 Hey Audrey. Hey SLP. Sorry, I'm about to make you a co-host. Yes. It's five o'clock. It's five o'clock. It's time for Watch Me Work. It's the 20th of April. And we're back. We've been doing Watch Me Work for like 10 or 11 or 12 years. I haven't written down somewhere when we started, but anyway, we used to do it live in the lobby of the public theater. Now, since COVID, we've been doing it Zoom. We thank the public theater and we thank HowlRound for helping us make this possible. Watch Me Work is all about you and we work together for 20 minutes. And then you ask me questions about your work and your creative process. While we don't have time for you to read your work or present your work as such, we do have time to talk about process, your process, your way of working, our way of working. And we'll share tips, ideas and strategies with the whole community. So that's the deal. Audrey, if you want to tell us how to get in touch, ask you about it. You go. So there's a couple of ways to get in touch. If you are inside of the Zoom, all you need to do is click on the raise your hand button, which is in a reactions tab, likely at the bottom of your screen on a laptop or the top, if you're on an iPad or a tablet. And if you're watching the live stream, you can ask us questions by tweeting it at Watch Me Work SLP with the hashtag HowlRound, H-O-W-L-R-O-U-N-D. Or you can tweet at the public theater or write to our Instagram. Those are the ways. Those are the ways. These are the days. Here we go. And here's 20 minutes. Yes. Oh, hello. Hello. Do people have questions? Or answers? Yes. I see Melania has a question. All right. Hello. Hi. I have a question. Answers. Complicated. Sometimes. There is an opportunity that I am having of presenting a synopsis of a story that I have. And. It's been a long time since I present someone asked me for a synopsis. And I would like to know. What should I include? And what, what should I tell? And what not. There is, I know that it has to be something short. But I am wondering. For example, that the end has to be there. Or not. How to prepare it. A good synopsis. Right. Oh, it depends who you're giving it to. Do you know these people well? Or who are they? Yeah. I mean, it is an opportunity. It's a kind of a fellowship and scholarship. Yes. They are here in Miami. And they are asking for is to, is to write a novel. I never write in my life a novel. And what I am trying to do. Is following what I am learning here. Is to give myself permission. To try new things. Yes. So. So I say, I said, okay. This is something new. There was a person that I trust a lot that said, I think you can do it. And I said, okay. So I am trying. And to me, the success is showing up. It's doing the work. And I am following. I'm following. I'm following. For example, when I get very scared or something, I write, I write very fast. Right. His voice is on a slow. So I. Right. Right. Yeah. Yeah. Yeah. I am thinking about uses and learning a lot. Yes. All your, all your words and everything. Because what I, I am trying to do with this. Is to show up. And do the work. Beyond any results. The success for me now is to. I said permission to know that. I am, I am worthy to try it. Right. Right. Right. But now they are. Synopsis. Yeah. I say, okay, maybe you can help me a lot. How to. Yeah. It depends. I mean, that's what I mean. So. I mean, if you were to tell. A friend, the story of your novel. Right. Just write it like you're telling a friend, you know, and you can tell when the friend is like, the friend is listening and the friend is like. Maybe too much information, too many details. The friend might begin to fade out a little bit. You know, but act like you're telling a friend of yours, the story of your novel. You don't have to tell every single. Idea for every single chapter. You don't have to tell the story of your novel. You don't have to tell every single idea for every single chapter. You don't have to tell every single twist and turn, but you want to tell enough of the story. So that your friend will get an idea of the story. They'll get interested. But you don't want to tell them too much that they're going to get so bogged down and all the details that they're going to sort of get. Oh, see, that's a lot. You know what I mean? Yeah. You know, so maybe, I don't know, but you could, you could probably tell it in. I mean, think of the. What's your, think of your favorite novel. Maybe this is a way to do it. Think of your favorite novel and say, if you were to write a synopsis of that novel, how would it go? Okay. That's a good way to do it sometimes. Okay. So maybe I don't know. I'm trying to think of. Favorite novels, you know, can't think of one off the top of my head. But, you know, but if you think of like, if your favorite novel or Charles Dickens novel, for example, or Tony Morrison novel, you know, beloved, you know, I don't know. Yeah. How would you tell a synopsis of that? Would it take maybe a page? You know, would it take less than a page? No, would it take two pages? Think of your favorite novel and try that and then work backwards and maybe that's the right form for you. I like that idea. Yeah. Yeah. Thank you. You're welcome. Thank you, Melania. We don't have another question at the moment. We can just sit here. Oh, go for it. Hi. So my question has to do with dialogue. If you have like just a stream of consciousness, do you like, and this could be your technique or what you think is best, but I don't know, like, is it, is it best to like just spit it all out and then like try to find different voices in it to give different character, like different characters. The parts of it, like, what's the best way to parse out. Like a grand idea over a conversation through a conversation. Right. Right. Right. That's a good question, Phyllis. So I'm, I'm trying to guess you're writing a play of a dramatic work play screenplay. I don't really know what I'm really know. Okay. Okay. That's okay. You know, you have the subject of what your characters are talking about. Yeah. Like, I feel like the knot or the ball of wax is kind of when I'm starting. Did you say the nut or the not like the knot or the tangle or the ball of wax, like they're trying to tease apart is what I'm starting with. Right. Okay. So you have like, I'm trying to figure out what that means actually. You have a general idea of the thing that they're talking about. Yeah. Like the problem. Like who owns that house like that, for example, I'm just like, if there, there's a house on a hill and they're like, I mean, everyone is like, my husband drives me crazy. Then we can, then we can tease apart like all of the, like in what way and is it what you're doing? Is it, you know, the algorithms that are feeding into us? Is it the exterior world? Like, I feel like, you know, everyone has different angles on what. Great. Great. What you said everyone has different angles. So I'm, I'm led to believe that you have characters. It feels like that. I'm sorry. No good to me. I'm so sorry. Okay. We're hearing voices. We're hearing voices. That was funny. I was like, okay. What is that? I'm guessing, I'm guessing that they're characters. Yeah. Okay. Yeah. They seem to sort of be, sort of evolving and sort of revealing themselves to me. And it sort of feels like a film, but I don't really know. It's okay. You don't have to decide that just yet, but it would, I think it would help you to decide kind of sort of generally who your characters are. Okay. What is their relationship to the ball of wax or the knot? Okay. Right? Yeah. I think that would, that would help you distinguish them. Yeah. And you don't have to even, at this point, you don't have to even think of names. You can give them numbers or letters or whatever. You don't have to think of, you know, anything, how they identify what it doesn't, that doesn't have to, you don't care. Just what is their relationship to the thing that they're talking about? Okay. Okay. And that will help you discover who was saying what. Okay. Does that make sense? Cause like if you were having, some people were talking about, um, if there were, again, just someone knockers a house on a hill, you know, but one person has lived, uh, in the town for their whole lives. They've seen that house every day. Another person is new in town. They don't know what they're talking about. Another person, you know, so you can get different, different, different takes on the subject. And that will help greatly. Um, so you, and you'll start to distinguish who's saying what about the subject. And that's the way to start. Okay. And then it will evolve from there. And then check back in after you've sort of gone through. A couple of passes of that. Sorry. Okay. Okay. Does that make sense? I appreciate it. Thanks. Okay. Thank you. Hold on. Hold on. Okay. Hey, Carol, were you trying to raise your hand before? Carol. I'm going to unmute you because I think you were trying to raise your hand. How's that go? There you go. Hey, Carol. Hi for you. It's so good to see you again. Likewise. I know you've been here. I've seen your, your Carol's iPad. It's just a wonderful sense of normalcy just, just to be all together again. Yeah. Yeah. It's great to see you. Yeah. Good to see you too. What's, what's happening with your work? No, it's that it goes. What's happening with your work? Okay. Seem to be writing poetry. Oh, beautiful. Gorgeous. Home every day to get through the pandemic. I have quite a collection now. I have no idea what to do with them. Fantastic. But it's been enjoyable. And I guess that was my question at any good ideas on where to send poems. Yeah, that I don't know. Depends what you want done with them. If you want to see them in print, I would start thinking about places that publish and print poems if you want to read them aloud. I think that's a whole, that's a different, that's a slightly different track. And off the top of my head, I don't know. I used to know places, you know, that had, you know, places where you could do like slams and stuff, but I don't, I'm not, I don't have any off the top of my head right now. It's, it's, it's such an interesting process. I don't hardly feel like I'm writing them. It's, it's like I sit down. I take my paper and pen and they fall onto the page. Oh, fantastic. It's really fun. Fantastic. If anybody in this group knows of places where they do like, where you, where one can go and read their work aloud that. I mean, they used to call my poetry slams. I don't know. Nowadays people aren't gathering. No, no, no, but I think people are, are kept. I think just gathering again, you know, really, really like just in the city. So this is, this is going to be a back page of your work. You never know. Yeah. It's really a new year week. And yeah, thanks for putting that. That's true. Okay. If the new year we can still does that kind of thing. Who doesn't. The new year weekend. That's a cool. A cool place to, to, to, it's like an open mic base. Open mic for, for poetry music. And maybe it's, there's some open mics that combine music and poetry and, and things like that. I'm not sure. I guess I was thinking more in print. Oh, St. Mark's Open New Year's. Yeah, that's a good one. What is it? St. Mark's Church Open New Year's reading. Yeah, that's a beautiful event. Also in print. Well, you got the, you know, you got your basic, awesome, fabulous magazines that print, you know, and you know all of them probably much better than I do. Just to start with magazines rather than a compilation, a collection in the book. I think so, but I don't know for sure. That's okay. Yeah, I'm just, I think so. I mean, I think that's pretty much how you do. You do like one at a time. You can also, you know, self-publish online and lead people to your website, which is also a lot of fun. If you want to do bunches of them at once. But I think one at a time. And I think reading them aloud in front of people is a great way to sort of, I don't know, try them out for much better. Well, that would be a good way to get back into the world too. It's been very isolating. Uh-huh, uh-huh. It's so wonderful to be back with all of you. Yeah, likewise, Carol. It's great to see you. Thank you, Carol. Thank you. All right, we're going to go to the MS. Come here. Yeah. Hi. Hi, how are you? Hi there, Lori. This is in Lori Parks. I have a question, please. And that is something that I've noticed that has repeatedly come up. And that is those subtle shifts. I have a story in my head and the shifts to me in my head if I were reading all of the characters make perfect sense. And then I see, as I read them, as other people are reading them, that there's like a skip and a jump and a jerky kind of a connection and it's not flowing organically. And so there's, the chunks all are wonderful, but then there's, I need somehow invisible bridges or connecting subtle links. I don't know if that's too vague, but it's just, yeah, that's my question. You seem to have answered, however people present you, you always come up with an answer. So I hope this wasn't too... I'm thinking, so it seems like you, when you read them in your head or to yourself, it seems like it's flow smoothly. And when other people read them, I'm guessing aloud? When you hear other people read them, we do a staged reading or we do something. Then the question arises, well, I'm confused about this or then I go back and I read it and I go, that is a bit of a jerky progression. Yeah, yeah. So it seems like you need to provide more connective tissue on the page. You know what I mean? Nicely said it. So the writing that you do, the first draft or second draft or third draft, however many drafts you're writing before you hand it off to your actors to do a staged reading, whatever, it seems like one more pass might be necessary before you hand it off to provide more connective tissue or when the actors bring it to your attention, that's what you're looking for. You're looking for the thing that's going to create that those bridges between what the characters are saying. And it's just maybe you're slightly underwriting the characters and you need to, because you're understanding where they're coming from because they're in your head, but you need to maybe write them a little bit more fully, flesh them out a little bit more. And that's great that the actors are giving you those notes and you go, no, when you read it, you go, yeah, that makes sense. So does that make sense? It does. It's just, I guess the only way I will learn it is by doing it, I don't know, a hundred times or something. And there's no way that I can skip that connective tissue of myself growing into finding it sooner. I just have to do it so many times until it happens without having to do, I don't know how many rewrites. Yeah, well, it's if you're, you know, sometimes maybe when you're talking with somebody and they go, I don't get what you mean. And you go, oh, I didn't explain it fully. It's just, it's just realizing that the person you're talking to can't read your mind. So you say a little more. Yeah, so you say a little more, you know, you just, you can just use the work you're working on right now as practice, just make sure that the things are connected a little bit more. You don't, it might not take forever. It might just take one work where you learn how to do it. You know, the word that you use, connective tissue, really, really, really makes a lot of organic sense to me. So it's as if it's one body and there are no holes, but you can see a whole body without shadows. So I see that so clearly in my mind that I'm just going to write on the ceiling, connective tissue. Ha, ha, ha, there you go. Oh, great, I'm so glad, I'm so glad. Thank you. Thank you so much. All right, we've got about 20 minutes left and we're gonna go to MC. Hey. Hey, hello. How you doing? Great to see you again. Thanks for doing this. Yeah. I know each answer will be different, but how do you decide when you're gonna start the beginning of your story? Does it have to be like a novel inciting incident or Hamlet or Macbeth, someone is died, someone is killed or somebody loses a job or somebody, like right in the thick of things, how do you, does it have, do you have to sort of, anyway, you know what I mean? Yeah, well, I mean, you mean not how do I, but maybe what's a good way? Yeah, and those inciting incidents and, you know, in the thick of things. Yeah, I mean, just think of any, well, not any story that you love, but think of, you know, I mean, Cinderella. Just think of Cinderella and we know the story of Cinderella. So, you know, once there was a little girl who went and collected firewood and she collected firewood every day. And then she made the fire and then she cooked the food. And we're like, yeah, okay, we're all like, kind of like, what's the story? I mean, because the story you want, if you're telling somebody around a campfire, just, you know, just like olden days, right? You're telling us, you wanna tell them something that's gonna be different from their day to day. And that's why people say, what's the inciting incident or how does this day different from any other? Or, you know, they use those techniques, which I think are good. And so I think it's, you start, again, you're telling a story around a campfire. You know, you want to, you want to interest your audience. You know, and that's why those techniques of inciting incident are, I mean, they're sort of, we might not, we might have a form of dislike to them only because, you know, they're waved in front of us as the thing that we must do. But at the same time, I think if they're good, then why can't we employ them? And we also are told to use a hammer if you wanna, you know, ground a nail, that's okay. You can use your fist, but I'd rather use a hammer. You know what I'm saying? That's okay. Just think of all the inciting incidents that you like, all the, you know, any, you know, think of novels that you love that start with really interesting things happening. Think of, you know, plays that you enjoy, that, you know, King Lear, get me the map, you know? Yeah, I mean, that's not the very first line of the play, but that is the first kind of thing that happens. It's a shit, he's dividing up his kingdom. Oh my God. You know, that's exciting. It's interesting, it's not gimmicky as much as it's effective. So I would, you know, I mean, what are you feeling like, MC? You're feeling like... Oh, no, I mean, now that I think of, it does make sense, it has proof. Sometimes I like to, you know, like, amble into it, but that's my, I know now, that's something that I should do sort of prep, but then find the time, why now, what's happened and get people in. Sometimes I like to give the backstory too much. No, no, no, backstory is great. You just don't have to give it in the back. You can put backstory wherever you want. You know what I mean? Backstory is fantastic. I've been thinking like the Wizard of Oz. She's just amble it a lot and the tornado comes. You know what I mean? Yeah, correct. But no, but backstory is great. We need backstory. You just don't have to put it in the front of the book, which will soon become the back after we flip to 50 pages, you know? And that's the trick. You have to become a smart writer and it's not what you choose sometimes. It's where are you gonna put it? Yes. And backstory can be in a little sentence at a time. You know, I'm thinking, this has maybe nothing to do with anything. Mrs. Dalloway, not Mrs. Dalloway, to the lighthouse, Mrs. Ramsey. She dies in parentheses. And Mrs. Ramsey died the year before, parentheses. I'm like, what? But there you go, you know? And that's great writing to take something so meaningful and to couch it in just parentheses. And you go, wow, what is Virginia Wolf trying to tell us? So yeah, it's just backstory is great. You just don't have to lead with the backstory. Got it. So that's why it's story, not backstory. Yeah, yeah, true, true, true, true, true, true, true, true. But you can, I mean, you can put backstory. You can start the backstory on page 150 if it's a novel. Why not? You know what I mean? Yeah. Thank you. You're welcome. In parentheses. All right, we've got about 14 minutes left. 14 minutes. And now the best amount of minutes. Mm-hmm, it's pretty great. Yeah. I don't think we have a question right now. It's okay. Just hang in, check the weather. Oh, Phyllis, go for it. With one day. Hey, it's okay. It's all good. I mean, with all this space, I thought I'd just ask. There you go. You go. Another question. So there's this children's book that my sister wrote for my daughter. And it's really great. And she did all the illustrations. And I thought it was so great that I scanned it and made sort of a book in plastic of it. But I think it should be published. Do you have any idea how, I mean, I don't know if it's self-publishing or how a children's book might get in front of the eyes of an editor that would be like yes or no or this is the waste of my time or anything like that. Oh, I don't know, Phyllis. I don't know. It's so, the publishing world is so much more exciting these days because you can put things online and gain all kinds of excitement and traction. Where, you know, years ago you had to like send it to one editor and the editors of these publishing houses were very much the gatekeepers, but now the field has opened up so much. I don't know how to get children's books published. I would just put stuff online and sort of drive people to the website. I mean, I hear so many, you know, it's like Chance the Rapper doesn't have or didn't have a recording contract and just had a, you know, I think he had a SoundCloud account and just, you know. So there are all kinds of ways to get your music out there or your books out there, your stories out there that are much more exciting and much more interesting than the old traditional ways of doing it. But I don't have any at the top of my head. But maybe someone has in the chat. Anyone else wants to, that's good. Yeah, anyone can chime in in the chat, that would be so helpful. Cool, cool. Thanks again. Thank you. All right, Danielle. Go for it. Hey, yeah. Hi. I've been a long time lurker. I guess first time talker. And I recently got over like a writing block. I'm a copy editor by day, but for like marketing content. And I didn't realize it was having a terrible effect on creative writing. Wow. But I sort of figured it out and I wrote like 4,000 words in one week. It was amazing. Wow, amazing. I know. And I had written only 6,000 in like six months. So like it was a crazy difference. But I have like a little writing class I'm taking and I submitted my work for workshop. And it's really the first time I've been like proud of a creative writing endeavor. It's the beginning of a novel that I want to venture on. And I'm feeling like so nauseous, like so terrified of what they're going to say. And I just want to know, like, does this happen forever? Or is it like something you've learned to like, you know, let go of? Like I imagine that, you know, it's my first time really being like dedicated to my work and then having people like read it. So. Right, right, right, right. Right. Well, first of all, congratulations. I mean, I hope you're throwing yourself a party and doing a happy dance. And the color of your hair is beautiful. Oh, thank you. By the way, it's gorgeous. You know, so I hope you're doing all those things to celebrate yourself because I think one of the things that happens is when we just rely on the opinions of others, you know, to feel good, to feel extra good about what we've done, that can get tricky. Cause then we're, you know, it's sort of, we're at their mercy, if you will. I don't know if it ever goes away, but maybe you care about it less. And as your confidence in your own work grows and your track record gets longer, you go, well, you know, and you also realize that some people are gonna love what you do and some people won't. You know, what we do isn't for everybody. You know what I mean? The most important thing is to keep going. So since you sent your work in to your writing group, I mean, how much of it did you send in? I just sent in those like words, like the words I wrote. Yeah, so it's about 10, I think. Okay, so, okay. So you've sent in 10 pages and what have you done since then? I took just a break. Just like not think about it for a second. Fair enough. And how long, when was your break? When did it start? I submitted it on Saturday, so I finished on Saturday and they're gonna, I'm gonna receive the feedback on Wednesday. Great. So today is Monday, is today Monday where you are? Yes. So write some today. Okay, perfect. Cause again, disconnect, decouple, your writing process and practice from the feedback of others. That's a pro tip, right? Because if they praise you to the skies, hooray, you might feel so elated that you write a million words on Thursday. Or if they praise you to the skies, hooray, you might. Oh no, how can I ever match that? We don't wanna connect what people think with what we're doing, right? So write today, yeah, write today, you know, write tomorrow. And what time on Wednesday are you gonna hear from them? Like in the evening. Great, write Wednesday. If you have to write in the morning. Yes. Get in three writing sessions at least before you hear from them. And schedule a writing session for Thursday or Wednesday night after you talk to them. Okay, I will do, that's great. Okay. That's very actionable too, which I love. Okay, thanks so much and congratulations again. Good for you. Thank you. Good for you, yeah. Thank you again. All right, so it's 5.52. 5.52. Sorry, I've got some commotion going on behind us. This is excitement. Yes, praise the town. It's a family night here tonight with a vagrant trilogy. Very exciting. That's right. Yeah. Well, maybe now is a good moment. Let you know that I'm actually here with a friend. This is Sitlali. She's a new associate line producer here at the public. She's gonna fill in in every once in a while. So, I don't want you to work. Hello. Hey, Sitlali, how are you? Great, how are you? We're good, good to see you. She's the best. Wow, very nice. Did we exchange emails earlier today? No, yes. Yes, we did. Yay, welcome. Welcome to the family. Very good. She comes to us from Willi Mammoth, where she's actually living in D.C. right now, but she's visiting for the week. Yes. Are you gonna move here? Are you gonna... I'm moving at the end of June. All right, all right, all right, very good. What's that thing? This is our exciting watch from work. What can I tell you? I'm Twitter from actually from a couple of weeks ago, but maybe they're watching. Okay. So, what is the best way to approach writing a character with issues that you don't understand? Mental health, physical, economic, et cetera. Issues that you don't understand. Yes. Well, I'm guessing that you're writing about a character with issues that you don't understand so that you will create an understanding about those issues. I hope that you're interested in developing an understanding about those issues. It's tricky for me to suggest that you write a character with issues that you don't understand. I would say develop an understanding about the issues, either through the writing of the character or through extensive research about the character, because there's a lot of, as we all know, there's a lot of appropriation going on and we don't wanna do that. But that doesn't mean we have to, quote, stay in our lane. We should be moved to write about who is gonna, who moves us. Like, wow, I wanna really write about the people who live in, I don't know where, let's say, who work at the Willy Mammoth in Washington DC. I don't know what they're going through, but I'll do some research and I'll find out and maybe then I'll be informed in my conversations and my writing about them. I'd say research is a good way to get familiar with, yeah, research, capital R. That's a tricky one, that's a tricky one, but maybe that person will come on and we can have a conversation about it. Yeah, that's a great point. Yeah, because it's hard, you know, Twitter and now that it's just been bought up, oof, well, what will happen? Oh God, oh God. All right, Nancy, go for it. Yeah, Nancy. Okay, hi. So I love Thornton Wilder. I used to give Bridges St. Louis Ray as gifts every time someone had a death in the family and I love our town and everything. I thought I wrote Picnic, I don't think he did, but I went to see A Skin of Our Teeth never having read it and I wonder what I need to do to get over the struggle with Absurdist Theater. I liked the third act because I could, I could really see the humanity. I don't know, the whole circus, it's difficult for me to get to the meat through the circus and I know I'm missing something because everyone loves it. So I wondered how you, what do you think about Absurdist Theater? How do you sort through it? I just take it, I mean, every kind of theater, every kind of anything, I just take it for what it is. You know, I'm not a, I mean, I'm nowhere near a theater scholar. I cannot speak intelligently about any of Thornton Wilder's plays. Sorry. I'm not that person. I can talk to you about your creative process, but if your creative process involves you sort of embracing a kind of art form that is, it seems like it's bumping you, I would say just open your heart a little bit wider because that person, Thornton Wilder, who I think is a really fine writer and thinker is speaking to you and there's resistance in you that is not allowing you to hear what they're saying. So just open your heart a little bit wider because I think he's got a lot to say. And that's, I'm not a Thornton Wilder scholar though, so that's all I know. No, I mean, it's not the only Absurdist Theater that I struggle with rhinoceros and things too. I just wonder what, you know, because I'm sure that my writing would benefit from freeing myself up in that direction. There's constraints that I put on myself so that even when I'm watching it, I get constrained and I don't know, it was, I was also very tired that didn't help, you know, I love theater and I'm always saddened when I don't seem to get it. Oh, yeah. Yeah, I don't get sad when I don't get stuff. I just go to the next thing. Yeah, I don't know. I mean, not everything is for everybody at every time. We just, you know, take what you like, leave the rest, move on, you know, if opening your heart a little wider doesn't work, maybe that play ain't for you. There are people who watch Shakespeare and go, meh, it's okay. And there are people who watch my plays and my whatever and go eh, whatever. No. We move on, you know, it's okay. Yeah, I don't know. But Skin of our Teeth, who directed it? I, was there a wonderful production out there? It's big. Cruz is her last name. Oh, oh, LBC. Yeah, Liliana. Oh, great. Oh, great. Oh, definitely got to catch it. No, to catch it. It's a great production. I just, it's me. That's all. Wow. Yeah. Well, thanks for going to the theater though. Oh. You know, it's a lot to get out. Nah, these special days to get out of the house. We must do it. Yes. Yeah. All right, all right. Thank you, Nancy. All right, friends. It's six o'clock. Yeah. It's six o'clock. All right, all right. All right, we'll see you next week. Okay. Yeah, that's the plan. Have a wonderful week. Thank you so much for all your questions. Have a great week. Nice to meet you all. Yeah, you too.