 Did you turn off your computer? Did you make a donation to watch me work wishing well? All those things. Good job, you guys. And thanks for working on it. I love watching your hands. That is the gesture of WTF, help me, help me. WTF, help me. If you're out there, help me. Yay, so that was the action part of the play. And this is the dialogue part of the play in which we answer your questions. We take your questions and we make up answers on the spot. Talking about your work in your creative process. And Anika, what is that tweet against? Now we are actually here on interwebs. Hey guys, if you're at home watching, we're sorry for the delay, but you can now tweet in your questions to watch me work SLP and use the hashtag HowlRound so we can track you on here. HowlRound. HowlRound. H-O-W-L-R-O-U-N-D. R-O-U-N-D. What a beautiful song. I think somebody already sang it. And I'm just from Texas, so she talks funny. And so am I. I talk funny too. So we have to always spell out, you know, like howl around. We don't talk about howl around here, right? Okay, anyway, so enough of that. What are some jokes about people from Texas? Any other questions? So I'm working on Anala right now. I'm best at like beginning and ends, but not the best at like the middle part. Yeah, I'm still going and I'm still pushing myself. I know not to stop, but I find that I am stark. Like, I wonder if I'm starting to kind of lose the drive that like I had in the beginning, just it within the story. So like what advice would you give to somewhere, you know, like me who's looking to kind of push through the middle and like kind of get that drive back into the story? Yes, yes. So have you ever, where are you from? Orange County, New York. Orange County, New York. That's up to the north. Yes, it's the most north that New Jersey transit will go. Fantastic. So you have, do you guys have a yard? Did you have a yard growing up? Yes. Did you have your... You had a mullet. Fantastic. Okay. And did you ever see anybody do laundry and hanging outside? But in Texas, see, we didn't have a washer and dryer. And so, but you've seen like pictures of people laundry on the line because that's what you use. So you know if you hang a sheet on the line, you put a clothespin here and a clothespin there and the middle goes like this. So you need that. Right? So what you can do is you can do that with outlining. I know it's an evil word, people hate it, but I don't know. Why don't I just take it? Great. So you have, you have events, right? Do you have your outline on cards? Great. Okay. So what you can do is just, you want to stay active because sometimes you're like, you start, you have all the energy. Yeah. And then it's that middle bit, you know, that means that, that clothespin, right? So what you can do is you can take your outline just for the middle bit. So you don't have to do the beginning because you're good with that. The end, don't worry about it. Just the middle. And you can transfer two index cards. So you notice how it stood up when I said that? It was active. Right? Okay. Because this is like energy sinking, energy sinking, right? So we're active. So you transfer it to three by five index cards and you can flip them. You can think about your novel. So before you write your writing period during the day, you can say, okay, writing this scene, this scene, this chapter, this chapter, and this chapter. And it's active. So you can keep the energy into it, right? So it's not just a big word document, you know? You see what I mean? So you can do that. That's very helpful. So try that just for like the next chapter or something. And see if you have to break it down and do like lots of index cards for a chapter that's fine too. But you want to get it off that big word document and get it into something that's active and energetic. Okay? Look at that. Anybody else? How are you doing? Good. I'm singing when you are. How is it in the land of Apple? Christmas of the genius part, do you know? Ah, I'm sorry. Because it would be proud of you. That's fine. We won't tell where you were. What genius part? Did I say that? No. The secret between you and me. Just making conversations. Anybody have any questions? Samantha? Yes. Yes. I'm going to put a lot of setbacks. Okay. Act one is done great. Because the topic and what I'm trying to talk about, it's delicate. I'm just trying to figure out where to start act to. Because I'm trying to write about 9-11 and it's delicate. So I have my options. I'm looking at trying to write from the next year to the next 10 years. And now we're heading into year 15. I'm trying to figure out how to make it palatable to myself. Right. You know, I'm like, this works for me, but it's trying to make sense to other people. Because I'm a responder. So I'm trying to write about what we were all doing. Right. And there were times where it was funny. And we all were like, we're being disrespectful. But then they were all saying, you know, we lost this one. I mean, I'm working with people who are looking for, like, the father, the brother, the son. Right. And they were all like, no. He had this kind of sense of humor who would have found this funny. Right. You know, so I'm going from that. And I'm trying to honor the memories of the memories. And I want to be respectful, you know. So I'm just trying to, you know, figure that out. I'm just like, to sit and say I'm writing a comedy about 9-11 is, you know, it's delicate, you know, for a lot of people. You know, I think from, I have to figure out what works for me and I want it to, you know, be palatable. Right. You know, because it's history. Right. Right. There's a lot of, I was there. Sure. That day. Right. And I was there that day and nothing, what do you mean? A lot of the things that I've watched have been like, here's what happened and it's this day. Thank you. I saw this plane, I saw that plane. There's nothing really like six months later, you know, just sort of after the first week, I don't really see anything, you know, out anywhere that's written about what happened next. Right. Where people are a year later and where people are. Sure. I think that's, I mean, it's great, but it's kind of like I'm looking for example, you know, I'm looking for something and I'm just like, all right, you know, I'm just, I feel like I'm frozen. Right. That's, so that's the setback of, there's so much, I don't know where to start. There are a couple things, and listen to what you're talking about. Did everybody, here's Samantha, you're talking about writing a comedy about 9-11? Yeah, I mean, for lack of a better way to speak. Yeah. Great. It's good to start there and start by exact, as the first responder, you're writing a comedy about 9-11. It's good to say that. That's why I said it in the microphone to, you know, write. Right? Because it's good to say that, because what I heard and what you're talking about is not just that you're stuck and having, you're frozen, what you said, but the reason is why. You want to write something, but you're also wanting it to be palatable to people. And that's tricky. That's what we call writing over our shoulder. Making sure that all those people, the thousands of people who might come to our play, over the course of the next, or since the play, right, over the course of the next 80 years, will find it palatable. That's a lot of people you have to check in with. So I suggest you care deeply about them, but don't look at them. And save both your eyes for your work. So that's number one. That's why I said, I'll say again, you're writing a comedy about 9-11. That's you, what you feel, an authentic experience, right? It speaks to your authentic experience, and you're writing that. We're not going to ask, they like it, okay? We're going to focus on them by not focusing directly on them, but by focusing on the them that lives in you. You see the difference? So they're cool with it, if you can write the thing that's true. Okay? I mean, sure, you know, blah, blah, blah, blah. Okay? Okay? So, now, you had act one, did you say? Okay, and so act two was like, I don't know what to do with act two, correct? Has since passed, which I found out in Googling him to say, hey, guess what? I was joking around about all the funny things, and you know, now he's gone, and I'm just, you know, he was very specific, this was one of the firefighters I worked with, and he was very specific about we have to find what's funny. Like he was like, we have to laugh every day, because otherwise there's no point in going on, and they won. That was his, you know, so, I think I'm just trying to figure out a place to pick up so that it's complete thought, so that 80 people in 80, you know, in 80 years it makes sense. No, we're not. Right, right, right. Nothing at all. For you, what's going to work for you? It sounds like this guy you worked with, this firefighter you worked with, is important to you. Can you include him in act two? Yeah, it's becoming clear to me that he wants to be in charge of act two, as I sit. Why are we having a fight? I think I just needed to say it out loud. He sounds to me like, he wants to be in charge of act two. So let him. There he is, wanting to be in charge of act two, and you're going to let him, because he's the guy, he's one of the guys, he's one of the people who was saying, we need to fight, we need to be able to laugh at this, otherwise, as he said, they win. So, he's the guy just loudest in your head right now, and you're going to honor him and honor yourself by listening to yourself and writing this thing from your heart. So you're going to be done next week or what? I hope so. You got a game plan. So you got your character, you got your act one, you got your character, and you're going to go with it. He's in a place I've got to move him to a new place. But I would say, go forward. Don't go back to act one to fix it the better. You've got to go forward. And act one, put it on a post-it or whatever and stick it in your notebook and get to it later. Okay? Great job. Sounds great. What's the title? Do you have a title? Not yet. Okay. Good job. Good question. Anybody else? Yes? Remind me of your name? Sheena. I like Sheena. Like this. That actually inspired me for a question. There's a, not an act that I'm avoiding because I don't want it to come across as a victim. So I guess my question is what would you suggest when you're dealing with a topic that actually happened to you and is a very touchy subject. But you, I don't want to be the poster child of this incident. Right. It did happen to me and it happens to a lot of women. Right. But I'm trying to find the trick where it's about, it's more of an experiential thing. What does that word mean, experiential? I could have made it up. I don't know. No, no, no. I heard it. I heard it. You, I love movies. What does it mean? Experiential. What does that mean? Experiential. It's the key But aren't we all connected to this? I googled it. Okay. It's involving or based on experience and observation. The experiential learning associated with X. The experience. Yeah. No, I mean, there's something that you want to write about. I'm going to write about it. The challenge is I don't I don't want the topic to come from a victim position. Does that make sense? The topic is rape. Usually when people are rape victims, it's like, it's an unfortunate thing, but it should happen. It's just like the tsunami should happen. So for me, I know that I'm avoiding it because I haven't written it. I mean, I'm writing it, but it's just like, I'm not happy with it. So my thing is how do I like face that challenge? I guess, that's not fair to say how do I, what would you suggest? How do I, as long as it's not about my work. But it's just one of those, like it happened, it's unfortunate, but like how do I I don't think you could come victorious out of it, but it's one of those It's interesting. It's interesting, and I don't know Latin or Greek, but I can not go English. Victim and victorious, it's interesting. I did. Oh, I know. Yes, it is the answer. This is what I'm going to be here next. This is amazing. So, but victim and victorious, right? I mean, they're not, they're probably not connected, but they kind of are in my mind. Well, they go so deep, which is basically, because now I'm interested, I'm interested because you want to write about a subject, subject of rape, did you say that? And you don't want to just write about it from the victim, victim. Am I very correct? Right. But there's a block, because I maybe I'm not there yet, or I just don't know how to... It's tricky. There's a couple of things. One, I think we as a company to refrain from what we think of victims. Because like the folks who, you know, I think she might have some friends that they were the victims of some shit that went down. I mean, they were the victims. Now in America, we tend to like hate the victims. Hate all the victims. I hear victims that we hate on you, but then no one wants to be the victim, and no one wants to take responsibility until we are. Instead of just saying, yes, this happened. So we have to, first we have to reframe what we feel about victims. Like, it was her fault. That's what sometimes we feel about, which is totally bullshit and wrong. Right? So we are and she'll never be able to do anything else except talk about this. Which is what also we feel about victims. And this is going to define her. So we feel that as a victim, and that's all they ever are. And all that is like crap and bullshit. Okay. So we need to reframe that first. And then I think once we do that, we can write about being the victim of a crime and not have it be fall into that slot with all these other things. Just like you could say everything about black people is really like a downer. And it doesn't perform. That's what Hollywood says. Things are evolving like people don't perform, which means they don't make overseas. Okay. But it's just not interesting to it's not universal. So, we need to reframe what's universal and how. You see, we need to reframe a lot of things in order to tell an authentic story. Instead of just telling the stories, it's going to be palatable to the marketplace. You tell your authentic story and if it shows that you or that the subject was the victim of a horrible, horrible crime. I think through the authentic telling of it, you, we all are liberated to a new understanding. So, talk about it. Just start talking. You know what I mean? Just start talking and if whatever again Sure, just start talking. The way you figure out how to talk about it is by talking. The way you figure out act two is by jumping in there and going with it. That's the way and a certain point, there's all the stuff that needs to be done but at a certain point, you need to jump it. Flail around until it looks like swimming. You know what I mean? And that's all we ever do anyway. I mean some people like Michael Phelps. What's happening? He's going to be in the next film. He's amazing. Survivor. That was me stretching. We're mommy of your name. Hey Tolu, okay. Hi. I have like a lot of Okay. So, you just started writing or you just started writing this new piece that you're writing and you have a lot of characters and ideas and story ideas and interesting characters and they haven't sort of formed into a thing. Yeah, like I have something you have some what? Some scene. So they're forming. Bit by bit. Bit by bit, you know, they add they kind of, you know, and I don't know what stage humans look like fish or something, so it's okay. You keep going, you know. Bit by bit, you just keep adding to what you've got and keep following, you know, like oh, these two characters are in this scene together and they're doing this. You can talk to your characters. You can say, what are you doing here? What do you want? They're like ghosts. Hmm. They are. They're like, they're hooking you and you're like, well why did you why did you quite care? What do you want from me? Right? And they'll say, I want to be in a play. You know, I want to be in a novel. You know what I mean? What can you do? What are you doing here? What do you want? They always want something or they wouldn't have shown up. They show up because they want something and you can help them get it. They want to be in a play or a novel. The characters are going to buy me one. You know, and you go, oh am I making shit up or am I taking temptation? And you know, in either way it doesn't matter. Are we in a cell, a padded cell drooling or are we really happy today? And he said, makes no difference. And I thought that was really comforting so now. So I share that with you. So, you know, just keep going forward. You have a writing time. A writing time during the day. What's your favorite time of day? You're like the only person who's favorite time of day is five o'clock. So like now. So five o'clock is your favorite time of day. Great. So do you have the ability to make say from five to say five thirty or five to six o'clock your writing period every day or pretty much every day? So you can sort of put down whatever it is you're doing and sit down with your laptop or your notebook or whatever and spend thirty minutes a day that's all you need to do. Writing just newly. You don't care. You know, they might not have names yet. You can ask them, what's your name? Lady in the brown coat. You know what I mean? My name is Sheila. Yeah. But see, it's fun, right? It's like fun because they're like your friends. I know, you know, children, you know, they have imaginary friends. We're grown up and we have imaginary friends. It's the same thing. Is that helpful? Do you think they start to turn into a thing? A story or whatever? What's your name? I forget your name. Jacqueline. Hi, Jacqueline. Welcome back. What do you think, Chris? When you get stuck. When you're stuck? That's good. Yeah, yeah. When you're stuck, when you're like stuck, it's time to outline. I like to outline before I get stuck. So I don't get stuck. Yeah. It's like shit, right? Or it's time to change the litter box before the neighbors have come and go. You know, the same thing. So you change. You outline before you get stuck. So if you outline, it makes your heart go hmmm, hmmm, hmmm, hmmm, hmmm, hmmm, hmmm, hmmm. Yeah, so do it more often. Right? So now, today is great. Start now. Do you get those little cars, those little 3x5 cars that I love so much? I need to get some. The staples. They're cheap, right? You can get a package of like a thousand. But you only need probably, you know what, 120, 10, 10, great, 10, 8 actually, maybe. In some practices, you can be a whole great player with 8. But anyway, go over the staples and get yourself some blank, blank on both sides or lines on one side. If you like college, whatever you like, move small, small, 3x5, right? And start today. And just write down the scenes as you see them. If you don't know the scene, don't worry about it. You know, you could just move screenwriting also. Playwriting, over it. Camp. Camp New York University. Camp New York University. For everyone that's happy. For everyone that's archery or whatever, I don't know. So, you know, write down your scene. If you don't know what's happening, just skip it and go on to the next scene. If you only know the beginning and the end, like you Adam, just write the beginning and the end. And then shake it around in the middle and it will begin to appear. Okay? So now, so outlining. And it's again, it's not this weird, like I said before, Roman numeral thing. Unless you're Roman. But the Pope. I'm sure the Pope outlines in Roman numeral. But, you know, it's not Roman numeral thing. It's not like an anally retentive thing. It's not a weird, what do you call it, thing to take the place of creativity. Now these people have weird outlining. It's just a way to like hang your laundry on a line without having it sag. And if it's hung well on a line and it dries better because the wind could blow through it. It's, you know, just so that's all we're doing on the bottom camera. So you're going to go to Staples, get some cars, start today. You know, write it in pen or pencil or your choice pen. You have a pen there. Great. And then you can carry them around your pocket or your bag. You've got a subway to flip them and you can see your movie or your play in your head. Hey, look at him. And it's fun. Then it's fun. Then you're not like stuck in like you're impaled on a cross or some shit. He was like a special thing. He felt like he didn't do that. Okay. We're going to tell you about next week. What are we doing? I'm just going to tell you about next week. Hey guys. Okay, so next week we are not having Watch Me Work next week, unfortunately. Because Head of Passes is opening here at the public next Monday. And they're having their opening night gala, so it's going to be happening up here. So we're going to not be here next week, but we'll be here the week after that, which is April 4th. So we will see you guys back here at five o'clock on the second floor of the public on April 4th. Okay. That's all. We can go on. We love you. Don't vote for you know who. I'll show you names. Because I'm June. June, that's right. Okay, I got it. I'm over. Okay.