Composition researchers and teachers grant that the relationship of non-verbal thinking and language plays a crucial role in the writing of fiction and poetry, but they are sometimes reluctant to perceive that non-verbal thinking must, necessarily, be crucial, with different emphases, in the thinking/writing processes of rhetoric. Activities and coachings that relate the non-verbal and verbal capacities in classroom/conference practice are needed. Critical to the process of developing successful argumentation and other extended discourse relevant to written composition are the following non-verbal areas: (1) mental imagery; (2) gestural expression; (3) pattern perception of instances of imagery; (4) the abstractive leap; (5) sense of audience; (6) point of view, including attitude and affect about subject and argument; (7) spatializing--the use of the dimension of space to group, discover, and relate instances of perception and patterns of instances; (8) sense of movement and rhythm, sense of story, or organizing movement; (9) sense of form; and (10) synaesthesis--the use of one sense to explore another sense to develop metaphor. When it comes to the discourse of practical and imaginative life, neither non-verbal thinking nor verbal expression can usefully exist without the other. Though the capacities exist potentially separate in the mind, the most natural and frequent way for thinking of any kind to be expressed is through the medium of language. (MS)