 So watching my work is basically a free writing class that takes place in a lot of ways to So, what we do is to watch my work, but it needs to have the first time for you, okay? And basically, most of you are in this place, people can come and be all together, and we'll be able to do that to me and this, and then after that to me and my other two, I can take questions to all of you guys about your creative process, okay? So, should you have a question about people writing something to say to me? No, I can't provide that kind of answer to you guys. Can I just ask you another question tomorrow? We'll take your question about your creative process, okay? Okay, I'm going to ask you a question about all of us. We've heard all the questions, all right, and those are up in the comments, okay? If you are in the online community, and if you're listening to what's on the line, you may go up to one of us and ask, what do we need to do in 15 minutes? Sign up for the next class. Yes, very soon. We're going to tell you how to do your creative process. So, you're sharing this with me. Yeah, this one is mine. So, you're doing it now. Okay. And please, between us, we are watching your S&P, and you're going to be actually going to play, actually going to work, or actually going to work. Okay. So, what we're going to do first is we're going to work between us, and I have this with you two, but we don't know how it works. So, I'm going to let him actually get in here somewhere. You guys can maybe talk about why this is wrong. This is a lot of problems with this. You need to take big drugs. So, we're going to go to the other side. And then we're going to use this little tire to get in here. And we're going to use this little tire for 15 minutes. And then I'm going to get this out of here. I'll see you. Yes. Okay. So, in the top, I have a little shirt. And I'm going to take this off. And we're going to take this. And then... And I'm going to use this tire. I'm going to use two of them. And here it is. I'm going to use one of these. We'll go out to the other side. Time for time to share. Ready? Ready? Ready and... Okay, that's a... Oh I forgot to tell you... tell you oh what's your name by the way June okay yeah so I'm doing this a little game That's the only one for me, but I don't know. Yes, we'll play that one. Let's try it out. I started remembering his name last year. I got a trick. I have a trick, too. It just came out. What's your trick? My trick is when you first meet them, you say their name three times, like, oh, nice to meet you, Lori. It's good to see you here, Lori. Right, we're right. You say it three times, you won't forget it. Oh, well, that's such a... Why? I think it's simple. I see the song in my head. Oh, okay. Because there's one on the album. Okay. So you have a song now that I think there's a song in my head. There's some good June songs. There are. I think this is great. I'm so glad you made this tune. And I never had to try it. So I never had to tell you tune, but this is also a play. Hence, the Dolan's name. Every play has a melody. It's somewhere in the world. So if you can just imagine that it's also in this and that. This is a play. So what we did just then is we did the action together. I'm just going to say this is a good job. We did the action today. And now we're going to do the dialogue. I think people at Harvard call it ahead of the action call. But if we're not at Harvard, then I just don't like to do that. So you think I might be using this somewhere once. So, I know. I'll have to say your name for it. Like, you're going to go like that. It's not like a robot is saying it. But you said three different, yeah, three different songs. Just close there because I can't hear you. This is so long. I don't know if you can hear me. So does anybody have a question about their work? Their creative drama? Oh, yes, sir. It's weird. It's weird. It's so loud. We can try it with alchemyte. Yeah, because that'll get it. This is weird. Yeah, this is like... Oh, because those speakers are on. I know. That was so weird. Usually those speakers are on. Anyway, we won't worry about we're having enough tech today. So, yeah, what's your name? Remind me. I'm Brett. Okay, oh good, because I was like, I've never seen you. No, no, no, no, no. Here we go. Okay. Okay, Brett. Oh, the football player. Sorry. No, in my mind. I'm packaged that because of him. So that makes sense. He has a big impact on my life, so that's good. That'll work. Do you have a song about him? He's not doing one. Yeah, okay, but you are. I'm doing great. He's a bad guy. He cheated on his wife while she had breast cancer and like sent pictures of his penis to Tina and Susan. It was bad. It was really bad. And the pictures of his penis weren't even good. That's what I'm... Probably not. I would imagine. Probably not. Anyway, but yeah. Okay, but you're the good Brett. Yeah, hopefully. Exactly. So I am an actor and a playwright, primarily, and I wonder when you write characters who are not necessarily dissimilar from your own experience, but maybe from a different walk of life, how do you... Is there anything you do in particular to safeguard yourself from feeling ridiculous or offensive or both? Right. Huh. So Brett, I mean, I'm going to repeat your question. So just to make sure that kind of I have something to do with what you're talking about. So Brett says when one writes something that a character that isn't like really close to you, right, someone who's really different from you, how do we safeguard ourselves from being offensive or ridiculous or ridiculously offensive? I would suggest just write it as best you can. I mean, because I think what happens is we worry about it and then that just makes it worse. Sort of. There is a school of thought that says that anybody can write anybody. I don't know. I know that in Hollywood, a lot of people get hired to write people. And that's okay. And sometimes they're successful and a lot of people generate stories that are far from them, you could say. And sometimes they're successful and a lot of people get hired to write people and they just end up continuing the same old shit as we say on the corner. So, I don't know. It's good to be mindful, but up to a point. And if you really feel like you've got to write this person, then go for it. And when you're in rehearsal or whatever, count on the feedback to make sure you stay on the road. That's my best, you know? You know. So, don't worry about it too much. Don't let it stop you from writing it. Go ahead and write it. But just know that when you step... I mean, the question to me, I always ask, how much skin do you have in the game? And not just foreskin, but, you know, the skin, you know what I'm saying? I mean, really, how much skin do you got in the game? And that's a question. So, just be mindful, yeah. Also, it's easy to forget the rehearsal that you're doing sometimes. You have rehearsal to work stuff out. To work stuff out. Yeah. That's true. Yeah, yeah, yeah. And you do. But, you know, I'm a couple of minds. I mean, a lot of people write characters that aren't from their life and they just kind of put it up there because it might be fashionable to write about people from Czechoslovakia back in the day because they think it's interesting. And they are going to count on the actors to help them fix it. And I don't do that. But a lot of people do. Czechoslovakia. You know what I'm talking about. Yeah, so, you know, right? So, yeah, but, yeah, go into rehearsal. Be mindful. Just try to do research, you know, as much as you think is necessary and be mindful about it, you know? And open to like, hey, I don't know. This isn't, you know, I don't know. So, I'm open to be, I'm teachable. I'm open to learning more, you know? Good question, though. Good question. Anybody else? Questions about your work, your creative process. That was what I was saying. Yeah, I have a disciplinary question. A disciplinary question. Yeah, I'm a multi-genre writer. I write fiction, I write screenplays. There's always a story in my heart. And this exercise was really interesting because I started to work on a screenplay that I've been kind of nursing for a while before. And then I found myself going back to work on a short story that needs some tweaking. So, like, where do you fall in that? Like, do you discipline yourself to sort of sit down and finish one piece? Or do you kind of go, like, wherever the mood takes you? Right. Right. Did everybody kind of hear June's question? She does a lot of different kinds of writing. And am I correct in here? You said, so when I sat down right now, I started to work on a screenplay, and then I turned to... The short story. Yeah, okay. So you, I would say, yeah, I appreciate you asking a question because I would say you have a problem. Yeah, yeah. It is a focus. Yeah, it's a focus, yeah, yeah, yeah. So it's, because what happens is we start working on something and then, yeah, I feel a little... It's like dating, you know? I mean, it's nice to date, like, five people at once. But 500, then you've got a problem, right? Okay, okay. You heard about the men who have, like, I have six kids by 12 different women. You know what I mean? You think, well, brother got a problem, right? So we can narrow your focus, right? Uh-huh. Especially in a 20-minute exercise. Right. Right. I committed to one. I started on one. Exactly. I committed to three things. You committed to being here. That's major. So you can commit to showing up, which is major, right? Which is great. That's the hardest thing to do. So you can already do the hardest thing. And then the second hardest thing is deciding to do something. You didn't just sit there and go, I didn't know what to do. I couldn't make up my mind. Okay? So you decide it and then you change your mind. And what we want to look at is the changing your mind part of it. Because you've raised the question, it sounds like it is something that you can improve upon, right? So you need to... What's that saying, gird your loins? Okay. So you know there was a ship. What was his name? Ulysses. And the sirens were singing in the hills. And he had his men tie him to the mast. Which is different from gird your loins, but it's kind of the same. Because he didn't want to go off course, right? So they tied him to the mast so that the ship could continue and sail on. So you need to tie yourself to the mast, right? So there's all this ship that's flying around your head that you're actually entertaining. Come on, come on, come on, come on, come on, come on. Oh, I don't know, I don't know. You get in too deep with that. There's all this crap that's floating around in your head. All these sirens. They're coming here. You just have to... You know this, Jester. I mean you could have done that. Ulysses. You could have just said... Talk to them. But instead he had the men tie him to the mast. Cool, right? It's so exciting. Ropes and shit. But you have to just... So when you are writing something and you feel the voice saying June, June, June, it's time for you. You're not done with your screenplay yet. You're only on page four. What's the name, Denafrio, the actor? Vincent. Vincent. He does that. You know it's a crime scene? Oh, it's a crime scene, right? Okay, Vincent. So when your voice says June, June, June, come on. You're only on page four, but boy, do I have a great story for you to start. You know that that is not the voice of inspiration trying to lead you to something great. You know it's the voice of fear trying to get you off track. And if it's like inspiration sort of inhabiting or fear inhabiting the body of inspiration and making it speak in tongues to you. Right? Lexa's notion, I've seen that happen. You can just write it down really quick on a little notebook. Great idea for a short story. Just write it down real quick. Okay, I'm gonna keep going. Does that make sense? It's the voice of fear. Fear appears to us in different ways. Sometimes it's, hey, hey, hey, work on a new project. You're not done with that one, but who cares? This is much better. No one's gonna work that one anyway. Right, okay? That's the voice of fear. That's kind of like, I'm stuck in this place of trying to work from what's gonna be able to sound. Right. See, I can read your mind. That's why I'm a professional. Yes. Yes, yes, yes. Of course. Yes, I can hear it. Yeah. That's why, a lot of times, that's why we might jump from one thing to the next. Right? Which is okay. I'll tell you what, nothing's gonna sell if you don't finish it, right? I mean, sure, you can pitch a concept, but if you can't sit down and write it, it's not gonna, you're not gonna be able to do it, right? So you have to develop, or develop more of the ability to stick with something. Through to when you can type the end. And then, in only then, you're allowed to go to the next section. And you can do this. You can practice spending 20 minutes a day, if say, how much time do you spend a day writing? I'm practicing discipline right now. I don't, right? Whenever the mood strikes me. I can't take in a drink. Right, right, okay. So what's your favorite time of day? I mean, the time when you feel like, yeah. I'm a night writer. You're a what? I'm a night writer. She's a night writer. You're a night owl kind of a type, right? Okay, great. So about what time is that? Like 10 o'clock? Like you feel like, yeah, I'm really me. Okay. So how about from 10 to 11? We'll keep it simple. 10 to 11, a clock. You're going to have for your writing time. And in that time, you get to spend 20 minutes on three different projects. Yes, see your spine. Because see, this one doesn't have to be painful. It just has to be consistent. 20 minutes on your screenplay. Just whatever you want to do. And again, get yourself one of these. I'm sure you already have one of these. Can you tell the difference? Everybody, you see the difference? It is not like a flip-flop clam shell. No, one of these. All it can do is count. Wait, crack. Wonderful. Okay. Get yourself one of these. Set it for 20 minutes. It goes off, then you get to switch. And work on your short story for 20 minutes. Then you can go back to your screenplay or stay on your short story or work on your novel or your poem or your song or whatever. Okay. But make sure you put in the time an hour a day from, say, 10 to 11. And if you're not in the mood, so what? Sit there and let this just count down the minute. Think if you listen. He can do it, so can you. Okay? Your birthday's on Bloomington. Your birthday's on Bloomington. See? Ah-ha. You've come to the right place, dear. So, okay. See your birthday's on Bloomington. It was on the 26th of 1960. June. Amazing. Okay. So, now you have to do it. Yes. Okay. Everything's so easy. Anybody else? Yes. What's your name? My name's Get Simony. Get Simony? Yes. Oh, like the garden. Precisely. Oh, I mean, but, yeah. That's a beautiful name. Thank you. Oh, I see that my grandma went in to do that with my phone. That's so beautiful. Thank you. Wow. So you have a song now. I have a song. It's from Jesus Christ Superstar. It's okay. It's okay. It's okay. It's okay. Okay. So, what's your question? Get Simony? Part two questions. Yes. How do you feel like what you're doing is enough? How do you feel like what you're doing is enough? Got a job as a theater teaching artist. Party for grad schools have drafts of everything. Make my deadlines and it still doesn't feel like it's enough. And the second question is, or part two of that question is, what draft is the part is? For you? For you. For me. What draft is the roughest to get through? For Mary? For you. It's not your work. Okay. So, these are both really great questions. Did you hear her questions? Get Simony's a little soft-spoken. I'm going to paraphrase. Sure. So, she's moved here from D.C., right? She wants to pursue a life in the arts and she's moved here. She has drafts of everything. She meets her deadlines. She works really hard. She has a job as a teaching... Theater teaching artist. A theater teaching artist. So, she's doing... Sounds like everything right? Yeah. Sounds like you're doing everything right. But she still doesn't feel like it's enough. And the second question is, which draft for hers? Which draft for hers? Because it's about your work. So, who... I mean, thank you for asking that question. But who the fuck cares? What my problem is? Because it's about you today. So, is what I'm doing enough? Does it not feel like you're doing enough because you haven't received the recognition maybe that you need right now? I don't know. I'm beginning to get recognition. I just got a feature that I've been watching for the most part of the story. It feels like it never feels like it's enough. I got to feel like I'm going to wake up and work harder. Why did I press snooze? I could have gotten up 10 minutes earlier. Why did I skip yoga today? I know I need to do that to take care of myself. It's just... It never feels like it's enough. Right. Always to do it. Right. Remember it. Okay. That is a... That's something... I'm glad you brought that up because that's something you need to start working on because if you don't work on it now, then no matter what happens, no matter all the wonderful things that are coming to you in your life and your career, will never feel like enough. So it's like you have a whole inside that you need to... You need to start now. You need to tell yourself. I don't know if you want to look at America and say, I am enough. I'm doing really, really, really well. You need to replace that. A lot of times we have what we call negative self-talk in our head. We have this stuff going around in our head that says, you're not good enough, or your writing's not good enough, or you'll never make it, or whatever. We all have some shit revolving in our head on that record in our mind, right? That old LP got that. And one of your things is, I'm not doing enough. And so you need to just start saying when that comes up, that is the voice of bullshit. Like, June's got something that says, Hey, come on over here and try something new. I mean, that's what your voice says. And your voice says, it's symphony. You're not doing enough. That's the voice of bullshit. You need to recognize it as voice of bullshit, instead of the voice of truth. It's not the voice of truth that you should jump from one project to another without ever having finished the thing you're working on. It's not true that you're not doing enough. Yeah, sure you should have gone to yoga today, but it's a recurring, your mantra should not be, you're not doing enough. Your mantra is, you're doing really well. And I'm proud of myself. And do you have the practice of, a lot of people do have a practice of writing gratitude lists? Has anybody ever heard of this? Gratitude lists? At the end of the day, you write down 10 things that you're thankful for. Do you do that? At the beginning of the day, do you do that? Yes, yes. Okay, so try it at the beginning of the day. I mean, do it twice. Book in your day with, wow, all the things that are going really well. And whenever that voice comes up, start replacing it with, wow, look at what's really going well. Look what I accomplished. Okay? Because you don't want to give that negative bullshit voice too much time. It's like, I mean, if you had a friend, are you guys friends? We've got a friend. I mean, would you, if you were Shamar's friend and you're talking to her like, if you said, hey, Shamar, how are you doing, girl? You know, you're not doing enough. Would you guys be friends? Right, right. She wouldn't talk to your friend that way, right? So why are you talking to yourself like this? Right? Okay. So that's just bullshit, okay? And replace it with something true, okay? And that will help you. That will serve you better. And the second thing, which draft is hardest for you? Which draft is hardest for you? I have a problem with finishing. And then I just sat down and made like, these are 100 things I'm going to get done in a year. And I'm going to meet these deadlines. Okay. And I'm meeting these deadlines and have drafts. But I feel like, okay, now fresh draft is done. I'm afraid the second draft will finish the second. And I'm really afraid of the third. If I keep doing 10 drafts and it gets nowhere, I think it's just fear. Yeah. So if you're writing lots and lots of drafts and you never feel like you're finished, it does feed into the I'm not doing enough feeling. Right? So hopefully working on the I'm not doing enough feeling is going to take care of that. I'm writing too many drafts. Because then what you write is never good enough. I mean, I have problems. I have that problem I don't have. I kind of like, hey, yo, it's okay. It's good enough. And I don't try to get it. I'm good. Great is the enemy of good. We know that great is the enemy of good. And great is the enemy of good enough. It just has to be good enough. And also we talk about lowering the bar. Try lowering the bar, just so many. I'm lower than the bar. I don't try to like, oh my God, I got it right like Sousa Laura Parks today. Look at that. What? Please. I'm just going to get something done. Come here. We have fun here. We're going to have fun part right here. So keep coming. Yeah, yeah, keep coming here. Because it's like fun, you know. I mean, we're all very, very serious artists, you know. But you know, I mean, you know what I'm saying? We don't like. Anybody else? Someone. So Crystal, she has something. Crystal from New Jersey. Is it Crystal from New Jersey? Oh my goodness. So someone wants to read her first play. Oh, okay. She has two endings and she's not sure which one to go with. One is, she said romantic but she corrected herself. One is more hopeful and one is more raw, but her heart, one's happy is the playwright and her favorite. So, which one does she like best? Does it sound like she likes the romantic one, the hopeful one better? She likes. I think it sounds like she wants the hopeful one, but the other one, I don't know. Go with the one you want, Crystal. Crystal, go with the one you want. And there's a big time delay on this. Oh, yes. Funny. Yeah, go, I would say to Crystal, she should go with the ending that she likes better and she can always change it back to the other one. You know what I mean? Go with the ending that she likes more. Definitely. You know. And then she can always change it. But, yeah, Crystal, thanks for calling. There's a time delay. Sorry, I'm just watching myself in the center. Anybody else, Stephanie? Oh, Alexis. Alexis, okay. My question, well, I have one that's like the same, right? The other that's just like a personal heart. Yes. The first one is, how do you deal with the fear that everybody's pretty much already, you know, like what you need already? Right. Like, does originality matter? And we have thought of it in the middle of the question about input, like in the, like a fear with impulse switching between. So I kind of have this plan to like take off two years and maybe go back to school and like do more, or like get like a conservatory degree. But then now I kind of want to go back and I don't know if that's just me having the impulse because I went to an open house and saw like all these people excited. Oh. Or is that just like, Yeah. Right. Okay. So it's the conservatory grad school question, the second question. And the first question was originality. We're going to say it doesn't matter. I mean, like, I mean, there's a theory that says, you know, everything's already been written. I'm so terrified. It's already been written. So I would say that it's like, you identified it. You said it might be like doing this question. So that might be your thing. Telling yourself, you know, I can't write this because it's already been written. Write it anyway. Know what I mean? I mean, I know the marketplace might say, I mean, it does say, we'll only do like one thing by this kind of person. A Czechoslovakian person. A Czechoslovakian person. Every year. You know what I'm saying? And movies, starring, movie-starring people from Czechoslovakia don't perform in Chinese. Czechoslovakian people from writing anything at all. Which is the whole point of those statements. I didn't want people from Czechoslovakia right in time! Shit. She had a little... Now she doesn't... Next year there will be a full-body cast. She's one of the heads of casting. Anyway, casting! There's a lot of that saying, you know, I would go ahead and write it anyway. It doesn't matter if it's like already been written. Right? How many movies are there about, you know, Portuguese dudes hanging out in a mall? Like a lot. Portuguese. You know what I'm talking about? Like 100 million, right? Okay. So you're allowed to write some Czechoslovakian thing. You know what I'm talking about. Go ahead and write it. If that's the voice of fear in your head that slows you down. So that's that, Alexa. So the second question about going to a conservative group, so you won't be taking time off? Really? You'd be putting time in, right? Would you come out with a lot of financial debt? Okay. Okay, that's something to consider. You know? Maybe she's thinking about the same thing. But you know, if you don't have a chance to have something to consider, but you'd be putting time in. So it's a great program. It's going to cost a lot, but you'd be learning a lot and networking and all that kind of stuff. So, I mean, I didn't go to grad school. So, that's my experience. But I know people go there and they're happy to go. I didn't go. And I wouldn't go. Still. If I didn't do it all over again, I still wouldn't go. But, because I, you know, I like to run around on the street and talk shit. But you know, but you learn a lot and you network and all that kind of stuff. And it wouldn't be taking time away. You'd be putting time in. Like, do I need it? Like I'm doing a lot. I feel like I'm doing a lot of good stuff. And now I'm trying to distinguish into like, you could actually do that degree and it'd be great. Or you can just do your thing like you were planning to do. And it'll be just a dream. So, I don't know. It's like, what do I want on paper? Like, what do I want? Right, right, right. If you're thinking that, then you probably don't need, if you're doing great stuff now, you probably don't need, you know. And then there's the little exception versus the rule, like, like all the exceptions. But, we are all exceptions. If we just give ourselves the opportunity to be exceptional, we are all exceptional. And, exceptional, you know, you can go to the program and be exceptional, you know what I mean. So it doesn't, that doesn't matter, but we're all exceptional. So, whatever decision you make is going to be the right one. Does that mean harder? Yeah. Because either way, you're going to be right, you know. Yeah, yeah, yeah. Right now, this is what you are where you were supposed to be. Right? It's true. It's true. You are where you're supposed to be. It's true. Which is, you know, right now in this movie are exactly where we're supposed to be. Which is like, oh, it's true. What does that mean? I'm not supposed to have that big house in Malibu? Yes, not. You know, which is very interesting. It helps us stay focused, disciplined, allowing yourself to love the thing, the place where you are. I went back to have a 10-year experience when I had a bad accident. Yeah. I think that you should like, get close to me. Are you getting into the program? Yeah. I want to sit around for a bit. I'm like, you bet. Right. And then I was coming to the station about whether or not I was going to go into everything. It's in this, this massive, it is, um, so it's a purpose and it's a reason for the rest of the business to be saying, well, you don't have to come right now. You've been accepted. So, I'm on it. That's kind of the advice that I'm going to do with, you can put it up for a year, maybe two, even three. Like, talk to me. Whatever, whichever the program is. What's your grade? Um, but also, just kind of, I went back when I said, I have a, I'm a, I did film school undergrad. And my feeling was that I didn't like, oh, I got lost somewhere. Like, I graduated film school and I was scared to be an artist. So, I found the money side of it and I worked in the business and I made good money for that prestige of having my name on great films and good projects. And then, I, like, my writing and my creativity always kind of, like, I'm stuck there. I'm like, how dare you? I didn't make it. It was not me. And I think, recently, like, I had a screenplay option and now I'm being dropped. So, my core, I think, trauma and discipline right now is that fear that Susan was talking about. Like, I've been rejected. So now it's like, I'm trying to create something that will be exact. You know what I mean? So, I think, all this is to say that we need to remember why we do it. But if you're doing good now, why is that good? Well, like, I almost want to write it for you. Well, good to me is, like, different. Like, I have something I'm really passionate about and I'm trying to make it happen, trying not to be intentional fail, but in the back of my head. I heard that I love a man. But, like, there's something that I'm really passionate about and I want to work on it and keep working at it. And I have something to work towards. Like, that's me doing it. It's not like, like, I see you and that's like super, like, are you all the things you listen to? Like, made in deadlines? Like, that's something I want to do. But, like, we acquire in a conservatory program. We can't acquire outside of it. You know that. It just takes, um, a different kind of effort. It's not all, it's not like a buffet on a cruise ship. You gotta kind of hustle out there. You know, like you're doing now. You're hustling out there. You're out there in the world, hustling. And, when you graduate from that cruise ship, you're gonna have to go back to hustle and go. So, hopefully, at a higher level, you will have paid all that money. But, some programs are free, or, or, subsidized. I think, you know, it's, you know, really easy one. Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? Anybody else? You good? Crystal has a follow-up. What's Crystal's follow-up? Her concern is that her main character is heavily flawed, and so would a hopeful ending be believable. I'd say, do the ending that she likes the best. Again, do the ending that you like the best crystal, and then, um, work it out, you know, the flaws in your character, the flaw, I mean, character flaws, like they're fucked up, it's stupid and weird. Do the ending that she likes the best. I would still say, do the ending that she likes the best. Because what, now you're asking me is to tell you to do the ending that you don't like. And I'm not going to tell you that. Haha, because I know that. I'm not going to tell you to submit something that you don't like. You know? Because maybe, Crystal, your ending, your happy ending, or hopeful ending, is the thing, the tract of being that's going to pull the character into the kind of alignment that the story actually needs. So maybe you're writing it, you know, from the back end. Which is a totally, okay way of writing. Next week, are we? I think we are. Great. Okay, well thanks to you guys. Angie, Matt, and Yubica. And thanks to you guys for coming. Yes!