 Hello! My name's Jackie and welcome back to my channel, and in this video I'm going to be using Story Engineering by Larry Brooks to plot my book for Nanarimo. Now this is the third plotting experiment I've tried. At the beginning of the month I used Take Your Pants Off by Libby Harker, then I used Save the Cat by Blake Snyder, and now this is the third and final one for the month, which hopefully I will finish in time for Nanarimo because that is starting in six days. Now I actually first read Story Engineering in 2016 I believe, and when I read it it was revolutionary for me. Now before that I'd actually already written a book called Book Blueprint, how any entrepreneur can write an awesome book, and it's all about how to outline a nonfiction book. It's predominantly used for how-to books, and because of that I knew the power of outlining, I knew the power of plotting essentially. I know that if you have something mapped down in advance when you actually sit down to write the writing process becomes so much easier because you're not scrambling for inspiration or turning to Google or wasting time. The problem was that I didn't really know how people plotted fiction books. I actually thought it was impossible. I thought that people who plotted they simply already had the entire story mapped down in their heads and writing down an outline was just the first step before they started writing, but I couldn't see how it would work for someone who didn't already have the story in their head. And then I read this book and the section on plotting was eye-opening for me. What Larry Brooks does is he breaks each story into four parts and then he has specific events that need to happen at different percentages throughout the book. And what I realized was, one, there is actually a formula, there is a system that works and that good stories follow, and two, because I was traveling at the time and reading on my Kindle, I was able to see the little percentage progress number at the bottom of the screen, and I could see which part we were up to according to this structure. So if I saw it was like 70% and it felt like things were ramping up, I'm like, yes, right on schedule, we're going towards the climax. If it was 25% and something had just happened, I'm like, okay, here's where the plot's actually starting. This is when things will start to spiral. Around the 50% point, I look for how things would shift so the protagonist would start to become more active rather than reactionary. So this whole concept was revolutionary for me. Having said that, I also found the book very tiresome to read. So in my Save the Cat video, I mentioned that I found that book really enjoyable. I thought it was straight to the point. There were some funny anecdotes and personal stories, but they were kept to a minimum. Most of the content was really, this is what you need to do and this is how you do it. Whereas this book, I found there was, there was a lot of meandering. Some parts actually felt more academic than usable and all in all, I thought it could have been a half, maybe a third of the current length. So it was a bit of a frustrating read. The good news is that when I was going through it again for this challenge, because I had already read it a couple of years ago, I could just skim through it very quickly and just put in my post-its for key bits I wanted to refer back to. So what does story engineering cover? So it is a novel writing approach that covers the six core competencies of successful storytelling and these are concept, character, theme, plot, scenes and writing voice. Now when it comes to what you can plan for ahead of time, for me the first four things are the ones I'm going to be focusing on. So concept, character, theme and plot and maybe a little bit of the scene advice that Larry mentioned in the book. However, I think once you get the plot outlined, that's really the core piece of preparation. When it comes to writing voice, I do agree that it's an important competency to master and that every author should find their voice or at least should find a voice that's not going to distract from the story you're telling. However, I do feel like that's much more of a writing and editing consideration than it is a planning consideration, so I won't be looking at it in this video. Just like I did in the last few videos on take your pants off and save the cat, I'm going to be focusing on the same three ideas and I'm going to be looking at them from the beginning again. So I'm not going to be building on what I already did with those books. I'm going to be starting with a blank slate. If this is the first time you're joining me, the three ideas were powerless, which is a story about a girl and a family of superheroes who doesn't have any powers and she's basically kicked out and told not to come back until she finds her powers. Vampire board games, which is a story about a family of maybe vampires, maybe just some sort of immortal beings who have been trapped in the same house for centuries because there is some enemy outside. The youngsters in the family because they're bored have set up the entire mansion as like this interactive board game where they can level up and best each other and they decide to add defeating the enemy into the game. And the third idea is called Happily Ever After and it's about a villain who dies and gets sentenced to hell and he decides he wants to take over heaven. So first step for each of these will be concept. So according to Larry Brooks in Story Engineering, the first core competency of storytelling is concept. Now one of the things he does say in this book is that you can start with any of the six competencies, so there's no need to start with concept at the beginning, but because these were how they were laid out in the book, that's the order I'll be taking them in. Now I'm not 100% sure what he means by concept. Based on the book and what I've read, I think it is the what if question that your book answers. However, however, I don't feel it's defined very clearly and this is one of the challenges I had with the book when I mentioned earlier that it did feel very academic to me when I was reading it. So if I go to the section on concept, in the concept defined chapter he says defining concept is tricky because in the lexicon of the writing world it is both overused and misused and therefore often misunderstood. The confusion stems from the fact that concept is sometimes subtly a different essence than an idea or even a premise and it is very different from theme which is a common source of confusion on this issue. So all well and good we understand that the idea of concept is confusing and a lot of people get it wrong. The problem is he doesn't clearly define it after that so the clearest part of the discussion on concept I found was that a concept is an idea that has been evolved to the point where the story becomes possible. A concept becomes a platform a stage upon which a story may unfold. A concept is something that asks a question, the answer to that question is your story and then the next part of the discussion gives some examples so the first example it gives is the idea to write a story about ballet dancers is not a concept it is just an idea but when you add a forward thinking realm to that idea and do it in the form of a question what if the ballet dancer loses her leg at the knee but perseveres against great prejudice to become a professional dancer you have evolved the idea into the realm of conceptualization so with that and the other examples he covers I think the concept is the what if question. Now once you have that question he lists a number of different criteria that your concept needs to address in order to be a good one these are is the concept fresh and original and if it's not fresh and original does it give a new spin to an old idea the next one is does it set the stage for an unfolding dramatic story so if we assume that I'm on the right track with the what if question I'm pretty confident that I can come up with a concept whether it's a good one is debatable so let's see how I go so given the concept to try but before I read out what I have I want to explain that I actually had a little milk I actually have a little more context for these exercises outside of the book and the reason for that is because when I first heard about story engineering and Larry Brooks and got into this stuff I actually came across his blog before I read the book and I found the blog to be really useful resource I actually found it to be a bit more focused than the book actually is so if um if you're looking to get into this method I I recommend buying the book simply because it's nice to support authors but I also recommend checking out the blog because there's a lot there now the reason I bring that up is because there was a discussion on concept on the blog and Larry mentioned that it was one of the hardest things for his students to get their head around and one of the things he said was that concept is what makes your book conceptual so not the most ideal definition because you're using the same word to define it but when I heard that I sort of went oh so there's like an idea or theory or concept behind the book rather than just you know the character and plot and so on so when I look at my three what if questions I think two of them don't actually work but one of them does from a more conceptual standpoint so what I have is for powerless what if a girl grows up in a family of superheroes but doesn't have powers so it is a what if question it's not very conceptual though vampire board games I have what if a family of vampires was locked up in the same house for 200 years or what if a family was cut off from the outside world for 200 years again it's a what if question it's accurate for the story I want to write but not really conceptual however for happily ever after the what if I've got is what if there was a heaven and hell for storybook heroes so that isn't actually related to the plot or the specific character I'm going to be writing about it's a question about this world and there is a concept to this world the concept that there is a heaven and hell for for storybook heroes I have no idea of what I'm saying is making any sense but I think if I was to submit this to Larry Brooks and say these are my concepts he'd say they probably all need work but he'd say the happily ever after one hits the market is conceptual the other two don't so hopefully that was helpful now fortunately one of the things Larry says is that if your concept isn't great it isn't the end of the world and in fact there is an exercise section towards the end of the chapter where there are a list of points you need to do so write down the idea for your story evaluate it as a concept evaluate your concept again is original and fresh and then the next one is if your concept is precisely what you want yet it isn't anything anyone would call original or compelling what is your plan for the other core competencies that will compensate for it and elevate your story to a level that is original and compelling so what that means is that I don't need to throw out the idea for powerless or vampire board games I just need to make sure that the theme the character the structure and the other core competencies are good enough that they make up for the lack of concept now the next core competency is character what is interesting about this book is that each competency doesn't get the same amount of real estate so concept only gets three chapters and that's 15 pages I'm looking at the table of contents to make sure I'm not lying to you whereas character has one two chapters over 52 pages and then when you get into structure that's almost a hundred pages so I think it's 80 pages with 20 chapters in it so I feel a little bit torn about this on one hand I love that the ideas of character and structure are really being explored in depth on the other hand it as a someone who's written and edited on fiction I look at this and go well if all six of these competencies are so important then all six of them should have similar real estate in the book they should take up a similar amount of space by giving so much time in the book to just one of the competencies you're basically saying it's more important than all of the others and I don't think that's Larry Brooks's intention but that as a reader when you think about how much time you're spending with each idea that's definitely what's going to happen having said that though some exercises and activities take longer than others while concept might be difficult to get right it is just one sentence and it requires more thinking than anything else to get that sentence written whereas structure is potentially going to be several pages of outlining so I can see why he's done it that way but it's just a little nitpicky thing anyway back to character so what he covers in the book is the fundamental essence of character which is seven key variables you need to address so that's surface affectations and personality backstory character arc inner demons and conflict world view goals and motivations then decisions actions and behavior after that the rest of the discussion is very academic and theoretical and when I went through it the other night I found some of it interesting but most of it was talking about the different ways this could be implemented and the different ways this could show up so there's a chapter on interior versus exterior conflict however inner demons and conflicts is already covered in those seven key elements of character and exterior conflict is going to be covered in structure and plot when you get to it so in terms of doing this as an exercise the main thing to focus on is these seven key variables and then the later chapters can come if you want more context or background for any of these areas so I've now been through the seven character elements for the protagonist for all three of the book ideas and I'm actually surprised by how much I knew given that neither of the previous plotting methods had a lot of emphasis on all these character bits and pieces so you'll see I have about three quarters of a page maybe a bit more for powerless and vampire board games and then things are a little bit lighter for happily ever after so probably not going to be looking at that one for Nana Rimo this year now beyond discovering that I already knew a lot of this stuff which was a very pleasant surprise there were a couple of things I really liked about this process so I felt like I already knew their surface affectations and personalities I knew their backstory with the exception of happily ever after because I haven't even thought about that and I knew their character arc and I need to thank take your pants off for that because that was a big focus what I liked developing was inner demons and conflicts and worldview because I think I'd already thought about their motivations but I hadn't thought about what was what was motivating those motivations or what was powering those motivations because our goals and motivations often come out of our worldview or our inner conflicts so it's either what's going on in here that we want to fix or address or it's what is happening out there that we either want to fix or address or run away from so that was really interesting the other thing that I liked is that the piece seven in this character outline is decisions actions and behaviors and the way Larry frames it is what do they do because of all of the above so you can actually start thinking about plot points here because everything they do in the plot should actually relate to all of the stuff that you've outlined and what was good was that even though I haven't been checking my notes from save the cat or take your pants off while doing this I do still have a lot of the work in my head so I remember I remember the ideas I have for the book I remember some of the things that I want to have happen and what was good was that in for some characters so in vampire board games the decisions actions and behaviors actually line up with everything I wrote down so the fact that she is so competitive it means she takes stupid risks it's what sets the whole plot in motion however I also found the opposite was true so for powerless I always knew she was desperate for her father's approval and desperate to fit in with her family but when I got into more of how that led to inner conflict and how that affected her worldview there were things like being constantly worried about what others think questioning her own judgment and also a lack of trust for the outside world and that is actually going to affect the plot because in this story she gets kicked out and has to confront the outside world and in the beat sheet that I did for save the cat I know that she ended up coming into contact with another group and becoming one of them and the battle was more about her getting them to trust her whereas the truth is that she is probably not going to trust them at all based on everything else I've said about her character so that's something really interesting to keep in mind the next story competency is theme and Larry describes this as what your book is about without describing like the character or plot so rather than saying it's about a guy who does x y and z it's about racial inequality or world hunger or I don't know finding your own inner strength so the good news is that I'd already thought of themes last week and oh I suppose I should be good though and look at the exercise so just give me a minute okay the good news is that there are no exercises in the theme section of this book so I mentioned earlier how the different competencies were quite uneven context only had three chapters theme also only has three chapters as opposed to structure which has 20 so if you're looking for more content on themes you might be disappointed but this is really good for me because I already looked at themes when I was doing save the cat so I don't need to do anything else now so the themes I had were powerless is the importance of self-acceptance vampire board games is where all in prisons of our own making and happily ever after is either does everyone deserve a happily ever after or we're all responsible for our own happily ever afters so quick win there now it's about 4pm in October in Estonia which means I'm almost out of natural light for the day so I'm going to call it a day and come back tomorrow to look at the four part structure for all three of my ideas so I'm back and today is flooding day and I am so excited to jump back into this flooding method so Larry books recommends a four part structure to books these are four equal parts so 25% each part one is the setup part two is the response part three is the attack and part four is the resolution and within those parts there are a number of milestones that you also lists out in the book so they are the first plot point the first pinch point the midpoint the second pinch point and the second plot point so I'm going to go through this in an inverted triangle structure rather than working from what would be the beginning of the plot to the end of the plot so the first thing to look at are the four parts now what I really like about this structure is that each of these parts has a very defined purpose and that can help influence the scenes that you include in them and definitely the mood and pacing and flavor of those scenes so part one which is about the first 25% of the book is the setup the goals of this section are to create stakes for your main character to share their backstory to build empathy with the character to potentially foreshadow conflict and to bring your character to a point where they are ready to transition into the book the plush that's to come part two is called the response and this is where the character is responding to or reacting to the event that kicked off the main plot of the book so if you think about like an action film or movie there might have been an explosion or some sort of attack and this is where the main characters are just running to get the hell out of there and everywhere they turn the bad guys are still coming out of them so in this part of the book they don't really have any agency it's purely about responding to or reacting to what has already happened part three is then called the attack and this is where the hero becomes a hero this is where they get proactive so generally something will change at the midpoint of the book so something between part two and part three and that'll give the hero new information or a new take on the current situation that he can then use to fight back the final part is the resolution so this is when the problem is solved bad guys are defeated and the hero is able to either return to their life from before this adventure or they build a new life based on what they've learned so in part four you are not supposed to give any new information everything that the hero should know to solve the problem everything that the audience needs to know to solve the problem should have already been communicated by the time you get to part four the hero needs to resolve the story they should be the catalyst for finding the solution and ideally the hero will experience personal growth that will help him find the solution solve the problem kill the bad guy etc now within these four parts there are what Larry calls milestone scenes and these are important scenes that need to take place at certain times in your story in order for the story to work so these are the first plot point the midpoint the second plot point the first pinch point and the second pinch point there are also a couple of other scenes he mentions such as the opening scene the opening hook but these don't get as much airtime in the book they are also not assigned specific locations in the book so i'm just going to focus on the ones that he really focuses on so the first plot point takes place at the 20 or 25 mark of your book this is the event that kicks the whole story into gear so everything before this is set up your first plot point happens and then you enter act two which is when the hero is reacting so it's also the transition piece between part one and part two the goal of this point is to introduce the main conflict of the book and to get the action started now Larry actually distinguishes between the first plot point and an inciting incident because each of these had different purposes and i will just find the example he gives in the book because it is a very good one so an inciting incident is something that is something that happens that might start to move the plot along it might be a hook or something exciting or something that changes the worlds for the characters but it doesn't actually kick the plot in motion um usually it is a setup for the first plot point so the example he gives is from Thelma and Louise if you haven't seen it two women shoot and kill a guy they've met in a bar after he comes on too strong once they reach the parking lot now what Larry says in the book is that this moment looks just like a first plot point but because of where it happens in the story and how it doesn't meet the criteria for a first plot point it isn't one it's an inciting incident so it's an inciting incident because it incites what happens next it's a huge total game changer so the first reason he gave for it not being the first plot point is the position in the story so as i mentioned earlier the first plot point should happen between 20 and 25 percent of the way through your story in Thelma and Louise which is just over two hours in length the first plot point should happen around the 30 minute mark this incident where i don't remember which one's which so i'm sorry if i get this wrong but where Thelma shoots the guy that happens at 19 minutes and 30 seconds so it's actually too soon to have that role in the story the next piece he said is it doesn't fulfill the function of the first plot point it's an inciting incident because it incites what happens next so in the movie it incites a 10 minute discussion where the women go back to the bar and discuss what happened and what they should do next now although the shooting forever changed their lives and although it launched them down a new path it is not the first plot point because the shooting wasn't what chose the path so the shooting could have led to a number of different events it could have led to them and they're killing themselves it could have led to them turning themselves in it didn't lead to either of those things instead it led to a discussion and the discussion is what led to the rest of the movie the discussion is what led to them deciding to make a run for it so that discussion and that decision at the end of the discussion is what the first plot point is rather than the moment where she shoots the guy the next essential piece is the midpoint which unsurprisingly happens at the 50 mark of your book this is between part two the response and part three the attack so when you think about its position in the book it needs to include new information or some sort of twist that allows the hero to move from being a completely reactionary person someone who can only respond to what's being thrown at him to being a proactive force in the book so that's the main criteria it should completely shift the story one of the analogies Larry gives in the book is that your first plot point midpoint and second plot point are like three poles holding a tent up so if you imagine the tent like this the midpoint is when things turn around the most important thing here is that the new information should change the meaning of what's happening for the hero and it should change it in a way that empowers the hero because this is what enables him to be proactive the next big event is the second plot point which is at 75 percent of the way through the book and this is the big climax this is where the hero resolves whatever has gone wrong whatever has fallen apart and puts it all back together now once you have your four parts in order those three transitional pillars are the main foundations of your plot however there are two other major milestones Larry talks about in the book and these are called pinch points so there are two pinch points one is in the middle of part two and one is in the middle of part three so if you want to go percentage wise I think that's 37 and a half percent and 62 and a half percent and these moments are both designed to revive into the audience of the antagonist or the antagonistic force that's at play so it helps keep stakes up tension high and so on now there are a couple of things I really love about this plotting approach one is the percentage breakdown so no matter how long or short your book is you can apply it to what you're working with two is that each part of the book so each of those four parts has a clear purpose and that helps define what goes into each of those parts and the next one is that everything feels very necessary so even though I really like to save the cat and I really like to the beach sheet there were a couple of pieces that felt like they were placeholders so there's the fun and games section in act two which Blake Snyder describes as everything you see in the trailer so it's everything everything fun that goes into the trailer of the book and then there's bad guys clothes in which is also in act two now in the beach sheet both of these took up a large number of pages but there wasn't a lot of guidance for what should go in there other than it should be entertaining whereas this I feel like every single one of these milestone scenes helps create tension and it helps move the story forward so now I've got to try and replot each of my books using this approach so I've been through Larry's structure and have attempted to replot each of these books and there are a couple of things that are interesting one is that because of the work I've already done especially with save the cat these outlines are a lot shorter than the save the cat one and that's not because there isn't that much information in them it's just that I didn't need to do the exploratory work a lot of that's already been done so that's really cool the second thing is seeing whether these stories stack up when I put them into this percentage four-part structure and what I found is that what I have the powerless works pretty well although there are a couple of questions where I've asked myself ooh is this necessary or could I make this more relevant and the same thing actually happened with vampire board games so I had a first plot point in mind which was where the main character like goes outside and attempts to confront the enemy for the first time but because of the way you save the cat is structured there wasn't really any lasting aftermath of that there was her getting in trouble with her family but it was sort of a scene and that was it whereas according to Larry Brooks structure that should inform all of part two part two should be entirely in response to that so having that in mind is actually making me rethink how how this book actually works and what's relevant and what's not so again loving this approach the place I ran into trouble was happily ever after where I actually couldn't get past the opening scene in the initial hook I wasn't sure what the first plot point should be or the midpoint so after setup I wasn't actually sure what the focus for each of the four parts should be I wasn't sure how part two would be a response I wasn't sure how part three would be an attack and even though I technically know how it's resolved in the end I didn't feel comfortable writing that down without having anything in the middle so it's going to be really interesting this week when I try to combine all three methods to see if I get any further with that book however at this stage I'm thinking happily ever after is not the book I will be doing for nano will be either powerless or vampire board games now the last two competencies to address are scenes and voice I think I mentioned in the introduction to this video that I wasn't going to look at voice because I think that is a writing and editing concern it's not really a plotting a preparation concern when it comes to scenes I did think it would be useful to look at this however in hindsight I feel like it is more useful as a checklist type of tool rather than a coming up with ideas for scenes type of tool and the reason is because there are two main things larry talks about in the scenes discussion the first one is that every scene should have a mission and that mission is to move the story forward so basically there should be no filler scenes or fluff or something that's in there just because you want to or you know you want to see the characters in this funny or strange situation if it doesn't move the story forward it doesn't belong in the book and I find this really interesting especially when I think about save the cat fun and games which I mentioned earlier you could argue that that's not really moving the story forward that's just having fun and games the next thing he talks about is the cut and thrust technique so this is a technique which means that every scene should finish in a way that creates an itch the reader wants to scratch or it raises a question they want to answer essentially this means they will want to turn over to the next page and keep reading and that goes for whether your reader is an editor or a beta reader or a literary agent or the end person who's buying your book so in the book he actually demonstrates this by giving examples of the final sentence or the final few sentences from a number of scenes in one of his books so if I read some of these to you he would write it for larry to honor her memory the consequences of blasphemy be damned lauren led him out of the cave stepping through the stone archway into what would prove to be an altered reality for them both so if you look at those couple of examples you have I assume the first one's about writing a eulogy or something and he said he would write it the consequences of blasphemy be damned so rather than just you know he was planning to write the eulogy it's like it introduces consequences and stakes and makes the reader wonder what sort of consequences is he talking about and what's he talking about with blasphemy what exactly is he going to say and that makes you want to go to the next scene with the second one I read which was she led him out of the cave and stepping into what would prove to be an altered reality for them both what does that mean how is taking a step through this archway going to change their reality again it raises a question that the reader wants to answer so I think in terms of planning obviously I'm not going to have the last line of every single scene written at this stage of the process however I think this is interesting to keep in mind at this stage just to see what ideas come up and also because if you think about it before you start writing that means it's going to be front of mind when you do start writing and hopefully it's a technique that you can use effectively so I've now gone through the first four of Larry Brook's six core competencies that he covers in story engineering and I think I've pretty much been sharing my thoughts on the process the whole way through but to sum up I think the plotting approach in this book is brilliant so if you're someone who struggles with outlining or if you are someone who has written a book that you don't think it's working and you're not sure why then I highly recommend buying this book simply because seeing how a story should be mapped out so knowing what should be covered in each of the four parts and knowing what should happen at each of the key events and when they should happen in your book might be really helpful because you might realize oh the event that I wanted to kick off the plot actually happens way too early and there's not enough setup which means we don't really have any relationship with character before things move forward or maybe you realize although there is an interesting event in the middle of the book it doesn't perform the function of the midpoint it doesn't actually change anything for the character which is why the middle of the book is lagging so I think it can be really helpful from both a planning as well as a revision perspective other than that I did struggle with this as a reading experience I did feel like the book was very academic in some places I feel like it was almost like Larry was doing lectures and then had them transcribed and I think when you're standing in front of a classroom or you're doing a presentation then then you can go off on tensions and then you can wax lyrical about your philosophy and what you think but for me at least when I'm reading a book that's supposed to be a practical guide I'm for the most part already sold on what you're teaching me so you can give me a brief explanation of why it's important but mostly the reason I bought this book is because I want to learn how to do what you teach and that doesn't mean I need all of the rambling that comes beforehand so I did find it a little bit frustrating as a reader from that perspective however once you've read it once then you can do what I did which is just skim through it really quickly to find the parts you need I also found the character discussion useful especially these seven different elements your characters should address and this is something that wasn't really covered in either of the other planning methods I approached so it was a lot of fun to delve a bit deeper with my characters another thing I liked about this was the idea of a concept even though it is very theoretical I think that thinking about the bigger concept behind your book can help create a better book it can help create something that comments on a larger theme or introduces a larger idea than simply bringing a new character or bringing a new story to the world might I'm not sure my books will do that but it is something I'd like to think about as I grow and learn as a writer and finally the piece on scenes that I just shared with you at the end of the process I thought that was very clever one of course every scene should have a mission it should move the story forward if it doesn't cut it but two also that idea of every scene should raise a question in your reader's mind to make them want to read the next one now in reality I'm not sure if every single one of my scenes will do that I know there's the potential for that to get a bit tiresome if you do it every single time so if there are 40 scenes in your book and there are 40 different questions you're making the reader ask themselves to keep them reading then that's probably going to lose its effectiveness after a while however I can see the benefit of using that if not through the entire book at select occasions so all in all I thought that story engineering is a really useful tool I highly recommended especially if you want help with your plot so from here my final activity for preptober 2019 is going through all of the materials I put together after reading take your pants off save the cat and story engineering and seeing how I can put them together into a master plan which I'll then use to choose which book idea I'll be working on in the coming month so I'm hoping that'll be up in the next few days ideally before nanorino starts if you're interested in seeing that please remember to subscribe and hit the notification bell to make sure you see it other than that good luck with your own nanorino preparation and I'll see you in a few days bye