 We're going to be talking for a minute and we're going to imply that you're going to talk to us a little bit about this. So, does everybody know about Washington? Yes. Anybody knew? Anybody like... Like if you explain what I just wrote back, it makes it easier. Okay? So what we do is call watch me or chat. And the tricky thing is that the meeting, the word meeting, the time that we're all about meeting, is all right? So what this is, is this a chance for you to talk to me about your creative process? Right? Okay? So how we do that is we work for 20 minutes together. We each work on our own thing, okay? Whatever we want. And there are going to be people online that join us every week. They're going to be working on their thing. Okay? And then when the timer goes off, we stop and we use the remaining time. We see about 40 minutes, 40 minutes to talk with you about your creative process. So if you have questions about where you are at your work or whatever, you can ask me and I'll answer and maybe some answers will also be on your right at the end of the moment. Okay? It's so easy. We can do it. That's why we do it because it's so easy. And anything. So break, he has a great ability. Got the book today. Dang, man. Okay, thank you. So if you're watching on the internet and you want to get in touch with us, Ray can tell you how. Yes. So you can tweet us at atmachmeworkslp hashtag howlround. Or if you can ask us questions on the public's Facebook, Instagram, or I'll tell you, you have other theaters on Instagram or Facebook. Or you can ask us questions in the chat bar of the howlround feed. You just spell howlround for people. Absolutely. H-O-W-L-R-O-U-N-D. Howlround. Like howl. Like howl. Like that. So it sounds like howlround. It does. I don't know howlround. Maybe if we get that to the question, we can type in the howlround chat box. Okay. And yes, usually I work on a typewriter, but today, on my laptop, we have some features to do. It involves something specific. Who am I talking to? And the cool thing about what we're doing, there's so many things that we're doing here. And some of the people go, oh, yeah, I'm trying to finish my screenplay or my collection of poems or whatever. And I think, oh, yeah. But the most important thing that we're doing is we're just showing up. Because in my experience with my work, and I know everybody's different, but in my experience, that's the most important thing. And if I'm not showing up to my work, then it's not going to be done. Because as good as you are, that is not going to write itself, right? But the dance, the choreography, you have to do, it's going to choreograph itself. The film is not going to shoot itself. It might shoot itself, but not in the way that you want it to, you know? So we just have to keep paying. And just keep showing up. And this is how this watch your work class, so this is how we practice doing that. If you can get your butt out of here, wherever you were, before you were here, out of your Starbucks, your house, your apartment, your job, your childcare situation, you know, whatever you've got going on, and you can come here and sit, you have enough in you to get to your work done. That's something to matter. Right? Okay. We just make it fun. It's like, come on, come on, I got that. And then before, you know, it'd be like, shit, I've actually developed a muscle. I didn't know I had that muscle showing up for myself. And that's what we're developing. So now that I told you that's what we're doing, I don't want to like, you know, ruin the magic. So now you know how the sausage is made. So, you know, I don't know how to eat sausage, but, you know, okay. So anybody have any questions, solutions, problems, answers about their work and their creative process, anything? Yeah, what's your name? Tabetha. Tabetha. Hey, Tabetha. Hi. What's your job? I'm working on a play, working on it for, I think, about a month now. Okay. I guess I was just wondering how much you outline when you start a piece to continue outlining. Yeah. So what, why, do you, do you like outline when you sit down? Bum, bum, bum. So what do you think, Tabetha? What would you like to do? What do you want to do? I don't know. I feel like, I personally, like I love outlining everything thoroughly so that when I guess the paper I can just, you know, keep going. I don't have to go back and forth. Yeah. But then sometimes, I don't know, I can get stuck in outlining to the point where I never get to, like, die. You should make friends with someone that you can outline on desk. The bond is like the other end of that spectrum. And if you guys could, like, become acquaintances, you could meet in the middle. Do this somewhere or right there. So, so you're thinking, you love outlining, but sometimes if you feel like you might outline too much. What's too much? What do you think? What do you, what do you feel like? You go, oh, I might be outlining too much. What have you just done to make you feel like that? It's just, I, like, I'll have pages and pages and pages that, like, go down to, like, even specific lines that, like, a character will say and, like, possibly having. And I'm like, okay, but then why didn't I just write this in the script if it's already there? You know? So you don't want to write it. You do not want to write it in the script after you've written it in the outline? No, I think it's just a matter of, like, wanting to have, it's a type A thing. Like, I want to, like, have everything so, and I know it's wrong, but like, everything's so, like, defined to the point where, like, I don't have to worry about it. I don't have to worry about it. And you're writing what? It's a play. And you're writing a play. And you're trying to get everything you find so that you don't have to worry about it. A play which is something that it's supposed to be handed off to other people to do. Or at least other people to watch, even if you perform all the parts, right? If this is, if you are successful, which you will be in your endeavor of writing, you're going to be successful, you're going to complete something, and then you're going to hand it over to people who are not you, who are called activists, right? People who, their job is to take your child and treat it very mindfully and gently and raise it up until it's a full fleshed person, right? You can cross the street by yourself. And again, now you're worried about getting all perfect on it. Let it go, sister. Let it go. Let it go. You can still be type A, but you can start to exercise just letting go of getting everything the way you wanted, especially if you're working in theater. Okay? So are you outlining too much? No. But I want you to write a draft. Go to draft. I think there's a point where you're, like when we research sometimes, you research and research and research, and then you're like, you start, there's a little voice that goes, you might be researching too much. Guess what? You are. Or maybe when you're out with your friends. Oh, well maybe you don't do that, but maybe you're like, I might be out too late. Guess what? You are. You're out too late. It's time to go home, Tabitha. And that's what your script is saying. Come home. You know what I'm saying? Okay? So when are you going to, have you started writing? I have. You have. So can you stop that writing? I go back and forth. Stop that writing. Start writing. And feel the fear of not knowing everything. Get in touch with that, like, oh shit. I don't know what to do. Oh jeez feeling. I have to depend on, I don't know, others. Right? The spirit. The providence. Right? The holy mother. The mother goddess. Whatever you want. You know, god. Holy mother. Holy mother. You know? Right? Because that's part of what playwriting is. Right? We have to. We give our children to strangers. We go, you take it. You run with it. Because I trust you. Do you know me? No. I don't. But I get a vibe, you know? And I, and you've trained for this. So let's see what you can do. That's part of the fun. Oh yeah, that's right. Right? That's how she had one behind you. Oh, that's right. That's right. That's right. That's right. That's right. That's right. That's right. That's right. That's right. That's right. That's right. That's right. Oh, thank you. You're the best. You're the best. You're the best. Thank you. Oh, that's so nice. Thank you. Hello. It's like I'm on a marathon. Christian's like, hey, you want some water? He's thinking about it. So I'm like, okay. So I'm writing about stuff that I'm really fired up about and captured about. Right. It's going on now. But couch in the world of science fiction. So it's not too on the nose for people. Right. Right. I do feel that I'm becoming a little bit didactic even within this kind of science fiction kind of cushion. Right. I'm wondering if there's any tips, and this could go for any genre. Sure. Tips for keeping yourself in line as a writer without becoming too didactic. Right. Having a didactic voice. Because I don't want the audience to really feel like I'm pushing anything on them. Right. But I want to say something but more simply. Right. So are you tying it to the character? Are you tying it to the characters? Are you tying what's being said to the characters you need? Yes. Totally. Okay. So it might be one of those Star Trek episodes where, you know, they're going to say Darnock at Tanahara. Yeah. You saw Darnock at Tanahara. Right. So the car is like Darnock at Tanahara. The whole spell. And we go, oh, we know what this means. We're all one through language and metaphor, you know? It's okay. If it's coming from a real need from a character, keep writing. And when you get in rehearsal, it's a play, right? No, it's a... Oh, it's a play. It's one of three short films that are leading up to a feature. But you're going to get an actor. When you get it. When you start talking about the script producers, right, those are steps for the maker film or the TV show. I think you can start asking these questions. Okay. So as long as what is being said is tied to the character's needs, then, you know... There's one guy that I kind of feel like I am. He is just saying his thoughts, rather than really what he wants out of us. So I feel like he is really just talking about his point of view. And that might be me coming through. And that's... So with what he's saying, and tied to me, like, I am telling you my story about my thoughts because I need you to understand my point of view because if you don't, you're going to walk out of the street and hit my car. So listen to me. You say, oh, whatever. Right. But you know what I'm saying? Yes. It has to be tied to a real need. Otherwise, it's just running his mouth and it might sound like that. Totally. Maybe not. Definitely. It's great. It's great. Come on. Roll numbers. Oh, yeah. Especially for the Twitter. Yeah. Yeah. Okay. That's all. Especially for the Twitter. Since I am from Twitter, I want to invite a building community. I'm from Twitter. Well, if you're in New York, I mean, or building one, so not joining one, but you want to build a community of writers. Just kind of go up to people you know and start making friends. You know, I'm like, hi, I'm a writer. I see you're writing. You want to have a writer's group like that. And it might be kind of weird and look kind of weird. It might. But Diana, I'm guessing you're... Usually when women go up to people like that, it's not seen as weird. But maybe it might be. It might be weird. Anyway. It might be weird. But we know each other. But I would say, reach your hand up to people you know, or you see writing. Maybe it's Starbucks. If there's a Starbucks, I'm not sure where you are. But I bet you there's a Starbucks. And you can kind of go up to people like, hey, I see you here. You know what I'm talking about? You may pretend it now. We could maybe have a writer's room or something. That'd be cool, like that. And make sure your body language is suggestive of friendship and not weirdness. You know, like this at a distance. And then yeah, maybe let's me know. You come here and be like, let's meet on Tuesday. That'd be cool, right? Maybe, I don't know, and then you can get other people like that. So I'd say start with people you know. Or if you have gone to some kind of a program, an undergrad program, or a grad program. Or if you live, you know, in the wilderness and have Wi-Fi, you could start something on one of those social network things, you know, like Facebook. If you want. There are lots of ways to make community, but the trickiest thing about it is you have to actually put yourself out there. I've heard that writer's groups charge fees sometimes. You know, to you. Not my kind of thing. I like to sit around here for free. But, you know, because you get a lot from community. You know, it's good, it's good energy that helps everybody else help. But you need to, you know, charge fees. That's your priority. Hey Simone, what's your question? I have a question about research. So last week you said four weeks. You said four weeks. You said one week to gather the information. Right, right. And then three weeks to actually put it together. Right. I haven't officially started my research, but I find that, like in social media and stuff, things are always coming up that I can put into my research. Right. So my question is, can you research and write at the same time or do you really need to give yourself a month to? Yeah, no, no. Structure. You can research and write at the same time. It's just, if you have, I'm trying to remember, did you have the desire to extend your research or cut it short? Do you like researching or you don't? I do like researching. Right. Which is why I gave you those numbers. Usually I don't. Yeah. And I didn't give Tabitha numbers, but I might after I'm done talking to you. Yeah. But yeah, so you like researching. So your research has already entered. It said, hi, can I come into your writing process? So I would say, how about not? How about no? How about just research a lot, gather up a lot of stuff, and then see how far you can go without stopping the writing process and looking at books? I mean, all I'm saying is because it sounds like research is slowing you down. It might not be, but it sounded like it from last week and week before that you were never sure enough, it's kind of like you're sitting together. Like, have I done enough work yet? Have I researched it? Do I know enough to try to write? Maybe not. Let me read this other book. No, no, no. Maybe I need to read these four books, and then I saw some people with me. So before you know it, you're a scholar in the subject you have yet to write your, right, your piece, right? So that's why I gave you a cut-off, okay? Sure you can research one, but I'm not writing so different things right now. I pick up a book, I flip through it, find something, but I set myself, I'm going to read these two books and then start writing. And whatever I don't know, I'm going to have to write out on the fly, like that. Because I just jumped in. If you could just jump into your writing process, then sure you can research one, right? And you might want to set yourself a page number, a page count every day. Like, what are you writing? Is it a film or a... It's a theater piece. A theater piece. So what's a good page count every day? Once you start writing, which might not be today, but once you start writing, what do you think? No, no, no. Two pages. Wait. She's like, research, I got it. Yeah! I can research like father pages. No problem. Like two pages, like two pages. Two. Two is good. Two is good. Two is really, really good. Two is great. Okay? Two. So when you're writing, you're going to write two pages a day. Okay? And how long do you think this piece is going to be? We're working on it. It's probably going to be about... Great. So if you write your two pages a day, then you can allow yourself all the rest of your writing time, your time of day to research. But you have to write your pages first. You have to eat your vegetables first before you get your book. Okay? Right? Before you get your dessert. Okay? So if you can write your two pages, once you start writing, then you can put lots of research in. And if you don't know anything as you're writing along, just write question mark, question mark. Do you write on the computer or on my hand? Okay. So it's question mark, question mark, question mark. Figure this out later. Keep going. I do it all the time. I got all these question marks. I go back. That's when they're red because I write on the computer. And I find them, oh, yeah, yeah, yeah, yeah, yeah. Yeah, yeah, yeah. Yeah, yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. Yeah, yeah. You can continue to outline how many, oh, yeah, I know. I think I'll probably get myself the rest of this week. The rest of this week, great. So on the rest of this week, which ends on Sunday, Saturday night, Maryland, New York, what do you think? That's Saturday night. Saturday night. So Sunday morning, you're gonna start writing, right? One page. Just write one page. That's all you got to do. Be clear of victory. go back to Outline though if you want. You know what I mean? You're out. Write one page a day. How long is it going to be? Great. Great. Okay. You're going to pick up steam as you go along. So it's not just going to be one page a day for a hundred and ten days. You're going to have one page a day and then after a week or two you're going to be like, one for a hundred and two for a hundred and ten. Of course. Yeah, actually just read your book in class. Oh, who's that? Oh, yeah. I'm sorry. No, it's okay. No, it's okay. Thanks for calling. What are these, your friends? Yeah, these are my friends. So you're all writers? Yeah. I'm doing it at the standard buddy because the camera's there. Oh, yeah. I guess we could do what we want to get into writing. I just don't know where to start on this one. Yeah. Can anybody have any ideas where to start? Right. Right. Yeah, right, right. Yeah, yeah. With a pencil? A pencil? A pencil. A writer's group. A writer's group. A writer's group. Yeah. I mean, everybody says, how do you start? The sound of music gets in my head. I'll start it today. It's a very good place to start when you read and begin with a... You sing and begin with Do Re Mi. She taught them how to sing. By just saying some notes. Do Re Mi. Do Re Mi. She taught all those kids how to sing. And they were up in front of people and had an auditorium in front of them. So all we do, that's right. You're right. All we do is write. What you do, I don't have mine with me today. I have my phone, but you have a phone too. This is a crack. This is a timer. This is a regular open timer. You can get a digital timer, like maybe you have it in the kitchen. Or the microwave has a timer on it or whatever, right? You set it for 10 minutes for 15 minutes or 20 minutes and you just... You just write whatever. You don't care. Good, bad, whatever. Right? How did you learn to walk? Can you remember? You can't remember. I've been to Mom and Dad. And you probably like crawled around a lot. I mean, just writing. I crawled around a lot. And then one day, and you're holding on to something. And you're doing this, right? And then one day... And you just do this. If we were walking like this today, you'd say, I don't know, that's great walking, right? That's what you did when you were little. Yeah. 20 minutes today. You think you can do it? Yeah, I think so. Okay, you love it. 10 minutes. 10 minutes today, right? Do we think you can wake up in the morning and walk the person? Afternoon person or evening person? Afternoon for sure. Afternoon. Are you guys afternoon people? Are you guys afternoon people? I was like, oh, jeez. Are you guys afternoon people? I'm afternoon. Songwriting. Songwriting. Songwriting, yeah. And you are one time better than you. You're not yet. No. Really great in my fantasy. You guys are like the writing collective. Because you're already friends, right? You got that part over with. And now you can be like a writing group. And turn on a timer. Or you can use your phone if you want to touch it. And like, write it for 10 minutes. Just stream the consciousness. Blah, blah, blah, blah, whatever. Okay? And if you want to write a song, blah, blah, blah, write it for 10 minutes. Then you read through it and you go, yeah, I can sing that. You can't provide the sound. Do you play instrument? I do. Do you play piano? She plays piano. So you can circle and I say, I don't know when I'm going home. What would you like to say? Sing that. So then you circle that line, and you go to the piano, and you just play around and find a group. And you sing that text over and over again. And so I'm getting more out of that. I'm starting to go out of that. Because when I write songs on guitar, I have a group. And then I just write it. Blah, blah, blah, blah, blah, blah, blah, blah. Record what you're doing on your phone. Record, record, record it. I should work for you. Okay, see you guys. Can you have a writer's collection? Can you think of a name by six o'clock? Because that's when you stop. Now, sir, if I'm going to go to someone up, can you think of a name for your writer's collection? We'll try. We'll try. I'm writing a show in which two black women are having an argument through song. That's the whole show. Part of the show. And my question for you is, there's ways we can argue when we're among family. We're among people of color. And there's ways that you have to change that encode switch when you're in other spaces. And so I'm thinking about how the show will exist here, but when it exists in the audience, where it's going to be predominantly white because that's the state of the year, how can I navigate that conversation? How true can that conversation be when it's going to be received? I don't want it to inform the audience to certain stereotypes or those sorts of things. Those are all the things that are running through my head. I just wanted to get your thoughts. I want to say, writer like in Europe, and maybe the audience will grow into an understanding. If we continue to feed the audience only what it can understand, what they can understand, and owe it to them to tell it how we see it, and maybe then they can come up to speak white, black or otherwise, and just because they're predominantly white doesn't mean they're not going to understand. Just because if they were predominantly black doesn't mean they would. You all black people understand where you're coming from. And you can't second guess the audience because they're like, if you're lucky, thousands of people, you're going to see your work and you don't know who they are. We don't know who they are so we have to write from here and let the audience during a talk back figure it out. We can't try to dumb it down. Does that make sense? I was just worried about it. There's ways you can argue in your own family and I didn't want that to be informing of how we all waste speech. We have to be broad generalizations by having this one conversation be extrapolated. I understand. How much have you written the rest of the show? I've written the rest of the show. I'm going back and re-editing this conversation. And you've written that part also. I wrote, I had a first draft and I hated it because it didn't land or sit the way I wanted to. It was more of that we are these two sisters of fighting but then I was like, these two black women fighting and you patty and patty and come across as the only thing they're fighting about. So I'm re-editing and going back to that. Maybe look at the substance of what they're fighting about and the stakes of if you're one of the sisters, I'm one of the sisters. If you're right, what do you gain? If I'm right, what do I gain? What's important? It's not just about you use my lipstick, it might be but what do the stakes really argue about? What's really going on? And you can let them be real with each other. And you're also aware that sometimes showing certain kinds of behaviors is marketable but not profitable. That's about yes. It doesn't help the people. It does put some money on somebody and that's where I struggle. Yeah, I hear this. Yeah, I mean you gotta get underneath the surface and then some more. Yeah. It's the same, it's like a little scientific question to make sure that it's coming from a deep need and they're really going after what they really want. Sometimes both of them got over-researched over outline. Over everything but writing, right? So the things you were saying about I'll let you down. Pages per day have a bold stream of consciousness. The whole letting go part was really good and I liked what you were talking about in terms of if you don't know something you'll leave a blank for red. It's more a tip so dive any deeper into what that looks like in terms of letting go. If I sit down and do this my page count I gotta let go. Any tips? Have you ever run anywhere and you know how to run? Yeah. You know how to run. So say you don't want you to do it now and you're going to start down here and you're going to run as fast as you can to that wall and you're going to stop freezing the wall and you're safe. Now say all kinds of people are going to try to say some shit to you. Yeah, run it. That's what I want you to think about like writing. Your goal is to get your pages. You've got your albines so you know what it is. So on today I've got to tell this part of the story. Jane is going to go to the story by some sneakers. Yeah. They're going to buy some sneakers, right? And that's the same. That's all I've got to do. I'm going to be like what the pictures are saying to me. You've got that part of the meeting where they go you really should do your laundry. I've got one page to write I'm just going to fucking write it. Now John, I can deal with the people of the school. Just think of running. Think of just running. You're just going to run really fast past all those people. Those people are like the people in my head though. Oh, you know that? Yeah, I know. I know. You know what I mean? I don't know how you're formed but you can't run like this. You've got to run like this. You've got to run like this. Like that. Because they want to grab on you and get in your face. There you are. Okay. And then in the rewriting phase then you're going to take a look at it like Robert. Get it down. Just get it down. It doesn't matter if it's not good. You know what? Did I say you were going to win a race? No. I just said one. Okay. It doesn't matter if it's not good. Yeah, that's the point. Yes, it doesn't matter. I say so. I promise you. Most every draft I've ever written started out as not very good. Okay. And that's where you learn how to re-write. Build those muscles. That's right. And you learn to tolerate like, gee, I got a lot of ideas and they don't come out perfect the first time. Okay, that's what I'm trying to say. That's okay. I don't care. I'm not trying to be perfect. I'm just trying to be great. And great and perfect are not the same thing. Right. See, great makes mistakes. And that's okay. Perfect doesn't mean making a mistake. Perfect doesn't do much. Yeah. It's funny, I just thought of God as great. I don't know if they got it. I don't know. It's funny. Right, right, right, right. You know? Yeah, thank you. And come back. We can sort of help each other take just one break for one more day. One more paragraph. Get through the, you know, get through the shit. Just a little bit more like that. We're doing that for each other all year. That's why we're here. That's why I'm here. That's why I come here. Because I hope people come around whenever you feel like it, you see the next question? Yeah, right. You name it. It will come, it will come. Move it, it will call, it will collect it. And then the name of it will hold your energy and it will be able to get you to work with it. But it's not what you want. It doesn't work that way. You have magic tattoo on your arm, sure. Right? Well, here's the magic. It's right in here right now. Yeah. Right. Right. Exactly. Exactly. Five. Five. Five. Referring back to the writing. Right. But what do you do when you feel like you've done what you can and the performance is like coming through in the accurate time and like the director's also great. Right. Exactly. They just didn't click. They just didn't click and I feel like it wasn't working. I genuinely felt like the ones that were ready to write. It wasn't the director. Sure. Sometimes you write wonderful things and you have great directors and actually wonderful actors that doesn't click. And that's the fun thing about writing things that you can't then have another life. To write about writing a play, for example. It can have another life. I mean, if it's a film, it's up there, you know. But if it's a play, it can have many lives. It can be reincarnated constantly. And you can get another chair. And you just go, oh, well, you know, what's the lesson? You know, what can I learn from this? Was there a way I can communicate it better? Or is there a way I can let it go? How do I get back on course tomorrow? How do I keep writing? That's all the questions. How do I keep letting it go? Yeah, we talked to our son. We talked to our son. And we said, you must learn to manage your disappointment. I don't know. I feel like that's something that we don't remind us of what we have to do. What I do and I don't get what I want is that you learn to manage your disappointment. And that's hard. We have to continue. I have to learn it, too. You know, it's okay if you can say, I did my best. I think where the seats are low, which is like a bunch of things. Right? So there you go. So there you go. You can do the play again, though. You can do the play again. That's what's great about play. You can do the play again and again. And sometimes I have really first production and then second production. And then third production. But you kind of don't always know. Can you talk a little bit about your process of rewriting? Because I just realized that the whole over-outlining thing was part of my fear of rewriting. When I go back to door, I don't know how to do them if I see something big that affects something that comes later in the play. That's a thread. Sure. We have a joke in my house. My house. An apartment. It's a really great joke. One of them always says rewrites make it better. They always make it better. Because I used to get notes from them. I'm like, oh, it's like, rewrites always make it better. So I just start by circling all the shit that's not good. Or that doesn't work. Just dialogue, man. I don't understand this character. If I'm working just by myself, I'll write something, let it sit for a couple of weeks, let it cool. And then I'll come back to it. I'll read it, preferably out loud, preferably standing up. You see how it feels, right? And then you can circle as you go, the stuff that isn't working. The stuff that is working. And then you just do one thing at a time. One page at a time. Again, keep it small, keep it you know, bite-sized. Today I'm going to work on page one. I circle page one, the prologue doesn't work. Why not? What is it not doing? What is it doing? How am I to fix it? What is the play-making of the prologue, for example? Of that opening scene, for example? I don't really understand the characters. What are they doing? They're just kind of talking and getting dressed. I mean, so what? I need to know more about them. I need to know more about them. Maybe I can put some of that in. More about them. So it's self-study. It's difficult. But I think you're a better writer if you learn from a lot of things, right? Great questions, Mary. And we're on time! Your name up here is... We came up with the eccentric figures. The what? The eccentric figures. Thank you, Mary. Thank you, Mary. And you're a writing partner. You write together. You write a song and you write your work and you can meet each other and share and then, you know, it's a Monday. I want to see you guys so great and want to tell us where we are and what we're doing. So our next watch we work is going to be Monday, June 10. Oh, wow. Yeah, bye for you. Thanks, guys.