Page 10 - RoadIKnowWhite.mw5
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INTRODUCTION 11




were many repeats, and in many places. You cannot take your readers in 

three hours over the whole of those twenty years. Your job is a selective 


job. You have the obligation to dip into any portion for clarity. You must 

pick out the bits that seem the sharpest illustration of Betty's systematic 

travel of the Road—no matter where they come. The public has to have a 


straight line. It just can't be expected to jump over twenty years.



That helped.




"Furthermore," the Invisibles pointed out, "you are not now writing a 

didactic book, like The Betty Book and Across the Unknown. This is a 


drama, and must be written as such; with three Acts. Act I: How Betty 

was taught to tap the Source. Act II: Her actual experience after she had 

learned to do so. Act III: What she did with it, and what it did to her. Only 


don't present the narrative as three Acts or three Parts; obliterate the 

joints.




"Now," they further instructed, "use what you have already written as 

building blocks. Distribute them in three piles, as they fall under one or 

the other of the three Acts. Then go ahead. And slash out all but the best 


that applies."



This was the scheme of my final rewrite. I bad this advantage: I was in 


weekly touch through Joan, and so could submit my results. Betty and her 

Invisibles did a lot of "rejiggering," as they called it; recasting, 


transferring,




























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