o m e th in g fix e d in y o u r m e n t a l e n v iro n m e n t.

Sexuality. W e a ll h a v e a g o o d m e m o r y in t h is a r e a , s o u s e it!

Humour. M a k e y o u r im a g e s fu n n y a n d s u rre a l!
Imagination. A lb e r t E in s t e in s a id . 'I m a g in a t io n is m o r e im p o r ta n t th a n

k n o w le d g e . F o r k n o w le d g e is lim ite d , w h e r e a s im a g in a t io n e m b r a c e s th e
e n tir e w o r ld , s tim u la tin g p r o g r e s s , g iv in g b ir th to e v o lu t io n .’ T h e m o r e y o u

a p p ly y o u r im a g in a tio n t o m e m o r y , th e b e t te r y o u r m e m o r y w ill b e .

Number. N u m b e r in g a d d s s p e c i f i c it y a n d e f f i c i e n c y t o t h e p r in c ip le o f

o rd e r a n d s e q u e n c e .
Symbolism. S u b s t it u t in g a m o r e m e a n in g f u l im a g e f o r a n o r d i n a r y o r

b o rin g im a g e in c r e a s e s th e p r o b a b ility o f re c a ll.

Colour. W h e r e a p p r o p r ia t e , a n d w h e n e v e r p o s s ib le , u s e t h e f u ll ra n g e o f
t h e r a in b o w , t o m a k e y o u r id e a s m o r e ‘c o lo u r fu l’ a n d m e m o r a b le .

Order and/or Sequence. In c o m b in a t io n w it h t h e o t h e r p r in c ip le s , o r d e r

a n d /o r s e q u e n c e a llo w f o r m u c h m o r e im m e d ia t e r e f e r e n c e , a n d in c re a s e

t h e b r a in 's p o s s ib ilitie s fo r r a n d o m a c c e s s ’.

Positive images. In m o s t i n s t a n c e s , p o s it iv e a n d p le a s a n t im a g e s a re

b e tte r f o r m e m o r y p u r p o s e s , b e c a u s e t h e y m a k e th e b ra in w a n t t o re tu rn

t o t h e m . T h e b ra in m a y b lo c k u n p le a s a n t, n e g a tiv e im a g e s .

Exaggeration. In a ll y o u r im a g e s , e x a g g e ra te s iz e , s h a p e , c o lo u r a n d s o u n d .

B y p r a c tis in g re g u la r ly , y o u w ill fin d t h a t y o u r m e m o r y im p r o v e s d r a m a t ic a lly

a n d y o u w ill a ls o s e e th e c le a r lin k b e t w e e n m e m o r y a n d c re a tiv ity .

S p eed re a d in g a n d creativ ity

S o , h o w d o e s b e in g a b le t o re a d fa s t e r a d d to y o u r c re a t iv ity ? S p e e d re a d in g

d o v e ta ils in to M in d M a p p in g a n d m e m o r y in th a t, o n c e y o u h a v e a c q u ir e d th e

s k ills t o a b s o r b in fo r m a tio n m o r e q u ic k ly , y o u a r e e v e n m o r e a b le to id e n tify

Assimilating printed a n d online iniormation

t h e c r it ic a l is s u e s a n d t o m a k e c o n n e c t io n s b e t w e e n id e a s a n d c o n c e p t s .

O n c e a g a in , th is s y s t e m in v o lv e s u s in g im a g in a t io n a n d a s s o c ia t io n , w h ic h

g e n e r a te s e v e r m o r e c re a tiv ity .

S o m e p e o p le m ig h t w o r r y t h a t g r e a t e r s p e e d is g a in e d a t t h e c o s t o f fu ll

c o m p r e h e n s io n . T h is is n o t t h e c a s e . B e c a u s e o f t h e w a y y o u r e y e - b r a i n

s y s t e m w o r k s , th e a s to n is h in g f a c t is t h a t t h e f a s t e r y o u r e a d , t h e b e t te r y o u r

c o m p r e h e n s io n . T h e w h o le p r o c e s s m e a n s t h a t y o u s p e e d u p in a ll a s p e c t s

o f y o u r r e a d in g a b ility.

Q uick start: sp e ed re a d in g
R e a d in g is t h e in d iv id u a l’s t o t a l in t e r r e la t io n s h ip w it h s y m b o lic in f o r m a t io n

a n d is a p r o c e s s th a t t a k e s p la c e o n m a n y d if f e r e n t le v e ls a t t h e s a m e t im e .

T h e f o llo w in g is a n in te re s tin g e x e r c is e , w h ic h s h o w s t h a t y o u h a v e t h e in n a te

c a p a c ity to re a d u s in g y o u r p e rip h e r a l v is io n a s w e ll a s y o u r c e n tr a l v is io n . B y

th is m e a n s , y o u u s e a ll 2 6 0 m illio n o f y o u r e y e 's lig h t -r e c e iv e r s t o c o m m u n i­

c a te w ith a n d illu m in a te y o u r b ra in . N o w , s e le c t a p a g e o f t e x t a n d p la c e y o u r

fin g e r u n d e r a w o r d in th e c e n tr e o f t h e p a g e . K e e p y o u r e y e s f o c u s e d o n th is

w o r d a n d , w ith o u t m o v in g th e m :

S e e h o w m a n y w o r d s y o u c a n o b s e r v e t o e it h e r s id e o f t h e c e n tr a l w o r d .

S e e h o w m a n y w o r d s y o u c a n m a k e o u t c le a r ly a b o v e a n d b e lo w t h e

w o r d y o u a r e p o in tin g a t.

S e e if y o u c a n te ll w h e t h e r t h e r e is a n u m b e r a t t h e t o p o r t h e b o t t o m o f

th e p a g e a n d , if s o . w h a t t h a t n u m b e r is .

S e e w h e th e r y o u c a n c o u n t th e n u m b e r o f p a ra g ra p h s o n th e p a g e .

S e e w h e th e r y o u c a n c o u n t th e n u m b e r o f p a ra g ra p h s o n th e o p p o s ite p a g e .

C a n y o u s e e a d ia g r a m o n e it h e r o f th e p a g e s ?

If th e re is a d ia g r a m , c a n y o u d e t e r m in e c le a r ly o r r o u g h ly w h a t it is illu s ­
tr a tin g ?

B y le a r n in g t h e s p e e d r e a d in g t e c h n iq u e s , y o u w ill b e a b le t o h a r n e s s t h is

p e n p h e r a l v is io n a n d r e a d w it h y o u r b ra in a n d n o t ju s t y o u r e y e s .

E v e r y b u s in e s s n e e d s to w o r k c r e a t iv e ly , a n d it is t h is c r e a t iv e e d g e t h a t

w ill d e liv e r in n o v a tiv e id e a s , p r o d u c t s a n d c o n c e p t s t h a t g iv e y o u t h e u p p e r

h a n d . I h o p e m y q u i c k - s t a r t in t r o d u c tio n s h a v e g iv e n y o u p r a c t ic a l in s ig h t s

in to h o w th is c a n b e a c h ie v e d .

The Speed Reading Book

 STOP YOUR TIMER NOW!

Length of time:_______ min

N e x t, c a lc u la te y o u r re a d in g s p e e d in w o r d s p e r m in u te ( w p m ) b y d iv id in g th e

n u m b e r o f w o r d s in th e p a s s a g e (in t h is c a s e . 1 8 2 5 ) b y th e t im e (in m in u t e s )
y o u to o k .

W o rd s p e r m in u te (w p m ) = n u m -b e f o t w o r d s
t im e

W h e n y o u h a v e c o m p le te d y o u r c a lc u la t io n , e n te r t h e n u m b e r in t h e w p m s lo t

a t t h e e n d o f t h is p a r a g r a p h a n d a ls o e n t e r it o n y o u r p r o g r e s s g r a p h a n d

c h a rt on pag es 2 2 2 -3 .

Words per minute:

Self-test 7: C o m preh en sion

1 M in d M a p s , m e m o r y , s p e e d re a d in g a n d in f o r m a t io n m a n a g e m e n t m a k e

u p w h a t?

(a ) Im a g in a tio n T o o lk it f o r t h e B ra in

(b ) C r e a tiv ity T o o lk it f o r t h e B ra in

(c ) S tu d y S k ills T o o lk it f o r t h e B ra in

(d ) M n e m o n ic T o o lk it f o r th e B ra in

2 W h o w ro te The Road Ahead ?

(a ) S te v e J o b s

(b ) M . S c o tt P e c k

(c ) B ill G a te s

(d ) C a rl S a g a n

3 A c c o r d in g t o th e Newsweek a r t ic le , w h a t d o e s c r e a tin g a M in d M a p

e n ta il?
(a ) L e f t- b r a in th in k in g

(b ) W h o le - b r a in th in k in g

(c ) R ig h t-b r a in th in k in g

(d ) F u ll m in d s e t th in k in g

Assimilating printed an d online information

4 In th e s a m e a rtic le , c re a tin g a M in d M a p is like p la y in g :

(a ) T a b le te n n is
(b ) A p in b a ll m a c h in e
(c ) S c ra b b le
(d ) Chess

5 W h a t is T o n y B u z a n s n e w c re a tiv ity fo r m u la ?
(a )E -M C 2
(b) E+M =C °
(c ) M = E + C °
(d ) ' / z M = 2 .5 E + M

6 K in a e s th e s ia is a b le n d in g o f th e s e n s e s : s ig h t, s m e ll.
h e a rin g , ta s te a n d to u c h . True/False

7 H o w m a n y s te p s d o e s T o n y B u z a n r e c o m m e n d f o r h a rn e s s in g
im a g in a tio n a n d a s s o c ia tio n ?
(a ) 15
(b ) 10

(c) 12
«0 7
8 T h o m a s E d is o n s a id , Im a g in a tio n is m o re im p o r ta n t

th a n k n o w le d g e ’. True/False

9 Y o u r e y e h a s h o w m a n y lig h t-r e c e iv e rs ?
(a ) 5 2 0 m illio n
(b ) 2 6 0 m illio n
(c ) 1 5 0 m illio n
(d ) 1 0 0 0 m illio n

10 W h a t g e n e ra te s m o re c r e a t iv it y ? ______________a n d _______________

C h e c k y o u r a n s w e r s a g a in s t th o s e o n p a g e 2 1 7 . T h e n d iv id e y o u r s c o r e b y
1 0 a n d m u ltip ly b y 1 0 0 to c a lc u la te y o u r p e rc e n ta g e c o m p r e h e n s io n .

Comprehension score:_______ out of 10

_______ per cent

N o w e n te r y o u r s c o re o n y o u r p ro g re s s g ra p h a n d c h a r t o n p a g e s 2 2 2 - 3 .

The Speed Reading Book

Conclusion:
sp eed in g into
the future
Congratulations' You're near the end of the first stage in mastering
the art of sp eed reading - the com pletion of this book. The next
stages will include your subsequent reviews of the book, your con­
tinuing practice of the new skills you have discovered and your
delving into Mind M aps and other mnemonic devices
You now possess all the basic knowledge about your eyes, your
brain, about range and sp eed reading techniques, and how to
m asterm ind your vocabulary. You are therefore fully arm ed to
recognise, assimilate, com prehend and understand what you read,
m aking appropriate connections, analysing, criticising, appreciat­
ing, selecting and rejecting. You are also fully primed to retain and
recall information and finally to express and communicate the word
as you see fit.
Your continuing success in all fields of speed reading depends
on your personal decision to keep exploring the vast capacity of
your brain to read, assim ilate, com prehend, recall, com m unicate
and create - an infinite capacity. G ood luck!
Appendix 1:
Self-test answers
The following pages provide the answers to the series of progres­
sive tests and visual gulp exercises, and your self-completion
graph and chart to monitor your speed reading speeds and
progress. You will also find a helpful list of mind sport' websites,
including a speed reading site if you wish to take your new-found
skill further into the competitive level.

Self-test 1 Self-test 2
1 False 1 (c)
2 (c) 2 (b)

3 (b) 3 True

4 True 4 (b)

5 (d) 5 (c)
6 (a) 6 (a)

7 (b) 7 (b)

8 (b) 8 (c)
9 (c) 9 True

10 (a) 10 (C)

11 True
11 (c)
12 (b)
12 (c)
13 False 13 (b)

14 False
14 (a)

15 (d)

Sell-test answers
 Self-test 3 8 (c)

9 (d)
1 (a)
10 (d)
2 False
11 (a)
3 (b)
12 (c)
4 (c)
13 (b)
5 (d)
14 False
6 Pod
15 Human
7 (C)

8 (C)

9 (b) Self-test 5
10 (d) 1 (b)
11 False 2 (b)
12 (b) 3 (c)
13 (c) 4 (c)
14 False 5 (C)
15 (c) 6 (b)

7 (b)

Sell-test 4 8 True

1 (b) 9 (d)

2 (c) 10 The m other’s voice

3 False 11 (c)

4 (d) 12 False

5 (a) 13 (d)

6 (c) 14 (a)

7 True 15 (C)

Q d T h e S peed R e a d in g Book
Self-test 6 Sell-test 7
1 (a) 1 (b)

2 (c) 2 (c)
3 (c) 3 (b)

4 (b) 4 (b)

5 (b) 5 (b)

6 R ose bush 6 True

7 (d) 7 (c)
8 (a) 8 False

9 (b) 9 (b)

10 (d) 10 Im agination and

association
11 (b)

12 (c)

13 False

14 (d)

15 (c)

S ell-test a n s w e rs
Appendix 2:
vocabulary
exercise answers

3SpeedReadingBook
 6 (C) E xercise 2 (b)
7 (n)
1 (0 )

8 (d) 2 (h )
9 (I)
3 (a)
10 (m )
4 (b )

11 (g) 5 (m)
12 (j)

O)
(n)
13 (!) 7 (e)
14 (i)
00

(d )

15 (e)
9 (j)
10 (!)
Exercise 2 (a) 11 (g )

1 (f) 12 (k )

2 (I) 13 (0

3 (k) 14 (0

4 (i) 15 (c)

5 (e)

6 (h) Exercise 2 (c)

7 (d)
1 (O)
8 (n) 2 (f)
9 (m) 3 (C)
10 (a) 4 (n)
11 (J) 5 (m)
12 (b) 6 (0
1 3 (9) 7 (k)
14 (c) 8 (a)
15 (o)
Vocabulary exercise
 9 Q) E xercise 3 (b)
10 (I) 1 (d)
11 (b) 1 (a)
12 (e) 3 (k)
13 (g) 4 (h)
1 4 (d) 5 0)
15 (h) 6 (I)
7 (n)
Exercise 3 (a) 00
(m)

1 (h) 9 (o)

2 (d) 10 (b)

3 (b) 11 (g)

4 (I) 12 (f)

5 (e) 13 (c)

6 (n) 14 (e)

7 (a) 15 (0

8 (D
9 (m) Exercise 3 (c)
10 (o)
1 (e)
11 (g) 2 (k)
12 (•)
3 (d)
13 (c) 4 (I)
14 (k)
5 (a)
15 »
6 (o)

7 (i)

T he S peed R e a d in g Book
 8 (n) 12 (b)
9 (m) 13 (c)
10 (i> 14 <0

11 (9) 15 (h)

Vocabulary exercise
 Appendix 3:
Progress graph

ongoing self tests

E 3 The Speed Reading Book

 Progress chart

1 / /
/
/ //
/

5-

10

(b) Progress chart: ideally, use one colour lor your speed reading
and another colour for your comprehension

Self-test answers
A ppendix 4:
Tony Buzan's
Festival of
the Mind
online resources
The World Speed Reading Council was
The World| l
Speed W L established to prom ote, train and
Readings recognise achievem ents in the field of
C o u n c il«
speed reading w orldw ide. A part from
developing the ability to gam an under­
standing of large quantities of text in a short time, speed reading is
one of the five learning mind sports that can be practised com peti­
tively. Their website is w w w .w orldspeedreadingcouncil.com

The Festival of the Mind is a showcase event for the five

learning mind sports of memory, speed reading, IQ. cre­
ativity and Mind Mapping
To aid you in your search for relevant speed
internattdrw
reading, memory, mind sports and other brain training
stim uli, here are the current w ebsites associated with Tony Buzan
and his Festival o f the Mind - with explanatory reference.

The first Festival of the Mind was held in

Mndfcxrtof the Royal A lbert Hall in 1995 and was
mory organised by Tony Buzan and Raymond
Keene OBE. Since then, the festival has
been held in the UK. alongside the World Mem ory Championships
in O xford, a n d in o th e r c o u n trie s a ro u n d th e w o rld , in c lu d in g
M alaysia. C hina and B ahrain P ub lic in te re st in th e five le a rn in g
mind sports is grow ing w orldw ide, so. not surprisingly, th e festival is
a big attraction. An event d e vo te d solely to M ind M aps w ith Tony
Buzan filled the Albert Hall again in 2006.
Each o f the m ind sports has its ow n council to prom ote, a d m in ­
ister and recognise achievem ent in its field

The W orld M em ory C ham pionships is the

pre-em inent national and international
CHAMPIONS***
m em ory com petition, w here records are
continuously smashed. In the 2007 UK M em ory C ham pionships. Ben
Pridmore mem orised a single shuffled deck of playing cards in 26 28
seconds, beating the previous w orld record of 31.16 seconds set by
Andi Bell. (For years, memorising a pack of cards in under 30 seconds
had been seen as the mem ory equivalent of beating the four-m inute
mile in athletics.) Full details of the World Memory C ham pionships can
be found on the website w w w .w orldm em orycham pionships.com . Its
interactive Mind Map w as designed by M ind M ap W orld C ham pion
Phil Chambers using Buzan’s iMind Map

S ince it w as fo u n d e d in 1991. th e W orld

M em ory C h a m p io n sh ip s has cre a te d a
g o ld sta n d a rd for m e m o ry b a se d on ten
different m em ory disciplines A sim plified
version o f these has now been created s p e cific a lly fo r s ch o o ls
m em ory competitions, backed up with a training program m e to help
teachers to tram mem ory techniques.
In a nationw ide educational partnership, co n sistin g o f the UK
Memory Sports Council, Inspire Education and national governm ent
initiative Aimhigher. students are taught powerful m em ory techniques
that when put into practice can provide the intellectual platform for
recalling alm ost anything, instantly. These tech n iq u e s are being
passed on to teachers and pupils at secondary schools throughout
the UK by means of the UK Schools Memory Cham pionships.
O rganised by Inspire Education and spearheaded by eight times
W orld M em ory C ham pion D om inic O 'Brien and C hief A rbiter o f the
W orld M em ory C ham pionships Phil C ham bers the UK S chools

The Speed Reading Book

M em ory C om petition has been created to help pupils discover the
m ind sport of m em ory and to develop their mental skills to help their
studies We are in the process of creating a model in the UK that can
be repeated around the world with the goal of eventually establishing
the World Schools Memory Championships soon after 2010. For more
information, log on to w w w .schoolsm em orycham pionships.com .

, W elcom e to Tony Buzan's world. Tony

D uzan Buzan is the inventor of Mind M aps - the
m ost powerful thinking tool of our times.
D iscover m ore about Tony and the transform ative pow ers of Mind
M apping. M em ory and S peed R eading at w w w .b uza n w o rld.co m .

The W orldw ideB rain C lub, set up by the

Buzan O rganisation, encourages the for­
m ation o f brain clu b s w o rld w id e These
have flourished for m any years and bring
together M ind M apping, creativity. IQ. speed reading and memory.
Practising each of these disciplines positively im pacts on the others.
U sing M ind M aps, for exam ple, helps w ith creativity, as it presents
ideas in a b rain-friendly w ay th a t inspires new ideas W orking on
m em ory techniques m akes the brain m ore ca p a b le in every other
area, in the sam e way that working out in a gym builds muscles
Brain C lubs, w hether set u p in a school or college, or within an
organisation o r com pany, create a su p p o rtive environm ent w here
all their m em bers share the sam e objective - to give their personal
n e c k-to p c o m p u te r th e b est o p e ra tin g syste m p o s sib le Buzan
C entres W orldw ide provide qualified trainers in all of these areas.
See w w w .buzanw orld.com and w w w .w o rld b ra in clu b .co m

The Brain Trust is a registered charity

BrainTrust found e d in 1990 by Tony Buzan w ith one
Charity
objective to m axim ise the ability o f each
and every individual to unlock and deploy
the vast capacity of his or her brain Its charter includes prom oting
research into the study of thought processes and the investigation of
the m echanics of thinking, m anifested in learning, understanding,
com m unication, problem -solving, creativity and decision-m aking In
2008 Professor Baroness Susan G reenfield w on its Brain o f the
Century award Visit w w w .braintrust.org.uk

Tony Buzans Festival of the Mind online resources

 The International Academ y of Mental World
R ecords at www.mentalworldrecords
.com exists to re co g n is e th e a c h ie v e ­
m e n ts of m e n ta l a th le te s a ro u n d th e
w orld In addition to arbiting w orld record
a tte m p ts a n d a w a rd in g c e rtific a te s o f
achievem ent, the A ca d e m y is a ls o lin ke d to th e In te rn a tio n a l
Festival of the Mind, w hich show cases m ental achievem ents in the
five learning m ind sports of memory, speed reading, creativity. Mind
M apping and IQ.

TheWorld
C re a tivity is d e fin e d b y Torrance, th e
C r e a t iv it y * doyen o f creativity testing, as follows:
C ou ncil
C reativity is a p ro ce s s o f b e c o m in g
sensitive to p roblem s, d e ficie n cie s, g a p s in k n o w le d g e ,
m issing elem ents, disharm onies a n d so o n ; id e n tify in g the
d ifficulty; se a rch in g fo r s o lu tio n s; m a kin g g u e sse s o r
form ulating hypotheses a b o u t the d e ficie n c ie s ; te stin g a n d
re-testing these hypotheses a n d p o s s ib ly m o d ifyin g a n d
retesting them ; a n d finally co m m u n ic a tin g th e results.

C reativity is one of the five le a rning m in d s p o rts a lo n g w ith M ind

M apping, speed reading. IQ and m em ory
All o f these skills p o sitive ly im p a ct on th e o thers a n d to g e th e r
they can help any individual to be m ore effective in w hatever they
c h o o se to d o All five lea rn in g m in d s p o rts a re fe a tu re d in th e
Festival of the M ind. Visit www.worldcreativitycouncil.com.

In te llig e n c e q u o tie n t (IQ) is o n e o f th e five le a rn in g

m ind sports, w hich include M ind M apping, creativity,
speed reading and memory. The w ebsite o f th e W orld
IQ C ouncil can be found at www.worldiqcouncil.com.
You can test your IQ on this site.

o r ld The W orld M em ory S ports C o u n cil is the

M E M O R Y independent governing b o d y o f the m ind
SPORTS
council s p o rt o f m e m o ry a n d re g u la te s
c o m p e titio n s w o rld w id e . Tony B uzan is

The Speed Reading Book

th e p re sid e n t o f th e C oun cil. You can visit the w e b site at
www.worldmemorysportscouncil.com.

M ind M apping is a thought organisation

te c h n iq u e ' in ve n te d b y th e international
The World
MrcjfcpaiC au th o r a n d exp e rt on th e brain Tony
Council
Buzan in 1971 The W orld M ind M apping
C o u n cil a d m in is te rs a n d p ro m o te s the
sport and also aw ards the prestigious title o f Mind M apping W orld
C ham pion The current reigning w orld cham pion is Phil Chambers.
Visit the w ebsite at www.worldmindmappingcouncil.com

Tony Buzan's Festival of the Mind online resources

 Index
P ag e n u m b e rs in ita lic s d e n o te s a d ia g ra rc v ta b le

a c a d e m ic b o o k s 147 b ra in
A d a m . S ea n 6 a d ju s ta b le n a tu re o f 12 4 ,1 2 4
A D D S /A D H D 1 4 2 -4 a n d c re a tiv ity 2 0 7 -8
a g e in g d e v e lo p m e n t o f b a b y 1 2 7 -3 0
a n d m e n ta l a b ilitie s 2 7 -8 d o lp h in ’s 71
A im h ig h e r initia tive 2 2 6 left a n d rig h t c o rte x 24
a le rtn e s s 6 0 n e u ro n a l fu n c tio n in g 190-1
A le xe y e n ko . E u g e n ia 8 6 -7 o c c ip ita l lo b e 36
A m e ric a n P sy ch ia tric p o te n tia l o f h u m a n 1 8 9 -9 2
A s s o c ia tio n 143 w o rk s b e tte r at s p e e d 4 0 -1
a n im a l in te llig e n c e 6 8 -7 2 b ra in c e lls 2 7 - 8
A n o k h in . P yo tr K 27 B ra in o f th e C e n tu ry a w a rd 2 2 7
A re c ib o te le s c o p e 116. 117 B ra in C lu b s 6, 22 7
A sim o v, Isa a c 134 b ra in re a d in g 80, 8 2 -4
a s s im ila tio n 18. 2 0 b ra in s p u rts 127. 129
a s s o c ia tio n 2 0 8 .2 0 9 ,2 1 0 B ra in Trust 22 7
a tm o s p h e re , in lite ra tu re 183 B u z a n C e n tre A d v a n c e d
A tte n tio n D e fic it D iso rd e r R e a d in g C o u rs e s 199
s e e A D D S /A D H D B uza n C e n tre s W o rld w id e 22 7
B uza n O rg a n ic S tu d y T e chnique
b a b y b ra in 1 2 7 -3 0 (BO S T) 2 0 3 -4
b a c k -s k ip p in g 3 8 - 4 0 .4 1 . 139 B uza n O rg a n iz a tio n 2 27
b a c k w a rd ' re a d in g s e e reve rse B u za n S tu d y S kills H a n d b o o k,
s w e e p te c h n iq u e The 203. 2 04
B a n to n S m ith , D r N ila 9 2 - 3 B uzan. Tony 49. 51. 52,
B ell A n d i 226 1 1 5 -1 9 . 152, 1 8 9 .2 0 3 .
B O S T (B uzan O rg a n ic S tu d y 206. 2 2 5 , 2 2 7 . 2 2 8 -9
T e ch n iq u e ) 2 0 3 -4 ‘C liff a n d M a n ' 1 8 7 -8
B ow er. Tom 128 D u m b fo u n d e d ’ 187
cards, m em orising a pack of po o r organisation 148
50, 226 vocabulary difficulties 146
Carter. Jim m y 5 harnessing your 1 49-50
Cautious Reader 202 conditions, speed reading see
central eye perception 82, 83. speed reading conditions
210 conversational vocabulary 159.
central focus 79 160
chairs 5 8 -9 C ooke, Ed 49-51
Chambers. Phil 49. 51.226 . 229 Corke, M ithym na 6
character developm ent, in cortex, left and right 24
literature 183 C raw ford. M ichael 7 0 -2
Clarke Arthur C. 118 creativity 2 0 6 -1 0
clear focus vision 37. 79. 83 benefits of 206
C occoni, G iuseppe 117 defined by Torrance 228
com m unication 18, 20 and im agination 206. 208.
com prehension 18. 20. 37 209, 210
im provem ent in the faster you m eaning of 206
read 40-1 and m em ory 2 0 8 -9
im proving your 145-50 and M ind M aps 2 0 7 -8 227
com prehension curve 33 and speed reading 2 0 9 -1 0
com puter screens, reading from Cullers. Kent 118
2 00-5
im proving your environm ent day-dream ing 149
200 descriptive paragraphs 9 9 -1 0 0
and Mind M apping 203 d e sk height 59
types of hypertext reader D iam ond. Dr M arion 2 7 -8
202 -3 Dickens. Charles
using speed reading A Tale o f Two Cities 184
techniques 2 00-3 Digital C om puters 25
concentration 145-50 d o lp h in s 7 0 -2
causes o f poor 146-9 Doss. Dr C ynthia 2 0 2 -3
conceptual difficulty of dou b le line sweep technique
m aterial 147 104. 105
inappropriate reading dou b le m argins technique
speed 147 106-7. 109. 110
incorrect m ind set 147 Drake. Frank 116
lack o f interest 148 D ynam ic R eading Institute 84
lack o f m otivation 148-9 dyslexia 139-42. 140

Index
e d u c a tio n a l level Festival o f th e M in d 2 2 5 - 6 .2 2 8
re la tio n o f re a d in g s p e e d s to fin g e r-p o in tin g 6 3 - 4 .1 3 8
3 1 - 2 .3 2 fixa tio n (s ) 3 8 - 9 .1 0 6
E in ste in . A lb e rt 209 in c re a s e s p e e d p e r 41
e n e rg y flo w 6 0 ta k in g in m o re w o rd s p e r
e n v iro n m e n t 3 9 -4 0 . 41
im p ro v in g y o u r c o m p u te r 2 0 0 fla s h -c a rd tra in in g 4
s tu d y 6 1 .6 2 F le m in g . Ian 183
e x e rc is e s Ford. J o h n 68, 6 9 -7 0
g u id e d re a d in g te c h n iq u e s Forsyte S aga. The 182
1 1 1 -1 5 Frantz. R o b e rt 128
h ig h s p e e d p ra c tis e 1 2 5 -7
m e a s u rin g y o u r h o rizo n ta l G a te s, Bill 20 7
a n d v e rtic a l v is io n 7 8 -9 G e lb M ic h a e l J. 6
p h y s ic a l g u id e s 6 5 -6 G re e n fie ld . P ro fe ss o r B a ro n e s s
p o e try 1 8 7 -9 S u sa n 2 2 7
s c a n n in g 9 3 - 6 g u id e d re a d in g te c h n iq u e s
s e e in g w ith y o u r m in d 's eye 1 0 2 -3 3
80. 82 a n d c o m p u te r scre e n s 2 0 0 -1
v is u a l g u lp 4 1 -8 d o u b le lin e s w e e p 10 4 ,1 0 4
v o c a b u la ry 1 6 5 -8 . 1 7 1 -4 .
d o u b le m a rg in s 1 0 6 -7 . 109.
1 7 7 -9
110
S ee a ls o se lf-te s ts
e x e rc is e s 1 1 1 -1 5
e x p la n a to ry p a ra g ra p h s 9 9
lazy S ’ 106. 109,1 1 0
e x tra -in te g ra tio n 18
lo o p 1 0 6 .1 0 7 . 108
e x tra -te rre s tria l in te llig e n c e
re ve rse s w e e p 1 0 5 .1 0 6
1 1 5 -1 9
‘S ’ 1 0 6 .1 0 7 . 108
e y e fa tig u e 201
tip s fo r p ra c tis in g 122
e y e s 3 5 -5 5 , 79
v a ria b le s w e e p 104 705, 106
a t th e b a c k o f y o u r h e a d 36
c o o rd in a tio n 6 0 v e rtic a l w a ve 106. 109. 110
d is ta n c e o f fro m re a d in g z ig -z a g 1 0 6 .1 0 7 . 708
m a te ria l 5 9 .6 0 . 83 g u id e s , p h y s ic a l 6 3 - 7 5 ,8 2
fix a tin g w ith o u t b a c k -s k ip p in g b e s t w a y to u s e 6 6 -7
3 9 -4 0 e xe rcise 6 5 -6
g u id in g th e 6 3 -7 5 fin g e r-p o in tin g 6 3 -4 . 138
m o v e m e n ts o f w h e n re a d in g m o v in g o f 6 7 -8 . 67
3 6 - 9 ,3 8 o b je c ts u s e d 6 3 . 67
v a ria tio n in p u p il s iz e 3 5 - 6 G u n n a rs o n . K jetill 6

Index
H a rtm a n n . T hom J a m e s . H e n ry 183
A tte n tio n D e fic it D is o rd e r 144 J e ffe rs o n , P re s id e n t T h o m a s
h e a lth p ro b le m s 62 1 2 3 .1 4 5 -6
H e m e lryk, S im o n 4 9 -5 3 J o h n s o n . M a rk 128
H e m ingw ay. E rnest 185 Jones. A nne 6
h ig h s p e e d p ra c tis e ex e rc is e J u le sz . P ro fe s s o r B ela 8 2
1 2 5 -7
h o rizo n ta l v isio n 104 K ee n e . R a ym o n d 2 2 5
e x e rc is e s to d e v e lo p 1 1 1 -1 5 K ennedy. P re s id e n t J o h n F 5.
m e a s u rin g 7 8 -9 7 9 .8 5
h y p e ra c tiv ity 1 4 2 -4 K e rm o d e . K a tie 51
h yp e rte xt re a d e rs 2 0 2 -3 k n e e lin g c h a irs 5 8 -9

IBM Training C e n tre (S to ck h o lm ) la n g u a g e , in lite ra tu re 185

26 L a w re n c e . D.H
im agery, in literature 184 The F o x 184
im a g in a tio n lazy S ’ te c h n iq u e 106. 109,1 1 0
a n d cre a tivity 206. 2 0 8 . 209, le a rn in g , m e m o ry lo s s a fte r 2 7
210 Lees. P ro fe s s o r C L o w e ll 84
Innes. H a m m o n d 183 lig h tin g
In s p ire E d u c a tio n 2 2 6 re a d in g c o m p u te r scre e n s 200
in te llig e n c e s p e e d re a d in g c o n d itio n s
a n im a l 6 8 -7 2 5 7 - 8 .5 8
e xtra -te rre stria l 1 1 5 -1 9 Lily, J o h n 71
in te llig e n c e w a r 2 2 -4 lin k in g p a ra g ra p h s 100
interest lite ra c y 2
p o o r c o n c e n tra tio n a n d la c k lite ra tu re, re a d in g o f 1 8 1 -6
o f 148 c h a ra c te r d e v e lo p m e n t 183
in ternal inte rfe re n ce , a v o id in g im a g e ry 184
6 1 -2 m o o d a n d a tm o s p h e re 183
In te rn a tio n a l A c a d e m y o f M ental p h ilo s o p h y 1 8 2 -3
W o rld R e co rd s 2 2 8 p lo t 182
In te rn a tio n a l Festival o f th e M in d s e ttin g 184
2 2 5 -6 . 228 s ta n d p o in t 183
in te rru p tio n s 6 1 - 2 s y m b o lis m 1 8 4 -5
in tra -in te g ra tio n 18 th e m e 182
IQ (in te llig e n ce q u o tie n t) 2 2 8 u s e o f la n g u a g e 185

Index
lo o k -s a y m e th o d 2 re a d in g c o m p u te r s cre e n s
lo o p te c h n iq u e 107, 108 203
s o ftw a re 20 3
M a c h a d o , D r L u is A lb e rto 2 3 m in d s e t 1 4 7 ,2 0 3
m a g a z in e s 1 9 8 -2 0 0 M m inger. D r 160
M a g ic E ye illu s tra tio n 8 0 81 m n e m o n ic te c h n iq u e s 26
M a g ic Eye s e rie s 82 m o o d , in lite ra tu re 183
M a g lia b e c h i. A n to n io d e M a rc o M o rriso n . P hilip 117
79. 82, 8 5 - 6 m o tiv a tio n 32
M a n p o w e r S ervice s p o o r c o n c e n tra tio n a n d la c k
C o m m is s io n 23 o f 1 4 8 -9
m a te ria ls M u ld o o n . C o n o r 52
a n d s p e e d re a d in g c o n d itio n s m u ltip le re a d 147
58, 148 m u s ic , re a d in g 104
m e d ia , s p e e d re a d in g th e 100
s e e a ls o m a g a z in e s , N a b is c o 25
n e w s p a p e rs N a b o ko v. V la d im ir 185
m e m o ry 18 L o lita 183
a n d c re a tiv ity 2 0 8 -9 n a tu re v e rs u s n u rtu re 1 2 9 -3 0
im p ro v in g 26. 4 9 -5 4 n e u ro n s 189. 190-1
M e m o ry B ook, The 161 n e w s p a p e rs 1 0 0 .1 9 5 -8
M e m o ry C h a m p io n s h ip s a p p ro a c h e s to re a d in g 1 9 6 -8
U K 4 9 -5 2 , 2 2 6 h is to ry o f 1 9 5 -6
W o rld 26, 2 2 5 -6 N o rd e n , H e in z 88
m e m o ry toss, a fte r le a rn in g 27 n o v e l s e e lite ra tu re, re a d in g o f
M e m o ry S p o rts C o u n c il N o v ic e R e a d e r 20 2
U K 226
W o rld 49. 2 2 8 -9 O 'B rie n , D o m in ic 26. 226
m e m o ry w o rd s 100-1 H o w to P ass E xam s 8 6 -7
m e n ta l a b ilitie s o c c ip ita l lo b e 36
a n d a g e in g 2 7 -8 o rg a n isa tio n , p o o r c o n ce n tra tio n
m e tro n o m e m e th o d 123. a n d p o o r 148
1 2 4 -5 . 127
M ill, J o h n S tu a rt 79 p a ra g ra p h s 9 9 - 1 0 1 ,1 4 7 .1 5 6
M in d M a p s /M a p p in g 25. 26, 101. d e s c rip tiv e 9 9 -1 0 0
1 4 2 ,1 4 7 ,1 5 6 . 2 2 7 ,2 2 9 e x p la n a to ry 99
a n d c re a tiv ity 2 0 7 -8 , 2 2 7 lin kin g 100
d e finition o f w h a t read in g is 19 stru ctu re an d p o sitio n o f 100-1
o n h o w th e e ye re a d s 3 7 P ate rso n , J a m e s 52

In d ex E 3
 peripheral vision 37. 79, 82. 83 teaching m ethods 1 -2 . 79
and thinking 20
8 3 .2 1 0
reading goals, im portance of
philosophy 182-3
phonic m ethod 1.137 145-6
photo-readm g 5 reading problem s 133. 137-44
photographic m em ory 103-4 ADDS/ADHD and hyperactivity
Plato C om puter Education 142-4
Project 23 dyslexia 139-42. 140
Platt, John Rader 190. 191-2 finger-pointing 6 3 -4 . 138
regression and back-skipping
plot, in literature 182
Plus One Rule 4 8 -9 3 8 -4 0 .4 1 . 139
Poe. Edgar Allan 183 sub-vocalisation 1, 137-8
poetry 1 8 1 -2 ,1 8 5 -8 reading speeds
poor concentration see average 33
concentration calculation o f w pm 2 8 ,3 3
posture 60. 62 and individual educational
prefixes 160-4. 161-4. 168 level 3 1 -2 .3 2 . 33
previewing 92, 147. 150. 155-7 and po o r concentration 147
o f new spapers 196 table of range o f 37
o f poetry 186 recall 18. 20. 204. 205
scouting for w ords 155-6 recognition 1 8 ,2 0
strategies for 156 recognition vocabulary 159.160
Pridmore, Ben 49. 52. 226 regression 3 8 -9 . 41, 139
progress chart/graph 222, 223 relativistic speed reading
training 125
questionnaire, reading habits retention 18. 20
and skills 10-11 Retton. M ary-Lou 144
reverse sw eep technique 705.
radio telescopes 116.117 106
range reading 2 5 -6 rhythm ical reading, accelerating
reading 1 23- 33
accelerating your rhythm high speed practise exercise
123-33 125-7
com m on problem s 20-1 m etronom e m ethod 123.
definition 1 7 -2 1 .7 9 ,2 0 3 12 4 - 5, 127
as a multi-level process 21 Ritalin 142 .1 4 3
questionnaire on habits and Roosevelt. P resident Theodore
skills 10-11 9 1 -2

LlLj Index
Rosenw eig. M ark 129 origins and developm ent 3 -5
Royal Air Force 3 potential 6 -7
w orld record-holders 6
‘S 'te c h n iq u e 106, 107, 108 speed reading conditions
Sagan. Carl 116 5 7 -6 2
scanning 84. 91-2, 147 availability of materials 58.148
exercises 9 3 -6 avoiding internal interference
im proving of skills 97 6 1 -2
schools m em ory com petitions and chairs 5 8 -9
2 2 6 -7 desk and chair height 59
Scott, Sir Walter distance o f your eyes from
The H eart o f Midlothian 184 reading m aterial 59. 60.
seeing w ith your m in d ’s eye 83
exercise 80, 82 and health 62
self-tests 8, 22-31 lighting 5 7 -8 58. 200
( 1 ) 22-31 posture 60. 62
(2) 4 9 -5 5 study environm ent 6 1 .6 2
(3) 6 8 -7 5 speed reading techniques, core
(4) 115-19 accelerating your reading
(5) 127-33 rhythm 123-7
(6) 189-94 paragraphs 9 9 -1 0 1 .1 4 7 .1 5 6
( 7 ) 206-12 scanning 84 9 1 -2 . 97 147
answers 215-17 skim m ing 84, 91. 9 2 -3 , 97.
SETI (Search for Extra-Terrestrial 147. 156
Intelligence) 116.117, See also guided reading
118 techniques
setting, in literature 184 spinal colum n 60
severe critic approach 148 standpoint 183
S herrington. Sir C harles 189 Stern. Aaron 129
Skilled Reader 2 0 2 -3 study environm ent 6 1 .6 2
skim m ing 84 9 1 .9 2 -3 . 97, study reading 20 3 -5 . 204 205
147, 156 sub-vocalisation 1 ,1 3 7 -8
a n d p a ra g ra p h structure suffixes 168-70, 168-70, 174
99-101 super-speed reading 2 5 -6
speed reading Swallows Skim - So Can You
calculating your current 9 2 -3
speed 22-31 sym bolism , in literature 184-5
and creativity 2 0 9 -1 0 synapse 191

Index
tachistoscope technique 3. 1 77-9
4 -5 ,4 five steps to continue
Tarter. Professor Jill 118 m asterm inding 1 74-5
them e, in literature 182 im portance of 159-60
thinking 20 prefixes 160-4. 161-4. 168
Thom pson. Daley 144 recognition 159. 160
Times. The 195-6 roots o f w ords 175-6
tim ing 61 suffixes 168-70, 168-70. 174
Torrance 228 written 159. 160

UK Mem ory C ham pionships w hales 6 8 -7 0

49-52, 226 W hiting, Dr Sue 1 27-30
UK Mem ory Sports C ouncil 226 W ood, Evelyn 84
UK Schools M em ory w ords, roots of 175-6
C ham pionships 2 2 6 -7 W orld Creativity C ouncil 228
understanding 1 8 .2 0 W orld IQ C ouncil 228
W orld M em ory C ham pionships
variable sw eep technique 104 26. 2 2 5 -6
105.1 0 6 W orld M em ory Sports Council
vertical vision 104 49 2 2 8 -9
exercises to develop 111-15 W orld M ind M apping C ouncil
m easuring 78-9 229
vertical wave technique 109.1 1 0 w orld record-holders, speed
vision, fields o f 83 reading 6
visual pow er expanding 7 7-87 W orld S chools M em ory
brain reading 82-4 C ham pionships 227
central eye perception 82 W orld S peed R eading
M agic Eye illustration 80. 81 C ham pionships 6
m easuring your horizontal W orld S peed R eading C ouncil
and vertical vision 225
exercise 7 8 -9 W orld W ide W eb 2 0 1 -2
and peripheral vision 79. 83. W orldw ide Brain C lub 227
83 w p m (words per minute).
seeing w ith your m in d ’s eye calculation o f 28. 33
exercise 80. 82 w ritten vocabulary 159. 160
vocabulary 1 5 0 .1 5 9 -7 9
conversational 159.160 zig-zag technique 107. 108
difficulties 146 Zola. Emile
exercise answers 218-21 G erm inal 183
exercises 1 6 5 -8 .1 7 1 -4 . Zorn. P rofessor R obert 145
Index
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