 speaking, talking. Hey, it's Watch Me Work. It's Tuesday. And we've been doing this show for 11 years and blah, blah, blah, blah, blah. I hope you guys know the story. If there's anyone who does not know the story of how we started doing this. We started in the lobby of the Public Theater and now thank you to the Public Theater and thanks to HowlRound for joining us to live stream in the lobby and now joining us, partnering with us to create this community during this very troubling and abundant time 2020. So what we're going to do is we're going to work together for 20 minutes. Any kind of work you want doesn't have to be writing, although it can be, could be any kind of work you happen to be doing. And then we will check in with Durham and see what kind of snacks he wants. And then we will talk with you about your work and your creative process. And should you have a question about your work and your creative process, after the 20 minutes, Audrey is going to tell you how to get in touch. Go Audrey. SLP. If you are inside of the Zoom, all you need to do is click on the raise your hand button in the participant tab, which is likely on the bottom of your screen if you're on a laptop or the top if you're on an iPad. And if you're watching us on HowlRound.tv, you can tweet at us at atWatchWeWorkSLP with the hashtag HowlRound, H-O-W-L-R-O-U-N-T. And you can also tweet us at at public theater and why or write it to us in our Instagram. We'll catch you there. Back to you SLP. Because we have nothing but what can you do, what else do you want to do? Okay, we'll practice during the 20 minutes. We'll work. We'll do some work. Okay. Okay, so here we go. Ready, Audrey. Hiya. All right. Okay. How lovely. Yeah. Here we are. Here we are. Hopefully we got some work done. And maybe someone has a question. Yeah, we got some questions today. Karima, you are up first. Hey, Karima, how are you? Did it work for you? Are you unmuted? Okay, there we go. Okay. How are you? I want to piggyback off of a question that happened yesterday. The young lady was asking, she was interviewing. She was talking about writing something about her mother and she was going to interview. My question is, if you interview someone and you use that in your piece, can they then say they help create your piece? Can you hear me? I can hear you. I was thinking. And when just FYI, you guys, when you guys usually talk, I mute myself so that I can actively give you the floor. So, Karima, I would say that if it is, you know, if it's like, hey mom, I'm interviewing you because I'm going to write a novel or a song or a poem or a screenplay about your life, I would say that's a close family relationship. It's very upfront. You know, you probably heard the stories and bits and pieces that your family member has told you and you were telling them that you would like their participation. So, they might be your research partner in a way, you know, but a couple things. So, that's one thing. So, I would say if I were interviewing my mom or my dad or a relative and we were talking, I would say, tell me about that time when you guys were, you know, went to the March on Washington, you know, because I'd like to write something about that. I'd say they would have given me information, necessary information, but I would not consider, I mean, I would say they helped me write it by giving me necessary information, but we do know the difference between writing and giving someone some information. You know, right? I mean, you could sit down. I'm sorry, go ahead, Karima. I agree with that, but my thing is that I think I'm looking at a legal part, like you're saying, I gave you this, I helped you, you know, by giving you this information, I feel like I should benefit if you did benefit off of it. I'm thinking legally, would they have a right to come at me? Sure. Well, you know, it's IP, it's intellectual property. And I would say that if, you know, if you, for example, maybe you're writing a play about, you know, COVID or whatever, and you went and interviewed, you know, 10 doctors or something, you know, I would say that you should get some kind of waivers or something from them and you should talk it over with your, if you have an agent or a lawyer or somebody who you work with professionally, you know, I would say that you just, you just are mindful that you are using people's stories that who aren't just friends or family members or things you've ever heard, you know what I mean, or things you kind of ripped from the headlines. And I would say that that's a, that would be the most respectful thing to get some kind of a document that says I am allowed to use this story you told me or something in a piece I'm writing, you know, because then of course, you know, we one would be, you know, harvesting, we talked with someone maybe last week or the week before about taking stories from people and then turning them into something. I think those people would need to be acknowledged, but that's a really illegal question. And, you know, I think a lawyer professional would know more about that than I do. Okay, I was just curious. Yeah, good question. Thank you. Good to see you. All right, up next we've got Kim. Kim, are you there? I am here. Hi. Thank you. Hi, Advi. Thank you. So, first of all, I wanted to say thank you so much for doing this. I met you, Lori, Susan Lori, when you were in Cal Arts, it was the final project and Joy Tomasco is a distant kind of a friend through her sister. So I got invited and that's when I met you and that was love at first sight. And I've been kind of dreaming about taking a class or getting closer to you and hear what you had to say. So this is pretty mind blowing that I have this opportunity. So thank you. I'm kind of struggling with a large piece now, think like West Wing or Grey's Anatomy that I'm creating. And I'm wondering how to weave in a large piece with various story lines. And the other thing as a side, if we have time, I have a play that I've reluctantly, I haven't really started submitting it because of the artist statement. I really hate that. I can write for other people, but about myself, not so much. So is that really necessary? Can I just go, hey, if you like it, if you don't, you know, I'm 58. I don't care if you like me, but do you like the piece? I don't know. But those were my two questions. And thank you so much. Sure, Kim. Hey, it's good to, I enjoyed Tomasco's project with such a long time ago. I've put it in my storage container, my mind. It's good to see you again. Let's do the easy question first, I think, which is the artist statement. Does this organization that you're submitting to, to which you're submitting, do they ask, are they asking for an artist statement? Well, there's so many different criteria depending upon who you send it to. And I just don't feel writing it over and over to adhere to every single specific. Sometimes they do and sometimes they don't. They applied for different things. And it's nauseating to write about myself. I hate it. I really hate it. Going to the dentist is more pleasant. Ah, well, you know, if it's so unpleasant, Kim, I think you should do it just because it's really unpleasant. And it might, you know, I mean, you've gotten your piece done, right? You crossed the finish line for that. Now you have to talk about who you are, what you've been doing, what's your name, what's your sign. I mean, just about yourself and what you hope to accomplish with this piece and like that, like what your thing is. Try it. Try it. It doesn't have to be 10 pages long. It can be, you know, you know, this. You know what I mean? It can be a half a page. You know what I mean? Give it a try. It's just as an exercise. Again, we, you know, people who want to write or want to play an instrument or whatever and don't, they don't often because they think it should be easy, you know? And when they encounter difficulty, they think, oh my gosh, I must be doing it wrong. But you know, you've written a piece that you're proud of and that you're ready to send out. And now you have to send out an artist statement. Have some fun with it. Sit down and spend 20 minutes just babbling out stuff, you know, clean up the typos and read it to a friend. All right. It's loosely based on my life about sexual abuse as a kid and it's a comedy of course because that's how I've had to deal with it. That's my only coping mechanism. I don't do drugs and I'll drink. It's never been my thing. So I just did it through humor and, you know, so it's kind of hard to put into words. Jim, you just put it into words. Hate to tell you. Really? It's about sexual abuse and it's a comedy, of course, because that's how I deal with it. I don't drink. I don't do drugs, but this is how I deal with it. And so here it is. You can add a couple more lines, you know, about like where you're from or where you grew up, whatever, you know, and that's pretty much it, Jim. Thank you. It would really help the reader to, it would really, the reader would appreciate your work even more hearing that from you. Thank you. I appreciate it. I'm glad I asked that question. Thank you so much. Sure, sure. Now about the character, multiple storylines, I mean, you got to one character, you know, one character at a time, be very simple. Think of, I mean, you said West Wing or Grey's Anatomy, you know, Dickens, Zachary, you know what I mean, these multiple storylines of multiple characters, just again, stay focused on each character, what they want, you know, and imagine if you can see them since it's going to be, I think, a teleplay, right, that you're writing. Yes. Then just picture them in your mind as much as possible, not like who would I want, what actor would I want to play this character, but what are they doing today? What's their journey over the, in the first episode? What's their journey over the season? Where do they start in the season? What do they want and where do they end up? You know, you have to do that with, with, you know, your main characters, you know, and how do their storylines intersect? And I'm sure I know there are so many good books out there about how to write TV series, and they might be good to check out, at least a couple of them. I don't know any by name, but okay. Yeah. I'm steady. I'm doing those master classes with Shondra Rhymes and Aaron Shorkin. There you go. Okay. Yeah. Okay, just don't write a play called The Kill of Mockingbird and put your name on it. That would be my advice. Then, you know, we each have our own cross to bear or God to answer to. So yeah, I really appreciate it. Thank you so much. Thanks. It's so good to hear your voice. Thank you. Thank you, Kim. All right. Up next, we got Faresta. I think I clicked. Are you there? Yes, I'm here. Hi. Hi. Susan, Laurie, thank you so much for doing this. I finally joined the Zoom call a couple of weeks ago, so now I'm asking my first question, and I'm really grateful to you and everyone else here. My question is that I'm working on a performance piece that originates with a bunch of writing that I've been doing this whole time with you that is mostly in the form of poems. It is around a theme, but there aren't characters and it's not like a narrative. So I'm wondering if you have any advice about examples of work that I might look at or read or things I should think about because I think there's a lot of detail and metaphor that I'm not sure how I'm going to make kind of come alive off the page, even though that's my intention. Great question, Faresta. For colored girls who have considered suicide when the rainbow is enough by Intazaki Shange, is the I think off the top of my head the best example of a group of poems that are vibrant and alive and theatrical and very moving. There are ones, there are many, but that's the one that comes to mind first. Do you know that one? I do. Okay, great. So what do you think of that? Has Intazaki's work helped you? Oh yeah, I love it. I think it's a good reminder to revisit that and also maybe, I don't know if I can find some video of some productions that have been done, because that might be nice too. Yeah, yeah, I think there was a movie made a few years ago that I wouldn't recommend it, I don't think. I don't know if it would give you an idea of it, but I bet you if you get the text, right, from, you know, I would say the bookstore, but you know, you get the text, right? And you read it aloud. I think that could really, you could feel it in your body, you know, you don't necessarily need to observe the staging. Just know that there are a collection of women who are performing these poems, you know, and it's very moving. And if you just read the text aloud to yourself to get it in your body, I think that could be very, very helpful. And maybe, you know, I know it was done at the Public Theater last season, which was a beautiful production, directed by Leah Gardner. And, but I don't know if they took a video of it or anything. Great. Thanks so much. Thank you. Thank you. Thank you. All right. Tarek, you are up next. Are you there? Whoop, hold on. Are you there now? Yes, thank you. Hi, sorry about that. Thank you for announcing my name right, which was shocking. Thank you. And thank you, Susan, Laurie Parks for doing this. As everyone has said, this is so cool. I didn't even know about this until the dead of night when my professor emailed me and said, I signed you up for this thing. And I was like, whoa, cool. But I guess my question is when you're writing and you reach a moment, or I guess to think about your pieces when there are moments that sort of break the mold of your own piece, I'm thinking like Butcher's monologue from fucking A, and where he just sort of goes into this diatribe of the longest time that is like has nothing or not has nothing to do, but is not yet seen in the rest of the show and not really seen after. And it's just this like really interesting moment where you break out. Like, how did those arise from your writing process? And how do you come to these moments that just sort of set themselves apart from the rest of your piece? Yeah, that's a swell question. I think to make it about your work, of course, because this is about your work. So as you're writing along, a lot of people say, oh, writers, you know, or songwriters or whatever, we have a lot to say, you know, right? So if you've ever been around a person has a lot to say, a lot of times they do a lot of talking, right, which is interesting. They do very little or they do less listening than they do talking. And as a writer, while we can all say we have a lot to say, I would suggest that we listen perhaps more than we talk, right? So that what, because those moments, pretty much all the moments of anything I've ever written come from listening. They don't come from talking. I'm a listening kind of writer, right? Which doesn't mean that I don't have anything to say. It's just I listen a lot. So when a moment comes that kind of breaks the mold, as you call it, of a play and Butcher is talking a lot, that's just because I was listening to him and didn't feel the need to have him conform to something that had come five seconds earlier in the play or five scenes earlier, right? I was just paying attention, right? I was seeing him, which is a way that we give respect, or that a way that we get respect, right? I was reading him, you could say, right? I have a whole, I can get on a soapbox and talk about literacy from one person to another, right? When I see you, I listen, which is why I try, when you guys talk, I try to mute myself so you can see that I am not talking. I'm listening to you, you know what I mean? So I would suggest as you write along, you know, I'm guessing you're a writer, right? Yes. Okay, as you write along, you listen, allow yourself to be moved by your characters, by your story, by their desires. Okay, so strangely enough, it's not about you, right? It's about the big self, the big S, right? Does that make sense? Okay, now I can unmute. Yes, makes a lot of sense. Thank you so much. What are you allowed to not do and do on this Zoom call is very complicated, but it works efficiently in a tremendous way, so I respect it. But thank you. But does that make sense to you? Is that something that you can apply in your writing? Yeah, I think that makes a lot of sense. I mean, the reason I referenced fucking A was because I was in a production of it two years ago where I was not the butcher, I was mayor, and so I was like listening to this happen. And it was the one actually at Yale while you were teaching, I think. I think the Dramat did it. But who knows. But yeah, just I think listening makes a lot of sense and trying to hear both of not only as an actor, but as a writer as well. That's a great point. Yeah, it's hard. It's difficult. But it's very helpful in the writing process. And when you're making friends also. Thank you. Yeah, good question then. Thank you. Thanks, Tarek. All right, up next we have got Jacob. Jacob, go for it. Oh, hey, Jacob Rice. I mute yourself. Sorry, I tried to unmute myself at the same time you tried to unmute myself, so then you unmuted me and then I unmuted me. It was great. Needless to say, technologically adept. Hi, Susan White. So the question I have is a question for a particular piece that I'm working on, but also a question that I find myself running into every time I write a play or movie or anything, which is that I feel like I always start with a like goal of sort of theme and idea of what I want to talk about. And then I write for a while and I try and listen and feel myself into the skin of the characters and to steal another of your phrases and advice. And then sort of trust that process to get me to a place that will feel dramatically satisfying. And then I get to the end and I realize that my play or movie is no longer about the thing that I set out to figure out what it's about, but I don't know what it is about. And I'm wondering if you have any advice in terms of sort of ways of listening to the play as it has come out of saying, okay, what are you, so that to then take the next step in second and third drafts of trying to make it a better version of what it is, knowing that it has been, it is no longer the thing that it was when it was an imaginary idea. So do you think like, do you feel like cheated? Like, no, you don't feel cheated. You just feel like, wow, what? I thought I was going to write about. Yeah, I think I probably felt cheated the first couple of times. At some point, I realized that this was just the way that I work. And so I had to deal with it. Yeah, there's a, there's, there's bait, you know, God dangle the lure. Come on, Jacob here, it's going to be about scrambled eggs. And then you write it and it's about yesterday and you're like, gee, how'd that happen? You know, well, I think, you know, so you get to the end and it's not about what you thought it was going to be about. Can you ask it? I mean, do you have conversations with your work? Like, what's the story? You know, I feel like your plays or your movies or the things you write always have a relatively strong narrative. Is that not sufficient to, you know, what is little red writing hood about? We could speak about the themes and the lessons, or we could speak about it. It's a little girl who goes into the woods. She has a red cape on and she's headed to grandmother's house and she ends up saving the world. Do you see what I'm saying? What is it that you're trying to, can you still tell yourself a story when you get to the end? Yeah, I think what it is is that I start out writing, everything I write, I write to theme. But as I write, I create a story and then it's about, and then I know that to get it to a place that it's dramatically satisfying, I have to figure out what the theme of this new story is, right? That like, the narrative has created its own themes. You know, no, theme is like, like, ah, theme, yeah. So, yeah, I mean, theme, I'm mostly story based and character based. And like if, for example, like we're talking about, you know, fucking A, I don't know the theme of that play. I can tell you the story. You know what it means now? That's, that's for, I mean, that it could mean 100, 150 million thousand things. What the theme is for King Lear, there are many themes. The story, I could tell you. I wonder if it would be helpful, Jacob, and I've been knowing you for a while, you know, it would be, would it be helpful to really focus on the story and enrich the story and let the theme be something that could be a mini-splendid thing? I don't know. Or just say it's about something. It's about this. I mean, you could ask it. You could also talk to the play. Hey, I know the story, you know. What's the theme? What is your theme? Write down 10 themes. If you really want to know the theme of your play, write down 10 themes. It's about good and evil. It's about an unjust society and how we have to fight an unjust society. It's about, I'm not, I would guess that if you have a strong story, Jacob, the theme is there whether you can articulate it or not. And I think as long as you can tell someone the story, that's going to be the most satisfying thing. I just watched Princess Mononoke again last night. You know, I could tell you the story. But the theme is, you know, there are many, many, many, many things, you know? But I could tell you the story. Yeah. You know, pamper yourself. Treat yourself like a, you're a hard-working writer. I know, Jacob. Treat yourself like an eight-year-old and tell yourself some beautiful stories. You know, go out for some chocolate ice cream if you like chocolate ice cream. You know what I mean? Yeah. Yeah. You know, you know, go down and hang out in the park and have some chocolate ice cream and tell yourself a story. I wish, Jacob's like, what? No, I love it. I have like a list of like 15 things that you've said over the years. I just go back to when I'm lost and I'm like, one of these is going to answer my question. I'm adding that. Some, some, I mean, I'm suggesting some, some, a treat, some fact, something a little naughty, you know, something kind of illegal. If you're like on keto or whatever you try, you were trying to improve ourselves, you know what I'm saying? Something kind, something relaxed. I think the power of story, we overlook the power of a beautiful, beautiful stories. And remember, Jacob, the yarn is what helped the people navigate the maze. Ariadne stood at the mouth of the maze with a yarn, a yarn, a story, yo. And she, and they held on to the story and they were able to navigate the maze. Now, whether they meant that or not, when they wrote it, I don't know, but that's what I get from it. And that's what I believe in. I believe that. I really hope that PON works in Minoan, too. Right, right. I wouldn't know. But, but maybe with some gestures, it can be, you know, right? We can explain it. I think, I kind of think it does. Yeah. You would know, though. Don't you speak? You speak. Don't you speak? Don't speak yet. No. You speak something. Anyway, okay, okay, enough, enough, enough. Thank you. I hope you enjoy your ice cream, Jacob. And on to Jody. Jody, are you there? That is me. I am here. He told me. He said my name. I was like, oh wait, what do I do? So, I want to apologize in advance if I'm a little rambly because I'm not entirely sure my question. And I don't even know if it's necessarily a question, but just rather something that I know I struggle with in terms of kind of like getting out of my head. And I know you talk a lot about listening, like listening to the play, listening to your characters even before that you're writing, and then, you know, and also talking back to the play as it's developing. And I guess I'm just curious, like how do you, or what are some things that you do to balance the listening and the writing so that you don't spend, you know, how do you know when you're done listening? Or is it just something over the years you've developed a rhythm in? Because I find myself, I get so caught up sort of in the listening and the trying to plan. And then I get a little frozen when I'm trying to move from that space into the writing. Does that make sense? And listening could be a whole body thing, you know, Jody. So it's not like listening only happens, you know, here, right? So listening is a full body thing, like you're listening to a friend, right? It's when your character starts to, you know, she starts to, like, do you have kids or pets? I have three. And three as well. Wow, you have three kids and three. Three kids and three pets. Yeah. Oh my god. Okay. So I'm guessing one of them can cross the street by themselves. I think they can all do that. Yeah. Fantastic. There was a moment, right? Wasn't there a moment when you, like, let them cross the street, but there was a letting go, right? There was an allowing that happens when a certain amount of growing had been accomplished, right? So you're listening to your characters, you're talking to your characters, you're, you're maybe architecting some scenes or some, like an outline. I'm using scare quotes or air quotes because, you know, it's kind of a loosely based series of beat sheet kind of thing where you're thinking, this happens and this happens and this happens. And your character's like, I got it now. I'm going to talk in and you're going to write things down. You know what I mean? Yeah. That's also listening. Listening is also writing things down while your characters are talking. Right. While, while that, while that other part of your brain that seems like a character is talking. You know, right? So you got to, at some point, you have to step out and start writing. I like outlines because they're like little maps and you can sort of, you know, feel more comfortable than not as you inch along, you know, like you would help, would have held your child's hand crossing the street for the first right seven years or, you know, I'm looking at my kid holding his hand and when he like brushes inside now, you know, right there. But it's your, it's a feel thing. You can feel your characters becoming big enough or they will tell you, you know, you will have built them up enough. Right. Right. And it's not a head thing. So it's not like you got to like get out of your head. You know, it's you're, you're filling up, you're listening with your whole body. You're, you're imagining your characters and all their, you know, if they're humans, you know, and what they got and, you know, that kind of thing. Right. You can, when you take walks, you can talk to them or think about them. That's all, that's a nice thing. Get in your body as much as possible, you know? Does that, does that make sense? No, it totally makes sense. And I love the analogy of with my kids and or my pets, whichever we're going with, because it's, it's such a question of like control, right? And, and, and being able to recognize the autonomy of the individual. Right. Exactly. People maybe a little less are more than pets, but you know, on your approach, I know that makes so much sense. Exactly. And it's also trust, you know. Yeah, absolutely. I'm gonna, I'm gonna trust you. I'm going to, you know, I want to see what you got. And it's okay if your character doesn't figure out everything where they might do a couple of great scenes and then kind of, oh, so listen again. Hey, what happens next, you know? I love a little, a little outline is, is okay. It's fun to do. You know? Great. Thank you so much. You're welcome so much. Good question, Jody. Thank you. Thanks, Jody. Thank you. I got you. I needed you. Don't worry. And up next, we've got about six minutes just to say and got Debra. Go for it, Debra. Thank you so much. I've just been doing this for a few weeks. I'm so appreciative of it. It's been very amazing for me to have this place. So thank you so much. I started at peace when I started doing this. And I know the characters very clearly. I've been thinking about them for a while. So to be honest, I've been writing most of my adult life, but I took a big pause when I had children. So I'm kind of getting back into it. And I find myself doing a lot of showing instead of telling, which I know is a big no-no. And I think part of it is because I don't know where to start my story. I'm kind of like starting over here instead of in the beginning. And I find myself as the characters are doing things, giving so much story. And I'm like, maybe I should just be showing all of this. But I don't know where to start it. And I just would love some advice on how to get to that place, maybe. So Debra, I'm going to repeat a few parts of your question because your audio kind of went in and out just a little bit. You've been writing most of your adult life. You took a little hiatus when you had your kid. Is that correct? And now you're getting back into it. And you've been writing, and you said you've been, did you say you were journaling more than writing, which is a no-no? Is that what you said? Yes? No, I was saying that basically I've been showing more than telling. Showing more than telling. Sorry. Yeah, I've been telling more than showing. You've been telling more than showing. I know. There's one of those rules. So don't show. I hear you. I hear you. And you're wondering where to start. Is that correct? Yeah, I think that's my problem is because I'm starting in chronological order. I find myself knowing these characters so well that I just just pour out all this back story. I just start telling, telling, telling. Yeah, that's totally okay. I'm going to show you a secret. It's not secret. It's a magic tool, though. I have many of them. Here they are. So these are really, these are really cool. They're relatively affordable. You can, I like them with no lines, although you can get them with lines and their index cards are three by five index cards. And I would say, Deborah, would it be fun for you to get a whole big stack of them and just to start writing out cool things about your characters on the cards? You can put them in any order, right? And you can do, you can get a stack or you can get a whole box of them, you know, but you can get a stack of, let's say, you know, 200 and write things about your characters, scenes that you'd like to see. Is it a novel or is it a play or? Go ahead. Sorry. Is it a novel? It's a novel. It's a novel. So you can just write things that you'd like to see in your novel. I'd like to see the scene where Jane and Francine have coffee and Francine tells her all about her divorce and Jane says, you know, Jane, you know, she laughs, you know, whatever. Just write the scenes out on the cards. Okay. Then you don't have to worry about the order. Then after you've written maybe a hundred of these cards, you say, do you have a lot of stuff? Right? Yeah. Maybe you might want to start putting them in some kind of order that might be pleasing to you. It's fun. It's also very portable. You can go outside for your, I don't know where you live, but you can go outside for your socially distanced walk, right? Wearing your mask, very into masks, and you can carry your cards with you and write on them outside in the park or wherever, or shuffle them around, right? The idea is, and you want one of these, a clip, right? That's an appropriate size. You can keep them together, right? It makes it really fun. It takes, for a moment, it's a way of what we do, call lowering the bar. It takes out the anxiety of, oh my God, did I start it in the right place, right? And it just gets you in the joy of writing. And I very much, we wear it, we all very much want you to enjoy the joy of writing, especially as you're getting back into it. I want you to have a good time, you know? So you can also write if you want, also on your computer and your notebook or whatever, but fill up index cards and then play with the order of them. And the show don't tell, tell don't show. Don't worry about that right now. Who cares? Who cares? You know what I'm saying? The main thing is to have fun, keep writing, and take some of that pressure off to start with, you know, in the right place, the right scene, you know? Because it could be a huge, it could be a four-volume, you know, like my beautiful friend or something, you know, that novel, that beautiful novel. It could be a, it could be remembrance of things past. Who knows? You don't know. So just start putting things down on cards and see what it is that starts to accumulate. Energetically, things will start to come together after a little while. Okay. Okay, congratulations on getting restarted. Thank you. It's 601. How did this happen every time? I'm having fun anyway. Yeah, me too. Tell them what you got, tell them how to. All right. As a reminder, if you want to sign up to be inside of the Zoom, you sign up on the public theater website by 3 p.m. every single day, well, Monday through Thursday, by Eastern, 3 p.m. Eastern Standard Time, and I will send you a link between 3 and 4.30 p.m. Otherwise, you can watch us on hotroom.tv. We'll see you tomorrow. Thanks, SLP. Love you guys. Thanks, Audrey. Love you.