pose we are asked to prepare a lesson on prayer. Keep in mind that in
such a preparation we face the problems listed at the beginning of this
chapter: the aim, the illustration, the application, etc., and keep in
mind also that each of these subjects will be taken up in its turn and
that for the present we are concerned primarily with the query, "How can
I organize a lesson on prayer?" Let us assume, too, that we are
preparing this lesson for young men and women about twenty years of age.

First of all, I must decide why I am to teach the subject of prayer. In
view of the fact that the matter of the aim is to be considered fully in
the succeeding chapter, suppose we agree that our purpose in this lesson
shall be to establish prayer as a habit of life.

_Step number one_, then, is the selection of an aim--a focus for the
thought of the lesson.

_Step number two_ is the collection of random thoughts. As I begin to
ponder the subject of prayer and its influence on life, all sorts of
ideas crowd into my mind. Perhaps I read some one's discussion of
prayer--perhaps I talk to a friend relative to it--perhaps I just ran
the subject over in my mind. The thoughts that come to me may be vague
and wholly disconnected. My immediate concern is content--order will
come later. And so I jot down, either in my mind or on paper, such ideas
as these:

"Prayer is the soul's sincere desire."
The Song "Sweet hour of prayer."
What is the use of prayer?
Are prayers answered?
How often should I pray?
Does the Lord hear and answer our prayers, or do we answer them
ourselves?
What kinds of prayers are there?
How may I know how to pray?
Should prayers always be answered affirmatively?
What are the characteristics of a good prayer?
What prayers have impressed me most?

And so I go on. My task in step two is to scout about intellectually in
search of available, suitable material. Many of my jottings may
duplicate others already set down; others may not be appropriate for my
need; still others may be wholly irrelevant. But I am seeking a wealth
of material that I may make my recitation as rich as possible.

Now, _step three_ becomes a process of correlation and elimination--a
process of hitting upon my main headings--setting up the milestones to
mark my course of development. And I so sift the material in my mind and
sort it out under appropriate captions. After a good bit of intellectual
rummaging about, I find t