detached manner and you will note many places where it may be improved.
These benefits are to be enjoyed only when a theme is planned a long
time ahead. Hence the rule to start as early as possible.

Before leaving the subject of theme-writing, which was called up by the
discussion of unconscious memory, another suggestion will be given that
may be of service to you. When correcting a theme, employ more than one
sense avenue. Do not simply glance over it with your eye. Read it
aloud, either to yourself or, better still, to someone else. When you
do this you will be amazed to discover how different it sounds and what
a new view you secure of it. When you thus change your method of
composition, you will find a new group of ideas thronging into your
mind. In the auditory rendition of a theme you will discover faults of
syntax which escaped you in silent reading. You will note duplication
of words, split infinitives, mixed tenses, poorly balanced sentences.
Moreover, if your mind has certain peculiarities, you may find even
more advantages accruing from such a practice. The author, for example,
has a slightly different set of ideas at his disposal according to the
medium of expression employed. When writing with a pencil, one set of
ideas comes to mind; with a typewriter slightly different ideas arise;
when talking to an audience, still different ideas. Three sets of ideas
and three vocabularies are thus available for use on any subject. In
adopting this device of composing through several mediums, you should
combine with it the principle of distributing time already discussed in
connection with repetition of impressions. Write a theme one day,
then lay it aside for a few days and go back to it with a fresh mind.
The rests will be found very beneficial in helping you to get a new
viewpoint of the subject.

Reverting to our discussion of memory, we come upon another question: