 Here we go. All right, here we are. It's shortly, it's a little bit after five and it's time for Watch Me Work. I'm Susan Lloyd Parks. We've been doing Watch Me Work for years and years, since like 2009 or 2010. In the lobby of the public theater, we started and then when lockdown came, we went on Zoom and we're still on Zoom. We've been hosted all this time by the public theater and by HowlRound. We are so grateful to both of those entities and we are now housed and embraced and swaddled by the new work development. Swaddled, that's a good word. Yeah, so we're here. So we'll do what we do every week. We work together and then we are going to, whoops, that's my timer, my battery for my keya needs to be replaced. There he goes. And we're gonna work together for 20 minutes and then I'm going to take your questions about your work and your creative process and if at the end of those 20 minutes, you would like to get in touch. So I was gonna tell you first how to do it but first I would like to remind us that while we have plenty of time to talk about process, we don't have the bandwidth of the time to actually have you read or present your work. So, okay, so Zoe tell us how to get in touch. Yeah, hi everyone, welcome to Wash Me Work. After the 20 minute work session, please go ahead and use the raise your hand function. That way we can get a nice queue of questions going and then we will call on your name and ask you to please unmute to ask a question. Yeah, that's how we're gonna do it. Thank you. And Amritha, who is the head of new work development, would you like to say anything? Thank you, SLP, yes, I just wanna say welcome. Hello everyone, welcome to those who are joining for the first time. Hello to those who are returning. We're really thrilled to have you and really thrilled to support Wash Me Work. And with me is Hailey Lopes, who is our new work development fellow. And I will just name out of respect for my amazing colleague Zoe. Zoe is sick today but loves Wash Me Work so much that she is here. So the three of us will likely be supporting the kind of calling on folks and all of those logistics so that Zoe can take care of herself. Oh, how sweet, oh my goodness. Oh gosh, okay, we're sending you healing vibes all the way. And here we go. Technology, amazing, amazing. Hi, it's been 20 minutes. I'm so glad I wasn't like talking to myself because I forgot to mute it one of those days. Yeah, so it's here's now the time where we talk with you about your work and your creative process. So if you have a question, do as Zoe suggested and make yourself known. Yes, please raise your hand with the raise your hand function on Zoom and we'll start a queue and we'll ask you to unmute yourself with your question. And thank you, please unmute yourself. Hi, everybody, hi, Suzanne. I am not a writer by trade, but I do write and I enjoy writing. I find that the only way that I can kind of get a momentum going, because I don't do outlines or any of those things that I'm sure I should be doing. The only way that I find that I can get a momentum is if I start reading it again from the beginning. Okay. And that somehow gives me an engine to get to where I've left off and to kind of rewrite a bit along the way and then propel myself forward. Right. You know, obviously once we start to get up high in the page numbers, that becomes more and more difficult to do. So what would your recommendation be for me moving forward? Read faster? No. I mean, what's great is the re-reading your work is something that, what's a wonderful writer who writes a whole lot? Joyce Carroll Oates, she's amazing. She gets a lot done. And she, I've heard her talks where she says she rereads what she's written before diving in on that day. And I think Hemingway also did it. They reread what they've written before diving in that day. He also went fishing on boats after he had a hard day's work. So we don't have to take their example all the way, especially with Hemingway, but Joyce Carroll Oates does that. So you reread your work. I would say read faster. You know, okay? If you wanna, and we come to, oftentimes we come to a moment in our writing, in our work, whatever we do, where you go, I'm gonna do it the way I've been doing it. And that's becoming slightly problematic. So what do I do? And I'm like, well, okay, you can try something new. You can try a little bit of an outline. Does that, so does that, would that totally cramp your style? What's, do you, are you, do you hate outlines? What's the deal? I do not have a style. You do not, well, you do have a style. You reread your work before you write, then that's a style. Okay, fair. Yeah, I just, I find that when I'm writing, I'm kind of, it's very organic and intuitive in that moment. I don't know where this story is going, for example. So how, I can't, I have such admiration for people that can figure out their story before they write it. Mine always happened in the moment. Oh, oh, yeah. I totally hear you and I respect what you're saying. Outlining isn't figuring out what's going to happen before you do it. Outlining is just saying, I'm going to go over there. That's all. Oh, I think, oh, and then this happens. Outlining is just like pretending, pretending that you know, so that you can not think about it too much when you're writing. It's not figuring it out. It's more like giving yourself some guideposts or guardrails, you know? Like if I said, so where do you live right now? Where are you? Right now, I live in Los Angeles. Fantastic. Okay, so say you were going to walk to New York City. Wow, that'd be quite a walk. Amazing. Okay, well say you're going to take a bike ride. Let's just take a bike ride. Okay, you're going to take a bike ride. You have a route planned, right? You have a route? But you don't know what the journey's going to be. Do you? You just kind of know some stops along the way. You know, like Frida, who makes the best fried donuts that you've ever tasted in Montana, right? You just know stopping in Montana. So just to make sure that I understand, this is making sense to me, I think, it doesn't, because I'm imagining these outlines that I would write for like college or for school that were like so detailed and fleshed out. What you're suggesting is it doesn't need to be that fleshed out. It can kind of just be like, because I know where I want to go in the end. Oh, great. Well, that's kind of like an outline, right? Kind of? Kind of like, and in the end. You know. Okay. Outline, that sounds a little outlining to me. Okay. I mean, yes. And I think I would agree with you that the outline's gotten a bad, you know, some people like the word friend, right? I mean, I'm sorry, Mark Zuckerberg, but ever since, you know, Facebook, the word friend just don't mean the same thing as it used to back in the day, right? Right, right, you understand, okay? Love, same thing. Love don't mean the same thing, okay? So, outline. Outline is like crying tears on its pillow because everyone thinks it's like this weird-ass thing that we all learned in like fifth grade or whatever, and we were like, no. Like, diagramming sentences is probably the same thing. So, outline is just like, you know, you live in Los Angeles, do you ever, imagine, imagine someone knocked on your door and said, Lynn, you want to go for a hike with me in the mountains? And their name was whatever, Frida. And she looked like Frida Kahlo and she said, do you want to go for a hike with me? She said, sure, and outline is like Frida Kahlo. You want to go on a walk with her, right? It's okay. If she's going to help you. If you're working a certain way, you're finding it difficult to continue to work that way. Just sketch a little bit. Van Gogh sketched, right? Van Gogh, the great painter, sketched before he painted. That's all it is, just a little sketch. Love that. Thank you so much. And have fun and pretend it's Frida Kahlo. Love it. I mean, if you like Frida Kahlo, I mean, I love Frida Kahlo. She's cool, right? Right? Okay, there you go. Thank you, Lynn. We have a great queue going. So we're going to start with Nicole. Please unmute yourself. Good afternoon, everyone. So happy to be here. My question is, how do you keep from losing your nerve? I am someone who tends to write, quote unquote, political plays. So I wrote a play about gun violence in 2008 before writing about gun violence was even a thing. And then I wrote a play called Campus Jihad. And most recently I wrote a play about how homegrown about the January 6th insurrection. And so my path has been that I write plays about things that are incendiary kind of sort of, not to me, but they have, but nobody, like I can get maybe one or two productions, but they don't continue. So I have this idea. I have an idea that's kind of working on me about this current conflict. I mean, I know your, which conflict, right? We're in so many, but I have a kind of a kernel of an idea about this war that we're, well, the war that is happening in Gaza, but in a place where I feel like I'm not even gonna touch it because nobody's gonna produce it. Oh. So I'm in a place where I don't have the nerve I once did. So I have a question about how one finds one nerve, keeps one's nerve. And I'm in central Illinois, by the way. So I'm not, you know, I'm not on a coast. I'm not in a place where, you know, that's brimming with receptivity at all points. Right, right, right, right. And wow, that's a really, that's a really great question. Cause, and you're right, Nicole, for us, let us acknowledge those of us who are on, you know, or in say, you know, on a coaster in a big city, you know, that sometimes is often easier for us to find people who are more receptive to our wild, nervy, outspoken, you know, works, you know. So I hear you on that one. How do you, well, well, I don't have to tell you how to find your nerve, cause my sister, you found it. You got it, you wrestling with it every day. The thing is how to keep, yeah, how to keep it going and how not to suddenly go, you know, I'm going to write some lovely Hallmark movie because that's what's going to get, you know, some, some play. Cause that's why I've been the last year. I decided I was going to write a Christmas movie because that's the better use of my time. And how to call? Huh? How to go? Oh, it's still in the hopper. Still. Cause my Christmas movie was too edgy for the producer. So that's all I'm going to say about it. Cause what's in you comes out, right? So there we, you know, what can I do? Well, I, you know, I, I would say surround yourself as much as I am buoyed by, by associations with good friends and colleagues. And like, like, watch me work. I get on, watch me work. I'm like, all these people were out there doing our thing, you know, I teach at NYU. I love my students and they cheer me up. I invite friends over to my apartment to sit around and, you know, sip tea or drink, whatever and talk about what's going on with us. I would say as much as you can, Nicole, surround yourself with people who will lift your spirits. Not just, you know, blow smoke up your behind but really challenge you and lift your spirits as much as you possibly can. And what's great about online these days is because we can find communities that will engage us and allow us to engage with them and they're authentic and they're, they want to hear what you have to say and they'd love to have conversations with you. You can have readings of your work online. You can have productions of your work online. That's what's great about technology. We love technology. You can do, you can make short films about your play. You can say, oh, couldn't find a theater to do my work. I'm going to make some YouTube videos, some movies, I'll post them online. I'm going to write a great script and make a movie out of it. You can do that with your, I don't know what kind of technology you got but if you have on these phones, you know, they make movies now. You can make a little movie. You can edit it on your computer. You can get your work out there. And again, the community though, you know, build your community, continue to build your community. So there's a- Thank you so much. This is the way you're welcome. What a great question. What a great question. Thank you. Thank you, Nicole. Right. Next up is Lori. You could unmute yourself. Hey, Lori. Hey, SLP. First, I just wanted to thank you because you got me unstuck with the play I was doing on Serial Killers and all of the sex workers that were coming in. Remember that? They were all you were like, just get them talking, get them talking. So I finished my first act this week and we're going to do a stage reading next week. Well, thank you. Congratulations. I was stuck. I was in a tough place there with it and it's flowing. So thank you. And thanks to everybody on here because it just means so much. My question is, now I'm like full throttle on this one but I've got two other full lengths that are really speaking to me and, you know, are moving me and I'm kind of afraid that if I don't stick with this one, you know, that I'll lose some momentum here but I'm afraid I'm going to lose something with what's driving me on the other two full lengths. So my question is, like, do you recommend working on two or three at once or should I kind of focus where I've got this energy? Because I'm also, you know, trying to do, I set aside so much time to do the business of playwriting too. Right. But I just feel these moving in me and I just kind of wanted to get your opinion. I'm working on two or three big pieces at once versus stay steady on one. Well, I mean, you can work a little bit on two or three at once if you want. You know, you're just going to have to be more focused. You know, I mean, have you gotten to the end of, you've gotten to the end of that, the other play or not yet? So the one about the serial killer, I'm just starting act two with that. The second one that I've been working on, I have a full draft, it's my second draft, but it needs, I know where it needs a lot of work and the third one, I just got the first act. Right. You couldn't work on three things at once. I would suggest that you finish that, the one about the serial killer, get into the second act, you're about to start. How long do you think it's going to take you to finish it? I got light in my face. I'm kind of hoping after the staged reading that I'll have a really good idea that's happening the week after next and then I think I'll be able to probably within three or four weeks, based on the feedback, we're going to do a talk back, probably have something I feel okay about to say, hey, I think this is finished in a good solid piece. Do you think you can, do you think that working on several pieces at once is going to kind of make it hard for you to work because you also have the business side of everything? We don't want you to get scattered if you don't have to be. That's what I'm afraid of. And the other thing that's messing me up is that one is about a serial killer and the other is a farce. So that's messing with my head a little. You know that song, I mean, I love dating myself because it's so interesting. There's a song that Johnny Cash, you know, Johnny Cash, the song. Oh yeah, yeah, yeah, yeah. That song, he's saying one piece at a time. Yes. Okay, there you go. Just do one play at a time. Okay, that's fine. Try that. Then you'll do that, you'll do your play. Okay. And then you'll be, we'll reach an end point. You're gonna, if you run a marathon, you're gonna run one at a time. You know, you can finish one, one day and then start another one the next day but run one at a time for right now, just do one at a time. It's because you're gonna be doing other things at the same time. You've got the business side of things. You've got family obligations and all other kinds of things to do. So you'll have, you'll be plenty busy. But I'll write writing one thing at a time. Okay, thank you. And I'm gonna go find that Johnny Cash. So I can play it later. Thank you. There's a good one. It's about how he stole the Cadillac. But anyway. Thank you, Lori. Alani, please unmute yourself. Thanks. Hi, I just had a, I was curious about how you settle on discovering like what your dramatic premise for a project might be. Yeah, whether or not that's something you discover early on or it comes out, you know, a little later. But yeah. Oh my goodness. Okay, bro, you're gonna have to help me. So for those of us dramatic premise, what do you mean? Oh, I mean like, like your central argument of like, you know if someone was to come to you and be like, but what's the show about? You know, and I'm kind of like in this sphere where I have these individuals who wanna understand right like what the piece is about. And they're like trying to get me to settle on like some some ironic like sentence. You know what I mean? That can, yeah. That like somehow sums up what, you know every character is some question that every character is wrestling with. And I was just like, it's like I know, but like for this piece, I'm like, I don't know. So yeah. You've written a play already? Yes. Oh, well that's good. Yeah. A musical. Yeah. What? Tell me. Oh, a musical, a musical. Oh, you've written a show already. Okay, okay. Well, so I would say, Alani, that's a fine time to think about what you call your dramatic premise. Okay. What's this? The tricky, oftentimes we are asked to discuss all your words. What's it about? You know, the log line. A lot of times we're asked to develop those kinds of things before we've written it and it can be helpful and it can be not so helpful. This is a fine time. You've written it and now you just gotta say what's it about. And you can, if you, you know, it's the elevator pitch question. Right? That's kind of what, what the. Yeah. Like we have like, I have the log line of it, but I think that I think they're like, I think they're pushing more for like, you know, like how do I put it in the words? It's like they're trying to understand, you know, like, like beyond the log line of the elevator pitch, right? Just like, what is, it's like, what's the, like the, the kernel of the central thing that everyone is wrestling with, right? Within this, you know, historic piece, right? It's based off historic events, but they're just like trying to understand. They're like, yes, I know the log line, but like, what is it about? It's the, what is it about that? The question that keeps being asked. So, so where do you live, Elani? I'm in LA as well. So do you have like a house or a building where you live? A house, house. Okay. Okay. So, so you have like a street with a sidewalk? We do not, we're in a mountain, so we don't have any sidewalks. You can, oh, yeah. I understand. So you can, you can like, but you can walk outside? We can walk outside, yeah. No, I'm just saying. So like, go outside. You know, when you go outside, you know, at an appropriate time, like a safe time to go outside and walk where you would walk, you can walk, right? I like, okay. You know, pretend like, pretend you're taking a walk with, I don't know, let's just say, I mean, regardless of what you think of their work. Steven Spielberg, just say. You're outside, you're walking with Steven Spielberg and you're like, you got like, you're gonna tell him what your movie's about. Just pretend. You just gotta get in your body, walk outside nature, it's beautiful, right? And tell him about your movie. I mean, your movie, your musical. You see what I mean? Yeah, yeah, yeah. Because you're sitting, kind of answer their question, right? You need to just get in, you've already done the writing, you've done the hard work, right? Now you gotta have a little fun. Steven Spielberg wants to make your musical or whatever, or David Stone who produced Wicked, whatever, someone fabulous wants to produce your work. And they just gotta, you gotta talk about it a little bit for them to be able to communicate that to the marketing team. That's all. Love you, you just gotta get outside and it's beautiful day. I'm assuming you're in Los Angeles, and you're walking, you gotta get some air around it. You gotta make it, you gotta make it enjoyable. This is the fun part. This is the gravy on the cake. Right, right, right. Okay? It's gonna be fun. It's fun. Yeah, this is the fun part. This is the, you finished, you're on the podium at the Olympics, you're getting the medal. Yay. They just wanna know what do we say about it, you know? Right, right, right, right. It's a joyous, it's a joyous opportunity. Perfect, thank you. You're welcome. You're welcome. Congratulations. Thank you. Thank you, Allani, Timothy, feel free to unmute yourself. Thank you. Hey, everybody. Hey, SLP, how you doing? Hey. Kind of a technical question. You know, when you're like, I'm working on a screenplay and I'm gaming it out and, you know, you look at your characters and it's like you gotta want kind of realization and obstacles and then they arrive at a new place. And so in the process of doing this, I realized that like all of that happens, not all of it, but enough of it happens like in the first three pages. So question. Right. Did I go back and backfill? Can these things go in a different order? Kind of wanna get your thoughts on that. So you're writing a screenplay and the classic screenplay structure asks you to do certain things at certain times. And it's very effective. If you do it, if you have some fun with it, it's not like painting by numbers. It's actually kind of enjoyable to my... So you start with your, I mean, I'm just saying, is it like the screenplay where you start with your opening image? Oh, is it here? Okay. Yeah, there's that. There's like, it's a kind of a journey play and I'm like, so what does the character want? They wanna complete the journey. They realized they're not gonna be able to, but they plow forward anyway. And I realized that the character figures out that they're not gonna be able to complete the journey way too early. So... That's what you... Also, Timothy, yeah, that's the thing. If it were a play, we'd say to an actor or to a writer, you can't play the end. You can't play the end. Kingly or can't play the... Oh gee, I'm never gonna be happy again. You know, it's gonna work out. Hamlet gonna be like, I wanna figure this shit out, right? You can't, so you can't play the end. So your character who's on a journey, right? They set out on a journey and they fully believe they're gonna make it. They have a plan. Right, they have a plan. They might even have a guide named Frida Kala. But no, they have a plan and they meet people along the way, right? I'm guessing. Who teach some things about things. To a degree, yeah. I'm just guessing. But they don't decide that they're not gonna make it. Something happens to her very early on. We are dawned on her that she's either not gonna make it or it's not gonna go the way she wants. Okay. But I don't understand your problem then. Oh, well, that could be an answer of unto itself. But I guess what I'm saying is in order for it to work, it's like, oh, gosh, I'm messing this up. She sees that the journey won't work. She goes after it anyway. And I'm just worried that like it's kind of given the game away, you know, very, very early on. So that's kind of, and I'm like, you know, okay, well, should I start it earlier? Should I, should we use flashbacks? If you could start a degree, you could have that thing that happens to her where she feels like it's not gonna work out like she wanted to be, encourage her to change her game plan. I mean, how many people who are wanting to be like a ballerina and like ended up being mayor or something. I don't, you know, you see, she has to stay active. He has to keep moving forward. And if you need the events to happen where they do, then she's got to react differently to them. Or you could start it early, you could start it when she's born. And, you know, I mean, sure you can do it. I mean, that's your choice, that's your choice. It's tricky not knowing the specifics of your story, but what happens when you can move that around, that's your choice as a writer. And you can either move them or move around how she responds to them. So in other words, if you have like a one, two, three, four, five plot points, you know, want, action, realization, obstacles, ending, you can mess up those numbers. Like in the, in the, in the, in the story, you can start with like three and go back to one and then go to three and all. You can try that if you, if you, if you want. Oh, okay. Well, you can't know. I mean, want, what does she want? Action? Yeah. Then something happens to her. Then she do, yeah. Something happens. She's always, she's driving from California. Her car breaks down or her car is stolen. She still wants to get to the point that she decide, I'm never going to get to New York and the end of the movie or did she say, I think I'll take a bike. Look, there's three to Calo on a bicycle. There's another way to get there. I still want to go to New York. Great. You know what I mean? Like, have you ever seen the film? I mean, you can also watch journey films, you know, films where characters go on big trips wanting big things, you know? Right. There are lots of them. There's a lot of these films, but character and it can sort of help you out. I mean, your, your story. Cool. Cool. Okay. Thanks. Thank you. Sarah, please unmute yourself. Hi, everybody. It's my first time joining one of these. So I'm very excited to be here. Yeah, so I'm a student working on my first full-length play. And I just want to say really quickly that I'm very excited because it is about young women based on observations I had on Sarcha Bartman's life. And my first play that I read in my African-American performance arts class was your play Venus on Sarcha's life. So this is just a really special moment for me. But my question is that I found in writing this piece that like the opposing force or like antagonist or whatever you would call it, gets very like amorphous into things like, well, society, the patriarchy, right? Supremacy, which like kind of lacks conflicts because then I feel like it's just like a bunch of people in the room sitting. But when I think of ways to give it a little bit more drive, I feel like it leans into, oh, I don't want to pit the women against each other or I don't want to like bring in a male presence or a presence of like their partners into the piece where it's undo. So I was just wondering if you had like any advice or words of wisdom on like how to bring in drive when the opposing force is something that's not really tangible, if that makes sense. Right, right, right. So that's a great question. Wow. So the opposing force is not really tangible. You seem to be locating it in characters that you'd rather not bring in, you know? So, which is okay, although that might be a problem. This is a thing, things like the patriarchy, right? Blah, blah. So the patriarchy is expressed in very specific ways by a whole wealth, a whole bunch of different kinds of people, not just men folk, right? So a lot of times the patriarchy is expressed in the actions of men folk, but a lot of times to your point, the patriarchy is expressed in actions of women folk. We internalize that stuff. That to me is interesting. But you say you don't want to pit the women against each other. Yeah, I think I don't mind them like, you know, they can be antagonistic in each other's lives without like being the antagonists of the story. I suppose, yeah, I guess just being aware that I want to not make it like, oh, well, she's the bad one. Yeah, yeah, yeah. Could she have a, I mean, the bad one, could she, you know, have like a, is there a reason that she could be the bad one? I mean, you know, people could say Medea, you know, not Tyler Perry's Medea. Yes. Right, okay, Medea. Euripides, Medea, you know, she's the bad one, you know what I mean? But she had a reason for doing what she did. I mean, it was rough, you know what I mean? I mean, she killed her children, ah, but she had a reason for doing it. Is it worth getting to know why someone might behave in ways that we don't like? Yeah, no, I think that's a very helpful thought path because I've already like, I have some things percolating there and I think that that, yeah. I mean, just, you know, I mean, because otherwise we create drama with no drama, everybody's likable and righteous and they always do the right thing and they're always saying the right thing or trying and, you know, this amorphous, like you said, outside force makes their life unbearable, but it's no one you'd ever see or meet, you know, and that's a little trick. We can come, we can look and examine some people who are, you know, difficult types. It's worth a try anyway to see if that, if that kind of grounds your story a little bit. Right, thank you. Sure, and best of luck with your play and come back and visit us. Thank you, I will. Thank you so much. Hey, thank you so much. You're up and Crystal, can you please unmute yourself? Hi. Hey, Crystal, how you doing? Good, good. I know there's not much time. I'm gonna try to be as quick as possible. So it's not my question is, I have a question, but the update is that the year has been still an issue. Only, and I realized why, some of why it's been an issue has been because like, when I do the research of some of the events that I wanted to put in, it's too, it's too accurate and I don't want it in that time period. So that's why I didn't want a year. So I'm still working it out. I'm still trying to get a year and I didn't, yeah. My question has become, as I've been writing and incorporating the character who does the violence, how do I not make this person like a foreshadowing of, I guess, not evil, but like, yeah, I mean, of being a bad person or a passive person who does an absolute wrong thing. I feel like I'm falling into him becoming, when we first meet him and when we first experience him, he's a little gruff and I'm just having trouble trying to find a more layered and multi-dimensional character for him. So, because I remember what you were saying last week about finding their humanity, even everyone. And so I'm just, am I misquoting? No, I'm just raising my hand. It's a tricky thing to hear in a general sense like that. But yeah, keep going, keep going. You were talking about like the, I haven't written the violence scene that I was telling you about and I'm like, still avoiding it. I'm still trying to write around it. I know I have to get to it. And I remember when we were speaking, you said that if, for writing, not writing like violence for the sake of violence or gratuitous, to make sure you take care of your characters and make sure everyone, their humanity is shown. And so- The people who are suffering the violence. Yes. Right. Wait a minute. Do you have to show the perpetrator at all? You mean in that scene or just in general? In the play at all. Yeah, because he drives the action that drives what could shift the relationship between the two women. Can he be really nice? Can he be? I started him off being really nice, but I did start it off that way. And then he kind of flips. But can I say a little more? Yeah, I don't know what we're gonna get cut off. Yeah, the time is an issue. So I think we should find a way to wrap it up because it's so too. But I would say, write it, don't worry about it for now. There's a lot of tentacle questions stemming out and it's tricky for me to give suggestions, not knowing the specifics of the work, when it involves things like violence, trauma, those kinds of things. And I would hope that we don't get the wrong understanding of what I'm talking about when I say, think about the humanity and all that. So I just wanna be very mindful that what you're talking about is very specific and a big question. And me not knowing the specifics of your work, I just wanna be mindful that I'm not saying, no, don't worry about it, write whatever. I'm not saying that at all. And we just need to unpack this maybe next time. You've been in the class, the watch me work for a long time crystal and I always appreciate your questions and stuff. And we should table it and talk about it next week. I just wanna say a couple of things before we wrap up two people that I saw. I know there's lots of wonderful people on here. Thanks New Work Developers for getting us such a robust attendance today and thank you all for attending. I saw Ryan here who I haven't seen in years and my friend, Sten from Sweden is in the house. I cannot believe it. Me and Sten go back way back to when we would hang out in London. So I wanna give you a shout out, brother. I see you and it's so great, so great to see you all. Old friends, new friends. I'm just giving love to you everybody. Please come back. These are great questions. And we had so many questions this week. Sometimes we hardly have any but we had so many questions this week. I love to talk with you all. I put a link in the chat to Sula and the Joyful Noise which is my test kitchen slash band. If any of you are in New York, come on down and hang out. I'm forming a band to work on some new songs as I work on a new theater show. The link is in the chat, Sula and thejoyfulnoise.com. Anything new work development? Any words of wisdom as we wrap up today? I just wanna say thank you, SLP. Thank you, everyone. And MD and Stan, if you come back next week, so our next Watch Me Work is next week, February 12th at five and you get on the queue, I promise that we will make sure that we get your questions in. So please come back and join us. Okay, sin in love. Thank you so much. Okay, bye-bye.