 There I'm needed. Great. Hey, it's SLP. This is watch me work We're doing it five days a week and we just started on Monday, so this is day five of our First week Monday through Friday. I know weekends don't feel like weekends these days at least to me They don't so but there's a week in coming up. So Who is anybody new to watch me work. I'll explain what we do Everybody's been here already You're new Okay, great. Okay. Cool. Cool. Okay. I'll just okay. I'll explain it really I'll explain it really quick So we know what it is and we know what it ain't you know a lot of people are confused when I use the title watch me work But so watch me work. It's a show the me in the title is all about you It's a it's a it's an experience this virtual experience where we can you guys can ask me questions about your Creative process. I'm Susan Parks. I'm a writer. I Write a lot of different kinds of things plays movies TV shows songs. I have a band blah blah blah blah lots of stuff I've been doing watch me work in the lobby of the public theater for 11 years We do it live every Monday at five We live stream with the help of howl round and a big thank you to the public theater and howl round today for Bringing us together helping it happen for all of you guys I figured about a week and a half ago. I was talking to Audrey and Miranda I'm like I want to do it five days a week because I think that It could be helpful to people in this difficult time Here's what we do. So I said it's a show it's a play like all the world's a stage It's a play where we create the action and the dialogue together And basically what we're going to do for the first 20 minutes is we're going to create the action together by working together I will set my timer and I'm looking where did I put my timer this morning? I'll find it sooner or later Um, I'll set my timer. Give me a sec. Hello. No And uh, we will work for 20 minutes after that we will You guys will you people will ask me questions about your creative process What we don't have time for uh in this context is to for me to offer critique and feedback on specific work So if you write something and you want to read it and have me give feedback That's not what this is about the questions That uh, I'll be entertaining our questions about your creative process Okay, so questions like I don't know how to get started or I feel like I have that writer's block thing or how do I know when I'm finished writing something or How do I get my character to talk to me or? Yeah, I want to write a novel and I've only written screenplays. What do I do things like that? Okay, your creative process That's what we're going to be talking about um Okay, anything else audrey. I'm going to mute myself and I'm going to look around for my timer. Hey, oh perfect I'll vamp with some how to ask questions. Um, so Uh, you can ask questions if you are in the zoom by raising your hand you can click on the raise your hand button Um, it'll likely be in our participant tab likely at the bottom of your screen If you're using a computer or at the top if you're using an ipad is my experience um And I'll be able to see a little blue hand pop up on your face and I'll call on us in the order that um, we get the questions um The other way to ask questions is if you're watching uh howlround.tv If you're just watching the stream and you're not in the zoom itself You can ask questions via twitter or instagram Uh on the public theaters channels or on the watch me work twitter, which is at watch me work slp And you hashtag howlround h o w l r o u n d and that's it Yay, and I found my timer. Um, the advantage is of living in a very small apartment. It's all right here somewhere Okay, so i'm going to set my timer for 20 minutes Is everybody Ready you worked and you're ready to to do something. Okay What's today the third of april? Okay, and here we go Oh great How great was that? Perfect. Yeah, all right. Well, that was the uh, that was the action part Of the show and now we're moving rapidly into the dialogue part of the show where Y'all out there who might have questions about your work or your creative process You ready? The first question is from meredis. All right meredis. You should be unmuted now Hi Hi, um, thank you so much for doing this I've been super inspired just to have this every day to like come to and sit down with my work. Um, I'm so glad. Thank you Yeah, it's been awesome. Thank you so much. Um for the past year I've been writing a pilot and I've been kind of slaving over it and I finished it a few months ago And I've been in the editing process and it's been really exciting and very fulfilling But now I'm at this tedious point where I've been asked to write like a treatment Um, so I'm trying to get this like, you know, 30 to 40 page script that I've been working on now for a very long time onto kind of two pages Um, and I've struggled with it in a way that I didn't even experience struggling with like with the script or with the editing Um, and I'm finding it so hard to like distill what it's about even though I obviously know I think I'm so involved with the characters and so involved with what I've been writing that I'm I'm really struggling to like Like summarize it I guess and pluck out what's most important as the theme and you know as these these overarching kind of pitch things um And I was just wondering if you've ever been asked to kind of like Summarize your work if you've ever had to do this for your own work before what your process is like Um, yeah, any advice or wisdom? Sure. Sure. That's great. So you've written a pilot You've done the the most of the hard work or you know, the hard work is the writing and the hard work is the rewriting And right and the hard work Is also the treatment writing and the and the pitching and all that which is different I mean oftentimes when we when we write things some people prefer writing To rewriting like who likes writing the first drafts more than they like rewriting anybody like show of hands Yes, some people like writing first drafts more who likes the rewriting process better than the writing process anybody Yeah, and and some people don't like either of those And some people love just talking about their work, you know, right, you know what I mean So so you you find the writing and the rewriting process engaging and fulfilling and and while it's a challenge It's you know something you can do Which is great Meredith And now you got to enter into that other arena right that other stage And prepare pitch problems. I pitch a lot A lot, you know in front of Rooms of well room. Yeah rooms of people, you know, yeah I I do a lot of pitching. That's part of the You know, that's part of the job on the others even in playwriting. You got a pitch Even in playwriting, you know, if we're lucky enough to get our plays, you know produced in places they the The publisher wants you to help write the blurb Yeah, exactly. You know what I mean? So, you know, or the the producer wants your your your help and crafting a blurb So that's like a treatment. It's a very small treatment But those kinds of things I do a lot of that's kind of stuff. Um, just uh, try to um Do you have a friend that hasn't read the pilot? Um I've asked most to read it at this point But yeah, yeah, yeah, I do. Okay. Great. Do you have a pet? I don't. Okay. Do you have a stuffed animal? Yes, sure Or a sock whatever. Okay stuffed animal. Great. So or a child small child or a teenager or whatever some child person Um, tell it to them Okay, you know, just keep it simple You know, keep it really simple all your beautiful curly cues all your brilliant dialogue all your perfect moments in your moment where she picked up the timer and Then dropped it, you know what I mean? Oh my god. That's such a great act out You know, maybe you don't need to include that part, right? You don't need to include every brilliant thing that you've written in your In your pilot Um, but you do need to Uh, I would suggest it's for television. Yeah, I would suggest um Uh, talking about you know, making sure you talk about the main characters the character's journey the overarching story Why you wanted to Write this, you know, why you wrote this thing and then act one act two I don't know how many acts is it four or five or three acts three acts to half hour Okay, great. So act one act two act three You know here it is here it is here it is do a little bit. How long is the the treatment has to be two pages Yeah, roughly they asked for one major they asked for a two major Yeah, yeah, just Getting get out Be dating You know what I mean You know just hit it and quit it I mean try have you have you written it already? Have you do you have a draft of it? Yeah, I have a draft of it and I guess I guess I feel like I'm repeating the same thing a few times a and then b I feel I I keep questioning whether it's um I keep questioning Whether it's like sellable Do you know what I'm saying? Like I I don't fear that when I'm writing my script Like I feel really good about the story and the like doing that part Feels more organic than I guess like position like positioning it. Um Or just I guess distilling it like that's that's really what I'm struggling with because it's about so much, right? Like to me, of course, but yeah, but I but we you know, I mean You know, we can pitch a 120 page movie in five minutes. I mean, you know, this is you know, so It's not but I think the the other thing is I feel maybe I'm wrong But I I feel you you know, there's the writing part of it Which is very organic to the writing process and then this other there's other part of it which is Treatments and selling it and trying to see if it will fit in the marketplace. You know what guess what you've chosen to write A 30 minute right? You've chosen the field. Yeah It's part of the what you it's part of the process So by separating them and going this is so great. I mean not we're allowed to say this is the part I enjoy and this is the part I don't enjoy so much But I think we we trip ourselves up when we start saying this is natural and organic and And this is man Just some commercial shit that I gotta I gotta do to sell it and I don't like it anyway. You see what I'm saying Yeah, they were kind of me me and poo pooing this part The the the treatment part of the process If you guess what if you're writing for television or film or whatever you that's part of the process Okay, I knew somebody once a while ago who? um Loved writing developing characters, right, but she hated plot Came in one day to to uh, either it was this or one of the classes I teach uh Miu and she said um, I've got these great characters, but now I gotta figure out a plot to put them in And I thought gee no wonder you're having a hard time You hate the process of plot making you don't see it as integral to what you're doing So writing treatments is a basic part of writing for the medium that you have chosen So enjoy it Enjoy it. Keep it simple. Keep it quick Yeah, you know what I mean Talk when you when you read it to yourself or to your friends or to your stuffed animal, right Stand up and read it pitch it. Hey So I have this and this and this and this and this keep it moving keep it exciting And the parts of it that you think oh gee, I left out that really fun part Try to get it in there in a short concise sentence Okay All right. Have fun with it. It's part of it's part of the world. Thank you very much. Thank you Thanks very nice. All right next we have marga Oh, are you unmuted? This button is not letting me click it got it got it. Uh, yeah, I'm unmuted. Uh, hi slp Hey marga, uh, I wanted to add my gratitude Uh, this is the first time I've done watch me work. Um, this week I think this is my third that I've attended and um I just did it, you know, because it I saw it and it's like really I can I can I can go I can attend Uh from I'm I'm in San Francisco now, but I'm originally from New York So mostly Uh, I just wanted to tell you that um, this has um been very healthy for me And to be in this in you know in the group and see everybody working on this process has been really important self-care And um, I guess the question, uh, I'd like to ask is um Do you always feel finished? When you write a piece When finished like like first draft i'm done No, when do you when do you know when do you know you're done? Right. There's a there's a little sound that Thinker bell comes and goes the timer. Uh, yeah, the the time the time runs up. Um, no, um, when do I know that I'm done? Um, it's a skill. It's just like writing and rewriting. You know, it's just like writing treatments It's a skill that we learn The more we write or that we've tried that we work to learn um You know, I I let go Grips fairly easily. I know they're they're very esteemed writers in our universe that you know, they're they're still rewriting that that wonderful You know, beautiful thing that you know, they they will go in a rehearsal Edward Alba used to follow his plays around and and Samuel Beckett too and Hi, you know that kind of thing to make sure it was done right or to make sure it maybe changed a little bit here and there Um, I don't I'm not that kind of writer. So I'm the kind of writer who Works on, you know, it's like catch and release. That's what I say a lot. So here comes You catch it comes from the spirit You do your thing with it and then Let it go. Oh Here's another one, right because I'm really interested in this mm-hmm Okay, if I'm interested if I if I'm not gonna let it go then I'm not gonna be able to do this You see what I mean? So I'm okay with it because and also number one. I love the process Right. So this is the process and I love doing that. Um I don't believe in perfect Okay, you know, that's great, you know, I mean if we believe if any of us believe god or whatever they say god is good They don't say god is perfect Right god is good. Good. We have a saint in our in our family in our family here. They are they're back there in the bedroom Um, you know good ghanook good enough It's good enough moving on You know, or you can sing that song from frozen Let it go That's good. You know what I'm saying? So you work up, but that doesn't mean I'm frivolous and and slip shot and all that Right. I really really really work on it draft after draft after draft after draft If it's a play reading workshop If it's a teleplay i'm on set rewriting Then i'm in the editing room rewriting basically, you know what i'm saying? So it's a constant constant process and then That's as much as I can do you just know when you've had enough go tomorrow. Yeah for uh for theater um But is there like a span of time that you usually look at like a year or two years When when you feel you've put in The hours for a piece it's different with every play It's different whether some plays come quickly and they're whoo. They're good And then we're on Broadway amazing right some plays. Oh take a lot of And then it premieres say at the wonderful public theater and wow great and You know, there's no there's no I don't say I'll spend two years on this or three years on this They they take the time they take but I we're also work on lots of projects at the same time Okay, so I would say do the work you you When you feel like I'm just rewriting this and I'm gonna fix a comma You know could or you feel like it's not perfect yet if you're starting to feel like that It's time to let it go If you're feeling like I've done what I wanted to do Sure, it could be better. Maybe maybe not Let it go go on to the next one You want to develop a body of work that's well crafted And that you've really worked on but not overworked, you know like pancakes. Have you ever made pancakes? I'm a waffle girl. You're a waffle girl. Well, maybe it's the same thing. You stir that batter too much Those pancakes waffles aren't gonna like do their thing, right? You can't beat it too much, right? And I don't know that's that's I pancakes and popcorn that's kind of my limited cooking but Okay, do that makes you know, so just skill you got to learn you got you got to learn you got to learn when to you know You bring it in work on it and then let it go let it out into the world and see what happens. Oh, thanks. That's perfect. Okay Thank you Thank you. Thank you All right. Next we have Simone Simone are you unmuted? Yes Hello This is my first time. So thank you. This has been a really beautiful energy exchange My question for you is about your process for world building Where do you start world building like like in a story or even yeah So how do you what yeah, what's your process for starting that creating the world? Characters are living in. Uh-huh. Well, the world that my characters are living in that's a really great question So I start with the characters Okay, right start with the characters. Um, I think that's so I um You know, I a lot of writers start with the concept. Yeah, it's a dystopian universe where everybody has three eyes That kind of thing. Yeah, okay Maybe that that is in a way starting with character too. I there's a character with three eyes and what kind of world is she living, you know But I basically start with the character and I have them I sort of have them tell me the story You know as much as I can tell me the story. Why are you visiting me? Why are you haunting me? What do you want? You know, why did you come on to the stage or into my consciousness onto the stage of my consciousness Or onto the stage of my unconsciousness depending on where I am, you know what I mean, but I start with the the characters, you know Tell me a story Character tell me your story You know And I follow the characters I give them names Even if I change their names later or I change the story later. I've written whole drafts of things that weren't even near Right, you weren't even near What they were when they were produced or published, you know, but I follow the characters Every once in a while I get a kooky idea for something and I follow the kooky idea everywhere Well, maybe more often than rare But you know, like I'm gonna write a riff on the scarlet letter and I'm gonna call it fucking a It was just a joke. I told a friend Bonnie Metzger You know one day. Haha. It was so funny. She didn't laugh. It was so funny though that I went ahead and did it you know, but You know, uh follow your imagination Does that makes does that make sense? You know, yeah, it does make sense Okay, so and if it's a world that we don't know you got to be really specific Okay, what are the rules of this world? You have to paint or what I say you have to paint the scenes that we don't see So, you know how on a on on stage, you know, or even in a like a tv show the set is very beautiful Right, but the scene works because the writer and the whole crew and cast have Created the scenes that we don't see Right, right. So like in um, what's that play? Not heck you but Phaedra Right, okay. So Phaedra. So, you know this anyway, this guy he has an accident involving Chariot and Poseidon and we don't see it because it's greek theater and they were saving money, you know So they had all their big action scenes like offstage. I'm not a professional dramaturg, but this is how I interpret it, right So a messenger would always come in right and he'd say, oh my god You won't believe what I saw a guy riding a chariot Poseidon comes up out of the sea And the guy, oh and he falls off his chair and it's a horrible accident, right? okay They've created that whole scene On the stage of your consciousness the most underused venue In the world Your mind Right, they've created that scene in your mind, right? So when we're world building we have to take that into account also Okay, but I I'd like starting with character if you don't feel like starting with character start with you know, just Well, you know, I I'm dreaming about this world where everyone is you know has wings or something, you know that you know, I don't know Start with something and follow it and The most important thing about world building Is showing up and putting the time in indeed Thank you. You're welcome Thanks, Simone. All right Next we have julian How are you julian? How are you? There you are um, I'm uh, I guess my biggest question is how Do you know where you're going when you're writing or do you do you have an outline? Do you know the ending? Um, I sort of just let my character speak to me and I keep And what happens is I always get stuck And I don't and I have no our no idea where to take them Towards the ending. So I want to have and if you in your process, do you always have an ending in sight? Or do your characters tell you what the ending is? Right, um, so here's I'll pull back from that How do you enjoy the process of having your characters talk to you and just seeing where they go? Is that enjoyable to you? It's enjoyable Until until you kind of hit a hit a wall or a And then what do you do? I don't know. I I try and push through I try and Create an obstacle for them like a meteor will come through the window or something like that. They have to deal with that All right, right give them something to over to divert But I just it always tends to be really problematic for me. And then I'm stuck for a really long time right, so do you have, um, do Not like the idea of outlining Yeah, I know I'm not against it Well, so so the question is so has this kind of following the characters and then you get to a point where You've kind of hit a wall has that happened more than once Yes, so what happens is I'm always like writing these characters Uh a plot the plot sort of reveals itself, which is really cool I'm like, oh look at this great plot and then and then it gets to a point where I'm like, okay Now I don't know how to keep the ball in the air or to like Right, so so my question is so if this is happening more than once And you don't dislike outlining. Why haven't you tried outlining? Because then I feel like because sometimes it it becomes it just feels like I'm going a b c d e it just feels It ends up becoming cliche for me Okay, so Okay, so outlines put you in this cliche feeling space. Yeah Okay And what if you wrote an outline that Wasn't Like again, I've used this analogy a lot of times. What if you know, you were in your where do you live Julian? I'm in Queens. Okay. Okay. Great. So okay. So let's say let's say, you know, we were living large and we both had automobiles Let's say you got in your automobile And you want to come over and hang out in washington square park, which is right over there. Okay, which is right. Okay, so you're like Oh, wait a minute. That's cliche. Is that cliche? You're gonna get in your car You're gonna come and hang out in washington square park. Is that cliche? No, it's an outline though It's an outline, right? It's an outline. We got character We got desire We got where he's gonna end up Right We got even means of how he's gonna get there He's living large and he has a car. You see what I'm saying. We know where he's going. We know what he wants We know how he's gonna get there But we don't know like all the other things like are you going to stop it like, you know, you know, cool bodega and get some cool Sandwiches or something on the way or is it going to be raining? I don't know but That's an outline. I think when we Outlines kind of give us a bad, you know Even if we say we don't dislike them we tend to Say maybe I shouldn't go there because my writing is going to be cliche But what if your first draft julie and let's just say you had an outline and the one thing you don't have to do when you write an outline Is you don't have to use roman numerals I just we're free of that. We're not in rome and even if we were You know, right? Okay, so no roman numerals necessary And You're gonna write this outline. And what if we say you wrote an outline and your first draft was cliche so Right right couldn't fuck with it later Rewrite yo, yeah Right, I mean, you know what I mean, but you will have created a map for yourself a path And you still might get stuck But at least you'll go well Scene two scene seven I I don't know how to write that scene where they get in a fight and and he slaps him And then he says shit and then he throws a shoe at him and then he runs down the street I don't know how to write it, but I'm just gonna like Write it anyway. Okay, because I know how to write scene eight right You know what I'm saying? So you just kind of blew that and then you know, right? Okay, cool It's it's and it's okay if the first draft or the second draft or the third draft is cliche It's okay. Yeah It's fine I know Now you're in the outline club. It's okay. It's okay. It's okay. I I do a lot of outline Cool, because I just because then I can relax my creative mind Ah It's a way for you to like Not feel pressure Well, I know it's a way for me to feel the full extent of the pressure of the creative process of having to come up with Shit for each scene, but I don't have to think about the scene. You see what I mean? So I feel I'm feeling the pressure, but I don't like you're driving your car from queens to Manhattan You're not feeling the pressure. Oh shit Where am I going? Oh no, you don't have to think about that. You have to think about. Oh, here's the traffic Here's a car. It's raining here the wipers What song do I want to hear on the radio? I get to delight in the details cool Yeah Awesome. Thank you. Give it a try. See if it works. Who knows Thanks, Julian. Thank you. All right Next we've got Natalia Oh Are you there? Oh, there you go. Yes, I'm here There you go. Where are you and a beautiful is that like just a backdrop or is that like real? Um, I'm out in Oakland actually and uh, I'm a Los Angeles native, but I moved up here for the Bay Area Theater um, I would say first of all, um, I'm just very honored to to be here, um I'm I guess I would call myself a closeted writer um I just I like to write in my journal. I like to write about my feelings and a lot of my Work stems from personal experience. So, um For example, what I'm working on now is uh Is a play. I'm not sure if it's going to be one actor or two acts Um, but I do know the theme is going to be focused on family. So, um The thing I have struggles with is Pulling away from the very personal work and giving it space So others can also connect to it. Um, I'm not necessarily Striving forward like the universe out like the universal Um message. I just want people to um To feel it, you know And I want people to um Even if they don't have the same circumstances In the piece that they're watching I want them to have some kind of um connectivity to it So I think what for me what I want to do is um make work That appeals to not everybody but I just want to reach an audience where Um, they can relate to a personal experience because I think sometimes it could be too much when there's a lot of emotion um, for example, um I actually watched a recent play of yours um And I really enjoyed it. I watched it at the Berkeley rep and um, I also watched it in the at the public theater So I watched it twice. I had the pleasure of seeing David Diggs portraying the same character. Um, and it really inspired me So I want I wanted to write a piece um In the similar vein to that so I don't know if you have any advice for that writing process of Combining the personal but also the public I I guess that was a lot of explanation. I'm also like nervous No, it's great to want to write things that that touch people It's great to want to write things that come from a personal place And and you want them to touch people I say, um You know, there's I don't know who said this quote No tears in the writer no tears in the reader You know, so I feel like Natalia if you're feeling it The chance that somebody else an audience person Or many audience people might be feeling it is is high, you know, because we are Cut from the same cloths all of us, you know and not exactly You know, we're all exactly not going to be feeling the same things about the same things But but there's a good chance that if you're feeling things when you write it and when you read it and you know Then there's a good chance that that that we also might be be feeling things. Yeah, there's um So an interviewer smith is also a very Just like amazing writer that I also relate to because she does a really beautiful thing with interviewing people and keeping like their voices very You know, it's their voice And she is using Their voice to share a message That touches people and so like Twilight Los Angeles was A piece that I really resonated with I went to UC Santa Cruz. So we did a lot of work Where it was very experimental and we had a beautiful opportunity to Also have student run productions. And so that was a production. I was a part of Where I had to memorize a 12 minute monologue. I'm primarily an actor. Um, and that hit a lot of different inspirations and I started writing about four years ago this play But I like let it go. I like push it to the side Um, so this is just kind of like wiping the dust off of my work and I guess like starting from scratch Um, so this is this is very helpful because I I've come up with having a narrator as part of my play To kind of give that neutral like the neutralness Um, or just kind of like the messenger like you said. So that was very helpful. Um And just make sure you put the time in Natalia. That's the most important thing I mean, if you're if you're sort of you're outing yourself in front of all these people as a writer You can just have a closet right? So now you're now you're a writer We're going to hold you accountable and you got to put the time and that's the most important thing that you can do Um, more important than trying to calculate how many people it will resonate with or whatever, you know Um, you got to put the time in you got to spend, you know, I would say at least, you know 20 minutes a day Um working on your work, whether it's free writing and just getting ideas developing characters Developing the world like Simone was talking about whatever you do. You got us. You got to put the time in Um every day if you can Um, and that will really help your project You know develop so Okay, thank you so much. I appreciate it Thanks Natalia. All right. We've got about three minutes left Um, the next person is alex Oh my gosh, I didn't think I was gonna get to go Um, hey, what's up you guys? Um So I'm also a closeted writer. I'm also a writer a lot of the things that people have been sharing I feel um At also just like crazy amounts of gratitude for having this opportunity. This is incredible Something that I've been feeling a lot. I'm writing my first. It was a screenplay now. It's turning into a pilot um Is a similar thing to what was said before about It's not about outlining it's about finding where I'm headed and finding the um I do a similar thing to what was said before about like the character speaking to you and telling you where it's headed um And I'm just having trouble finding the next Plot point and so I think it's more about that moment of like, um That moment of discovery like My writing it sometimes I get stuck and then it's like I don't I don't know I don't know where to outline to does that make sense Like I don't know where the if I were to outline where the outline is going to go and how if you have any Advice about when you're in that process and you feel that block any kind of like exercise or like muscle building to To spark the creative process again or get the story moving. I don't know. Yeah. Yeah. I do and a lot of the the muscle building activities Involved doing stupid things I use that word. I don't use that word lightly stupid things because I think we all want to do well You know So sometimes wanting to do well wanting to write well wanting to look good wanting to look like we know It gets in the way of just getting something done or getting An attempt out getting that first draft out, right? So if you're outlining and you don't know where to outline to ask yourself, what do your characters want? More than anything again using julian, you know and me in the car in washington square park and in queen You know if julian's character. I want to go to washington square park You know great, then that's what they're going to be doing Okay, but you but you doesn't have to be a great thing like washington square park It can be stupid things so think of 10 like i was telling carol I think yesterday think of 10 stupid things that your character wants to do Or think of 10 stupid things 10 stupid ways to end your pilot if it's a pilot you're right, okay 10 totally stupid things They go to the moon. They you know, whatever whatever they have to be stupid Because you you're I'm encouraging you to allow yourself to just write something Okay, that's I write something It's funny the minutia, you know when you're using the example of like in being in the car or whatever And you don't know where they're gonna, you know, if they're gonna stop or they're gonna grab something or they're gonna roll down the window Or they're gonna swerve or whatever The minutia for me is so easy to write. I'm sure this is not uncommon And it's like the big things that happen where i'm like, oh So the stupid thing exercise would be helpful just to like get break out of the box a little bit Yeah, roomy the poet roomy says wisdom is Knowing what to pay attention to and what to ignore So when you're writing your outline ignore the minutia Writing, you know, that's not going to help you necessarily, you know When you're writing your draft your dialogue your juicy beautiful, you know plot points I mean your juicy beautiful scenes and all that then you pay attention to the smaller things you start Big and go in, right? Yeah So know what to pay attention to and know what to ignore and when to pay attention to those things and when to Not pay attention to them So, well, thank you so much It's 601 It's 601 Turn it to a pumpkin Um, do you want to talk about I'm gonna talk about next week or we talk about next week All right, you guys next week as promised the links. They're up on the public leader website. They're all correct now Um, you can go and sign up. You put your name your email address and we send you a link. Um by 3 p.m Each day Um, yeah, we look forward to having you. We'll be here god willing and the you know the creek don't rise Yeah, okay. Thank you guys. You guys have made this really wonderful It's the first time I think I've done it for five days in a row. So thanks. This is really really great We love you guys. Have a great weekend. Stay safe. Wash your hands Don't touch your face. You know how you know the drill. Okay. Bye. Bye. Bye. Bye. Thanks guys