 You're just looking very lovely. Great. All right. I just want to walk in here. All right. So here's your costume. Look at all these people. They're like, bleh, bleh, bleh, bleh, bleh. It's exciting. Yeah, dear. Yeah, if you want to have a seat, then come in. Thank you. Did you do something magical to your hair? It's paint. It's like bouncy. It's very pretty. Why do I have these on? That's okay. Okay. So does anybody need me to, would anybody like me to explain what your work is? Because some people are still confused. I mean, you haven't been here before. It's okay. Okay, great. If you haven't been here before, that's cool. That's all right. Because then, you know, then you'll know. And once you know, you can never unknown. It's one of those wonderful things. Thank you. It's really simple. Basically, we're here together. And what we do is we set, we set our timers. We work bless you. And I know your name, but I can't remember it. But you don't know it. No, I knew it. Sorry. Everett. I live in a continual presence. Everett? Everett. Thank you. Thank you for correcting me. Everett, like crew. Everett, crew. Got it. Got it. You know, a little mnemonic device. So what we do is we work together for 20 minutes. Okay. On anything you want, most of us are writing things. But you can do anything you want. As long as it doesn't disturb others. And then we, after the 20-minute timer goes off, then we talk about your work and your creative process. So if you have questions about your work and your creative process, the gesture is all you know, right? Right. You may, you can ask me and we'll offer some answers. And then we'll kind of maybe bat it around a little bit. Some other artists in the community might offer some answers. Okay. And that's what we do. So it's an opportunity for you to talk about your work and what you're going through. For example, you don't have to talk. It's not mandatory. And that's basically it. Have I left you down? Is there something that you know? Yeah, that's right. There's some people watching online, because Avery's behind the camera, and Audrey's going to come here, and we're going to explain how those people are watching online. You can do it. Totally. So if you have any questions for those who are watching online, you can tweet at us. It's at the Watch Me Work SLP with the hashtag HowlRound, which is H-O-W-L-R-O-U-M-D. You can also put your questions through Instagram Live, the public sensory live, or our Facebook as well. That's all. That's it. Right. And just, you know, if you want to ask me questions about my creative process or my work, I'll be here with you all the time and make it all about you. That's not about me today. And everything was earlier, but it's not right now. Okay, so it might help somebody. That's true. Yeah. Yeah, we're going to get to it. Yeah, I know. Sorry. I thought that was a lie. I thought it was in my head. Yeah. It is. Timer, 20 minutes. Are we ready? One, two, and... So that was the work part. I forgot to mention this is a play. This is a play. I know. I forgot to mention. It's someone who I know who teaches at Harvard and some men in theatrical experience, which I guess that's true. So because that was the, you know, action part of the play and this is the dialogue part of the play, it's very simple. It won't be painful. And this is where you can ask me questions about your creative process. You know, I'll offer some solutions, possibilities, thoughts. Every time I see Laura Ruby, the most famous press department, I think, shit, I'm supposed to be doing something. No, no, no. Okay, great. Did you get some work done Laura? Yeah, I did. I guess. Anybody have any? Yeah. Everett. Hey. So I've been, recently I've been working on a web series for a friend. Oh, great. So it's their project. I didn't create it. Two of my friends still created it a few years ago and now I've been trying to finish it since he won and brought me on to help him do that. It's the second time I've tried to collaborate as a writer. The first time crashed and burned. Right. And then this time, I mean they're friends, so it's like, it's fine, but I'm having a lot of trouble negotiating my sensibilities as a writer with what they want because my sensibilities, when I write stuff for myself, is whatever. It's very, it tends to be dark and sweeping and poetic and epic and very wordy. And there's issues because it's a web series about actors doing the act of grind and NYC and having stupid jobs and stupid relationships and so every scene sounds like, hey dude, what's up dude? Yeah, you look like shit. Yeah, I got this last night, but now I feel good. Okay, whatever. And so, and it's just hard for me to write that because I don't care how Kirk was saying that. Right. But it is what works on screen and on screen it doesn't look dumb, it's just that their vibe is very improper and the script tends to be more like a starting point than what actually ends up working for them in the end. So, if you could just speak to that kind of expression. Working for a friend. Working for a friend. Did everybody hear? Everybody, great, great, awesome, awesome, awesome. That's a great question. It's in the working for hire category, which I don't know if they're financially compensating your job, but you're working for hire. You're working on something that's not all yours. You're helping out some friends. And I mean, in a way, all the time, you have to continue to sort of put yourself, yourself aside a little bit. Even when you're writing something from your own heart, a lot of times we finally have to put ourself, you know, aside to let the play or the novel or whatever speak through it. So it's not all about me, me, me, me, me. You know, it's about this piece that needs to be written. That's in my experience anyway. So that writing for hire is kind of the next step of that. And I don't know how much other work for hire that you do. Okay, but a lot of it might give you that feeling that you're being asked to write something that's not what you write if you're simply writing for yourself, you know? And so that's part of the creative process in that it's part of the creative business. That's the business. When you, you know, get hired by Hollywood folk, for example, you know, and they say, we want you to write something about, you know, we want you to write the next superhero movie. And we'll pay you some money. And we want you to write it in this way, you know? You're gonna have a lot of, you might have some struggle because what they want might not be what you want. And so that's just part of the business, you know? It sounds like though what they're, what's being created is what's being created is lovely. I mean, I think it will be. It's a lot of work. Yeah. So they brought you on for sort of architecture. I mean, it sounds like they're doing a dialogue. Yeah, the whole product season one. Right. And just getting it clear and making things, you know, matter. Right. So that it's more like, I mean, what they had before was fun, but it was like signed out. Right, right, right, right. Okay. So you're providing a valuable, you know, you're a valuable asset. You're providing something very valuable for them. And it doesn't sound like something that you would write if you were writing on your own. Probably not. That's, so it doesn't matter. Because it's not about you. Right. And that's the sort of thing we have to learn. Sometimes when you write, it is about you. And sometimes when you write, it's for you, but it's not about you. And sometimes when you write, it's so not about you. It's about them. And learning how to dive in and go, yeah, they called you because they need your help and your expertise, you know. And so it's a blessing. And sometimes blessings don't always look really, you know. Yay, they all agree with me. And they all let me do whatever I want. Well, it doesn't look like that. And, you know, you learn that though. I mean, we learn that in, you know, first grade. You know what I mean? And we have to learn it together. We have to learn all the time. But, you know, we learn that. And that's just, that's all it is. And it sounds like it's going to be a good project. It sounds like it's going to be cool. Hopefully. I think she all know when it's done. Yeah. So, you know, it happens. You know, it happens. It's like the next level of being a professional. You know? I mean, somebody wants you to do a job. That's a good thing. It's a really good thing. It's called a blessing. That's in a blessings category. You know? If nobody wanted you to ever fucking work with them ever, that would be kind of mean. You know, but people are saying, hey, we want you to help us write this because you're really good at that structure thing and making things matter. And that's like, I can come in and give that. You know? And I bet, I bet, I'm willing to bet that you might just learn something from them that you can carry over into your own writing. Hopefully. Yeah. I bet you. We always do. I do anyway. When I do these work for hire things, I work for hire a lot. Yes. Oh, there's people wearing yellow. Yes. Yellow. I'm saying it like triple. Yes, yes. I have a question. It's more of an advice. What's your name? Sheena. Sheena. Yes. So I wrote a one woman show. I'm like coming back again here one or two years ago. Okay. And I can get passionate. And I wrote it in one of the subjects that had a hard time dealing with it. Okay. And then I faced the demon. Oh, okay. But then I got really dark and I just destroyed it. Which I'm fine with, actually. I have a lot of pieces of that. Right. Because now I'm like, it's funny. It's called Modena Back to the Basics and now I'm Back to the Basics. Right. But I just wanted to know, because I remember like a while back I used it, I'm an actor so I used it for my personal work and you were like, you got this. And I remember putting that on my mirror. And it really helped me with a lot of things. I always put, you got this. Right. So I was wondering if there were three things, whether it's a mantra or a scene, in terms of, you know, those little whispers that you talk to a giant and feel like I got this. In terms of writing and starting all over. Because because I put in the work, or I think I know the elements that I'm going to revisit. Because I did it. I just destroyed it. And now it's going to be, you know, a different kind of voice. And like I said, I'm going to taste with that. At first I was like, I can't believe you did that. But it's done. There's nothing I can do about that. Okay. So now in the beginning process again, I was curious if you had, you know, any mantras or scene response. Because I liked, I got this. Right, right, right. So I got this. Did everybody hear Gina? She's working on something. She's working on something. She wrote it. How much of a did you write, Gina? I wrote the whole thing. Gina's about China. Oh, and now I remember you. I remember Gina. You wrote the whole thing. Yeah, I just had one thing and it was about a topic and you gave me great notes. Yeah. That I had a struggle with. Because I didn't want the, I didn't want that part to be victimized. I wanted to be kind of empowered. And once I finished that, I just, it was hard. Did you like destroy it? Like Gina, did you like burn it? Yeah, you know, it's funny I did it. It's still a sense of topic because I'm like, I'm getting emotional, but yeah. I'm sorry, what did you do to it? I destroyed it. You burned it. And there's no trace. I mean, I think there are notes from the email. That's okay. Or there's, there's, there's, you remember it. Would you like to reconstruct it? No. Or you want to start on something new? No, I want to do the same thing. Oh, great. I just, I've made peace that I was a choice. I mean, obviously it's still a sense of topic. Yeah. So, I mean, I made peace that I did that. I just want to know, in the rebirth, be like stuff at all. Sure. You don't have any like mantras or something. Yeah, yeah, yeah. Well, there are lots of them. We have lots of them. You only want three of them. I mean, you get this now. You got this, you got this kind of like, you had it. No, you had it. So, you had it. No, you don't know. No, no, no, no. That's not, that's not, we're going to let that one go. Because you got this, let's put it over. I mean, why don't we use, I mean, there's so many, but the ones that come to mind are really good because they're from the Civil Rights Movement. And it's Earth Day. And somehow that's connected. So, how about, ain't nobody going to turn me around? How about that one? Okay. That's a good one. Right? And have eyes on the prize. That one. That's a good one. That's two. Eyes on the prize. You know. And how about this little light of mine, I'm going to let it shine. How about that one? Okay. That's a really good one because a lot of times, you know, and not shine like, I'm going to burn this. So, what we're not including is burn baby burn. We're not including that one. That's a good one. We're not including that one. Okay? Okay. So, those three are good. And you can also put in, like, corning ones like, I love you. Like that one. You can put that on your mirror or on a page, you know, like, I love my work. Like that. That's kind of corny, but it kind of works. You know, if it works, you know, thank you is also a good one. That's true. Put in the time. Yeah. The spirit will never fail you. Keep on keeping on. You know. You know. And you could do, do you live nearby? I live in Spanish home. So you could, so you could come and visit us sometimes. You know what I mean? Right? You can come back and visit and hang out because it helps to sort of keep touching. Yeah. You know, it's like, you know, like Hillary said and other people, long before it takes a village, you know. And it does. It takes a village. You know? Okay? Thank you. You've got to put in the time. You're going to start to do the time. And that's the thing, because you say, we say like, you know, I know how to do it. I did it. But, it's going to be, it's going to be, yeah, it's going to be an uphill climb, but you won't be the only one doing it. Yeah. Or you'll have to look around. You'll see like, oh look, there's people climbing with me. And look, there's a whole room full of people. You know what I'm saying? And that's like a wonderful thing. Okay? I'm glad you came back. Thank you. Hey, so, when are you going to start? Did you want to start? I made myself come here. I was like, oh, it's late, I'm not going to, I was like, you know, you're going to start to stay. It's Earth Day. It's an auspicious day. It's Earth Day. And it's a full moon. There you go. So the whole world is behind you. Yeah. Like, you can't get better than that, yeah. Right? So those of us who can't get better than that, it's very meaningful. Because some of the best people in the world were born during the 21st of April or the 21st of May. Not to be like weird guys. Okay? Anybody else? Yeah, man. My name's Kevin. I am. So when you're applying to, when you're applying to different fellowships and opportunities, you're often asked to submit or choose a portion of your full fees. Oh, huh. Yeah. Just submit. And in a lot of infossessions, they'll tell you, you know, give us something that kind of leads us into a plot or other opportunities to say, give us the essence, whatever it is. So in, let's say on average, you have like 80 to 90 pages in one frame. Well, how do you choose tension when you think? Right, right, right. Well, so you could, that's a great question. How do you choose those 10 to 20 pages when you're applying for a fellowship or a grant or a residency or whatever? How do you choose those? I mean, I would choose the ones that I'd get most excited about. Like, wow, this is really exciting. You know what I mean? Sometimes that might be the beginning. You know, sometimes that might be a scene that you just love to give the reader, the grant person, you know, some kind of context. This is what this happens and they can really get a sense of what you're like as a writer, you know? But the part where you go, yeah, I really like that. Not to try to second-guess the mind of somebody you may have never met. Like, what are they looking for? I think they're gonna... And that's kind of tricky, you know? Do you have, are you also allowed to make a personal statement? Yes, but I'm finding a lot of... A lot of applications are now... They're doing these blind reads and they're really focusing less and less on the content of what you've written in the application and more so on themselves. And just the blind reads. They don't want it to know you. They just want to know your work. Right. And not until, yeah, in some of the larger competitions, they'll... When they kind of whittle down then they'll want to know a little bit more about it. Right. Right. I would choose the part of your work that you love the most. And, you know, let the... It sounds correct, let what happens happen. And you win either way because if you do get the Granted Fellowship, then you get the Granted Fellowship. If you don't get the Granted Fellowship, then like five years from now, you can say, fuck you, see how great I am. Like that. And both of those things have happened in my experience. You know what I mean? Because really, you know, sometimes they just miss. You're wonderful and you don't get the prize that you should have gotten in the Granted Fellowship. But you still shine on. You know what I mean? And just take it as a blessing. It's kind of an exercise. You can take everything that happens as a blessing. Like that. You know? Okay? And you say you can't go wrong. Yeah. If you have a party, it's like you love. And it might also give them some idea about like who you are or whatever, you know, like that. That's cool. That's a win-win. Then go for it, you know? Yeah. Oh, great. Oh, great. Okay. Right. Miranda. You're having a stage ring and you've never done it before. Yes. Can you proceed? Yeah. So she's having a stage reading. Miranda. Miranda. I'm sorry. I know you. Because you're part of the family. Yeah. Yeah. So Miranda's having a stage reading of a play. Of a play. And she was wondering what do I pay attention to the most? Right? One thing. You're sitting there. Will you be watching with a notebook? I'll have the script coming. Okay. Okay. Okay. So you can have, like, you can have, like, print it out or you can have it on your whatever device and then you have a notebook that's open. Sometimes it's helpful to take notes about how you're feeling. Sometimes it's like, oh, I love this part. The next bit, oh, I feel like shit. Oh, I'm so embarrassed, though. I hope no one's really into it. I hope no one hates me. Just allow yourself to feel your feelings. Oh, this one really works. Okay. Okay. Okay. So you can have, like, like, print it out or you can have it on your whatever device and then you have a notebook that's open. Oh, this one really works. Oh, that seemed like well. I got a laugh there. You could just record your feelings and thoughts. So the most thing, I would say, pay attention to you and how you feel about what you're experiencing. You know? You know, and you say, oh, that worked. Oh, that felt good. Oh, something's missing there. You know, but I would say watch with a notebook open and just write things down. So it doesn't all go, you have to wash. And then you wonder what the fuck just happened. You know, that kind of thing. That's what I would do when I listen to readings. I just take notes. You know? Okay? That's helpful. And who knows what you have in it. When? When. Amazing. Yeah, that's a very good day. Good morning. Good morning. How many actors? I have found with readings that actors are marvelous because they can tell you a lot whether there is an internal logic to that character or whether it's not. And even if it's a small character, tell you whether that character has any importance at all. So try and get your actors to be honest with you and if they can't be, look at them really closely and try and figure out whether they're getting into that character and feel it's an importance of challenge to them. That's a great idea. That's a really great idea. But just to know if they don't want to be really honest with you, don't push them because they might, you know, dramaturgy is not necessarily an actor strong soon and they might push to say something. I really hated that moment when you said, oh, sorry. You know what I mean? That's what I meant. It's the logic of the character that's much more important with them then telling you about a structure. Right, right, right. No, they're very smart. Remind me of you. I can't forget anything. Jim. It's easy to forget. Is it coming? No, no, no, no. It should be a joy to remember. Okay, now I have a piece of, I have a mnemonic of this. We'll see how it works. That's good. Crazy. That's excellent. Anybody? Yeah, man. Hey, Victor. Hi. This is something that I still see. I'm trying to write a short film that's about an open relationship. Right. That's just what fascinates me a lot. Right. And that, you know, like I want to explore, you know, all the fears or insecurities and joy and sex and desire that goes along with that kind of thing and put those words down in the list. That's exciting, but when you're creating characters, I feel like it's easy to kind of get into this loop of you're making these characters into a more, like, a thematic exposition. Like, they're serving the exposition only if you're not creating actual human people that are going to latch themselves onto your project through the experience. So I'm just wondering what are some things I can focus on or let you do in terms of, you know, creating a person. Yeah. Great question. Did everybody hear Victor? Pretty much. Yeah? Okay. So he's writing something. We're just talking about creating characters, regardless of the subject matter, actually. You're writing about open relationships. But if we were writing about long-distance running, which kind of is, like, an open relationship? Not an open relationship. That's what you're writing. Not an open relationship. That's what you're writing. It's the opposite of an open relationship. But how do we create characters, right? Instead of just checking things off, you know, I want to talk about this, I want to talk about this, I want to talk about this. We don't want to do that. We want to talk about characters, right? So desire is really important when you talk about characters, regardless of the subject matter, right? I.e. what does a character want? So you have someone named whatever, James, right? And she's one of your characters, say, what does she want more than anything? You know? So desire is a really strong thing to focus on. Do you have that? When you think of your characters, do you have names for them? I'm still a little bit exploratory. So I might, I mean, I'm kind of old school, but I have characters that have names. That's old. I mean, they can be called one, two, seventeen, you know, three hundred and sixty-five. Whatever they call it. You know, but a character, you can give a character a name. Why? Because then the sort of gravitational pull increases. Things will magnetize toward that person. Okay? So decide on a name, whatever the name is. You understand? Call them something. Right? X, Y, A, Z. Oh, whatever. Okay? Okay? You don't have to sweat too much about the name. It's like, oh shit, is that the wrong name? Is that the right one? It doesn't matter. Okay? Are you okay? Would you consider yourself a perfectionist? What's up? Yeah. I can tell. Yeah. Great. Okay. You can let that go. You can let it go. Because we love you and there's no wrong. You can't get it wrong. No, no, believe me. And I'm like old enough to be like your grandmother. You can't get it wrong. Or, you know, kind of your grandmother. But you can't get it wrong. You can't get it wrong. You just got to do it. You got to do it. You know? Throw yourself in there. Okay? What do they want more than anything? If you had a character name, just make up a name. Just pretend you don't. Ash. Ash? Ash. Ash. Ash. Great. Okay, so Ash. So Ash wants more than anything. What do they want? Just pretend you know. Just pretend. Safety. Great. So you got a character named Ash. And how old are they? Kind of sort of like just pretend. I don't know. Whatever. 12? 15? 15. Great. Ash wants safety more than anything. Great. There's somebody. That's interesting. Yeah. Okay. I'm leaving an end. Who would say another character? Who is that? Just kind of whatever. Let's go with X. X. X. Okay. EX or just X? Just X. Like mouth of X or just like just X? Just X. No choice. Just X. Okay. X. What do they want? Money. Money. Great. And how about whole of the day? They're about something. 19. 19. Fantastic. X. They want money more than anything. And they're 19. They're two people. You see? I mean, when you get out of the way, it's easy. You know? The whole thing about Easter, I had this theory. No, really. Think about it. Roll away the stone. What are we actually talking about? You know? Okay. So it was a big thing. You know? Everyone we really was like rooting for Jesus was like, Cassie told you. He's somebody. Right? But the idea of Jesus was like, Cassie told you. He's somebody. Right? But the idea of Jesus was like, Cassie told you. He's somebody. Right? But the idea of just getting out of the way. Roll away the stone so that you can actually do what you want to do. Get out of the fucking way. Get out of your own way. It's okay. We're all here. You know, you've got two characters now, right? Okay. In the end, does X get money? Let's go with no. Okay. In the end, does Ash get safety? No. No. Okay. So there you go. There's something. And in the beginning, does X have money? No. No. No. And in the beginning, does Ash have safety? Yeah. Yes. Great. So Ash wants more safety or Ash wants to retain safety? Great. Okay. Okay. So there you go. There's something. You're on your way. You've been on your way for a long time. You've been on your way for a long time. You're on your way. You've been on your way for a long time. See? That's the trick. We just go, yeah, there you are. It's like long distance running. I told you I couldn't. Anybody else? Probably not. It's all weird today. Thursday. We have an Instagram question. Someone from Instagram says, What's the best way to get out of the way of writer's drawing? I know. See what we just did. What's the best way to get out of the way of writer's drawing? I love that question. So what do you do? Anybody got any answers? Come on. Somebody has answers. Has anybody ever had writer's block? No. No. What do you do? Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. Dance. It's hard to say. I am glad. I think it'siiii. Dance.... Dance. Yes! It's illegal, really. It's illegal. It's illegal. Right, close myself. Okay, so that's great. Who else? Yeah, what do you do? Oh, we just like, I don't know, do something with the yo-yo, so you have a new perspective. Do something with the yo-yo? That's great, so we got to go out with my yo-yo? Yeah. That's okay? Do they still sell yo-yo? Yeah! Yeah, yeah! Okay, so we, I mean, and you do a yo-yo, right? You do a little yo-yoing, like, around the world? Yeah, that's good. Do something else. Like, we're doing music, drawing. Right, change your perspective on whatever you chose. Change it up. Super smart. Change it up. Change it up. Don't just sit there and go, ooh! Right? Take a break, too. Take a break. Right. Take a break. Make yourself some tea. Yes. You can also pray. Pray is good. Pray is good. It's free. It doesn't matter if you believe in the higher power. That's not the point. Ask it yourself to come to your assistance. You go, please, please, please help me. I still want to write or whatever. I still want to create this thing. Please, please help me. Here I am. Like, Homer, did anybody ever hear of the Odyssey? That poem, you know? What does he say? Oh, knew something. I'm paraphrasing now, but yo, here I am. Help me. Help me write this cool poem about this person. I don't know what he said. He started off with a prayer. Prayer works. You know, you just ask him for help. Call a friend. Come to watch me work. That's helpful. You have to probably show up and we laugh together. We go, ha, ha, ha. We do. Write coffee on the back. Yes, that's good. Anybody else have any? Yeah? We can just be just doing, oh, yeah. We've got like five minutes. Yeah? I was just doing that. Yeah. It feels good, right? Yeah. Right spot. Right spot. Get a timer. Get a timer. Yeah. Yeah. Yeah, that's what I do. Yeah. Yeah. Get a timer. Set it for like 20 minutes. Don't use your phone because your phone is cracked. I would suggest an actual timer. It doesn't have to look like this. Don't laugh at your phone's cracked. Put down the bike. Your phone is cracked because it has all these magical things on it that we love. We go, like that, but no, you don't want to do that. You want to get a timer that only counts down time. And you want to set it for 20 minutes. Or if that's too much, set it for 10 minutes. And you turn it on and you write and you just like go for it. And, you know, right as long as real, but it's also like just in your head. You know? And just, you know, write and then rewrite. That's what we do. Sometimes we try to write and write to be perfect, not naming any names, Victor. Do your parents name you that? Yeah. Well, your parents named you winner. I mean, no pressure, but that's such a great name. Okay. Yeah, right? Okay. That's a great name. Winner. Winner. That's your name. Okay. So, you know, you just have to like apply yourself. Put in the time. Just put in the time. True. True. I think that's a good question. Okay. I'd like to look to ministry. Oh, look at time. Yeah, what's your name? My name is Joanne. Hey Joanne. Hello. The dancer? Yes. These wonderful people are working on one of your plans. Oh, oh. Okay. Uh, true. The last black man in the whole entire A-game did you come up with a dead? Yes. This is about them and their creative process. Yeah. Could you just say a few words perhaps? What? I don't know. We're hired here. People are hiring. Is this all a fan? Yeah. Ah, okay. We're approaching the road. Are you having some difficulty with Robin? His timing? What does he know, and what doesn't he know? How does he manage? Being a free-spot, being a free-spot. How does he translate? I don't know. Okay. We only have two minutes. Yeah, I know. You know, again, watch me work. It's about your work and your creative process. And if I were to answer that question, then you wouldn't have to do the play. Right? Sit with the complexity. Allow it to inform every moment of your life. Read it aloud. With your friends. Have a really cool costume. Do you play the guitar? Aha, of course you do. You go for cell fans. Yeah, well, maybe he also plays the guitar somewhere in the play. I don't know what to say. I don't know. I don't know. But thank you for asking. I'm glad you guys are here. Yes. I'm just like... Oh, the characters before Columbus... I just want to know, if I'm on the right track... Yes! Yes, you are. You're on the right track. Look, you're here. I'm thinking, like, before Columbus is like this innocence before Columbus... Or just the moments before Columbus came. Oh, the instances would be a judgment, right? That means that there was a perfection before and we knew that not to be true. There was complexity before and there was complexity after, isn't there? Just like the bullshit didn't start happening two years ago with the election of our current president. Hello, everybody, wake up. She's been going on for a long time, right? So before Columbus is just before Columbus. You see what I'm saying? Hopefully you guys are also being encouraged to write or create your own work with this play, yeah? Or dance, yeah? Yeah? Anybody have any questions about their work though before we go? Because, you know, I'm here for you guys. We have a moment right now, somebody... Yeah, you. So, when you're writing, should you be... My name's Hallway. When you're writing, should you be writing for yourself or should you be writing for the audience? Because I'm working on this script that I'm working on and it's a little pause on it because I felt like I'm trying to add all of these social issues. I'm not sure that I'm connecting with the audience but then I feel like when I'm doing that, I'm just saying my work for why I'm writing. Right. I will quote... I will give you a quote. Hopefully you will explain and answer your question. Did everybody here know what I wanted to say? I'm going to write for ourselves and for our audience. I will quote from who the death of last 5 minutes will tell. It will be of us. It will be for us. But we will mention them from time to time. So in the future when they come along write for yourself and by writing completely for yourself you will write for the whole world. Thank you. Thanks you guys. Are we done now? Yes, we're done.