 Unfortunately, for some obvious reasons, there's always been a hypersensitivity in black community in the rock nation with such damage that way that the image is already so it's like, we'd have to be twice as good to fight all of that. Yes, yes, yes. So, any less, so any less that wants to portray as a bad light, we'll do that, we'll do what we can. Exactly, but what about the other, what about the river? What about, what about a European-American person saying, why would you write such a thing? It makes them look bad. What about, what is that about? No, no, it makes black people look bad. What about that? What is that about? That's what we're, yeah. So, don't show the dirty laundry thing from the black community, and then for the white. What is that? I would say for them, it's just in case the question would be, business is in the street. His underwear was hanging off of a Winnebago. But he's American. But I'm saying European-American has a nice way of saying white people. I'm saying white people. Well, what's the difference between the European-American person and the American white people? But I'm saying European-Americans, like I'm saying, that's my nice way of saying white people. What do you think? I mean, I think it's just an issue of like, some people have to prove, like it's like, give me evidence that you are respectable citizens, and you are evidence, and you're not just going ahead and assume that these are equal and respectable citizens. And that's the problem, is like, well, why aren't you giving me the evidence that I need to believe in you as a person? And it's like, well, you shouldn't need evidence you should just believe in me as a person. But I think that's the mentality behind it. Why would you make your own people look bad? It's like, why aren't you giving me the feel that I need to believe in you? Correct. What do you think Phillip Roth was the big breakthrough writer? Right. Yeah. That dared to show things that what he could help you. Right. At that time. But he did it with humor. I do think it's a matter of individual actions. I mean, a character like Walter White, for example, is a criminal. He's doing terrible things. He's killing people. He's hurting people. The people in, say, Top Dog, Under Dog are mostly out with their own survival. So there's more of a redeeming factor to say those characters than, say, Walter White, who is really more of an anti-hero than a villain. But what I think is cool about that show is that he starts off as being something of an anti-hero that then becomes a pull-on villain by the end of the show. That's really cool. Yeah, I just watched the first episode, honestly. But it was great. It was just between, like, violent, you know? It's a good, yeah. I mean, it's brilliantly written. Yeah. But I think what it sounds like it comes down to is that we allow some people to be people in all their complexity. And we allow other people not to be people. You're not a person. You're just a soundbite or a sound- Or representation. Or representation of something. It's like the cliff-nose to your personhood. What? Crystal's here. Now we can start Crystal's hair. No, we haven't started because we were waiting for you. We were waiting for all of you. And this is, watch me work. And for those of you who haven't been here before, we live streamed through the courtesy of how round we hang out in the public theater once a week on Mondays. And basically, watch me work is a free writing class. That's what it is at its heart, right? It's also a play. Years ago, like Jesse Alec here, who's a producer, was the, you know, we sat around. We were sitting around, and I needed to write a play for Jesse Alec's festival. And I said, yeah, I don't have time to write a play. But I said, what I will do is I'll make a play that consists of me sitting on stage writing. And that was the play. And we started that. Because I thought it was really important. I also play musical instruments. And I learned so much by watching people do things. And there's a whole history, a whole understanding of the way people learn things by watching. If you've ever read The Intergamer of Tennis, the word. Yay, Serena, I love you, you're the best. I'm sorry, true. But if you've ever read The Intergamer of Tennis, there's a whole understanding of how we learn things by watching. We just watch people do things. And that's one way of learning. We watch people play the guitar the day after. And that contact knowledge, that contact kind of comes. So I thought, gosh, writers, you don't have anything to watch. We watch their work. Their plays, we watch them, look at their novels. But we don't really get to watch them work. We watch them work. So this is what it looks like. Is that funny? I don't know. So maybe those people, I know you're lost and lonely. And you do not have a friend. And you need to see what it looks like to be a writer. You can just turn it on out around. And hopefully, the archive is. You can turn it on. What's fun about this show, also, is that you can do a Q&A after you walk together. So it gives everybody, when you're here in the lobby, a public interview in the lobby. Or you're in the land, the interwebs lands. You can tweet in your questions. And someone is usually here to remind me, what the address is. To tweet in. And I have no clue. It's the 14th of September. Yeah. Watch me work. Brittany knows. Brittany, come on down. She's wearing a dress because she's an intern. And that's how they speak in. Sorry, I'm sorry. You look great. You look fan of white. I feel like what's the guy's name? Patsy Jack. Patsy Jack. All right, so feel free to follow us on Watch Me Work, SLP on Twitter. And then to, oh yeah, online. And then to ask questions, the hashtag is New Play. Then you can also send the hashtag HowlRound as well. Awesome. I'm sorry. It's all good. Yeah, so just a tweet. I do movies, stop working. So now that you're here, have a tweet. And then we can answer your questions live. We can certainly answer your questions here. It's kind of looking really weird. Look at it. We are going to, this is just a prop. It used to work back when we started six years ago. This is what I'm going to use now. I don't use my phone. I'll just tell you now. Phone is a big way to show up. Your phone is a big way to go. Your phone is cracked. It's okay. I'm going to set it for like 20 minutes. People feel like they have questions. They have questions. Okay, so we'll work for 20 minutes. We'll keep it simple and gentle with you. This is the first time since you've been away in the summer. We'll be gentle and we'll work for 20 minutes and then we'll talk for as long as you guys let us. Okay, so let's go. So who's going to talk? We're going to have a talk. Okay, just to make sure that I don't like, this goes off and I'm in my, look at all this paper. I'm not going to use all of that. Yes. If it's one, yeah, probably comes out of the worst. Oh, there it is. It's already written. Nice. And I used to type writer because it reminds us of long, long ago. Okay, ready? So are we ready? I'm going to do this. Ready? Yeah, they no longer teach. Apparently, they no longer teach. You still have kids. They no longer teach children. Exactly. So they can't sign their name? Why? Don't you write an X? You got to type it. You got to type it. That's right. People send me, what do you call it, you know, contracts and e-mail. You're just like, in electronic way, sign your name. I said, uh-uh. I said, oh, shit. You could be sending that to e-mail. Just electronically sign your name. Anyway, and soon we won't even have to drive. I know, so people don't like to live at the best because you're just getting here and it's going to be safer and it's going to be better. But I know, back in the day, we all lived in caves. We learned, we knew how to make a fire but just sticks and people were like, nah, nah, just use a big lighter, man. I don't need that. It's a bullshit. It's you. I bet you could type it on a computer but you got a code or whatever. So you got a code. You got a, yeah. I remember we got those skills. You make a fire in the woods. Yeah, that's how you do both. You can't see. You can't ban a program. And you can drive. And you can drive. And I can drive. And you can ride in person. No. But I can't ride in person either. I have no motor skills. You can see. It's not, it's alright. It's not right. Okay, so does anybody have to be really big pressing? Is this what we're supposed to do now? Yes. Anybody have any big pressing questions or not even pressing? Maya would like. So you can ask questions, specific questions about your work. It's amazing how we can troubleshoot and problem solve without ever having to ride in an entire motor group. Dude. Because all the questions are at the end of the day. Yes? Have you picked yourself from? What's your name? Garland. Garland? Garland. And Garland asks, how does one keep oneself from the kid? As we brought it out, we talked about one draft for one project. Yeah, like if you do, like your first draft, you're going for a play, right? I think that, let's say you're playing, you're probably talking about your stuff several times. How do you kind of keep yourself up to the next few questions? Right. Good question. We're going to solve this. You just got to live with it and you're going to go on and end it. Right. So you're sort of guessing you're a writer. Yes. And you write some things and you've written some things and perhaps you've tried just going about the method, which I think is a great thing to do. And you're trying to sort of right now rewrite later the method, which is great and very smart. And your concern is perhaps I might be repeating myself maybe. Yeah. Well, yeah. It's like, how do you do less work? Ah. You know? Because it's like, it seems like, okay, if I do this, then I have to go back and I have to get rid of it. Yes. That's my hours that I could have done something. Aha. Aha. Well, see, how you do less work is actually, it's a trick, it's a trick. How you do less work is actually remove the concern that you're having right now. Maybe. And go ahead and repent yourself and not to worry about what you do yourself. That's actually how you remove less work because if you remove the worry, the worry is going to like slow you down. Like if you do now, then I'm not going to get involved in the patient with concern. Aha. But, you know, I'm talking about, so worry kind of slows it down, right? So if you're not in a state of worry then it actually will allow you to continue on and not be looking over your shoulder and wondering, like you're running and you don't see any of those like Usain Bolt or whoever they are, you know, running and they're not looking like that when they're running. They're looking like this. Okay? So, you know, remove that and allow yourself to freely go forward and write freely and freely write later. If you are repeating yourself that probably means that it's something that's important to you and you want to make sure you get down and you might end up with yourself verbatim. Probably not. And so those little twists and turns and repetitions are actually useful as you, oh, God, that's a better way to say it. Let me take that word, add it to the really smart to write first and rewrite later. But she knew that all the time, right? Even with us all here. We're going to go red and do something. No, because your character here, anybody else have the correct names? Yes, of course. How do you know when a character has the correct name? It's a weird question. When they have the correct name because my main character has changed names at least three times now. Right. So I'm not sure about the nomenclature for this one guy, but how do you know when you've given your character the right title? Right, right. If that makes sense. Yes, that does make sense. How do you know when you've given your character the right name? That it's because he won't change his name because a lot of my characters are changing their names all the time. They're like halfway through the play. Yo, what name is now such a son? Oh, shit. But, you know, I know. So maybe somebody will choose somebody who changes their name. There are a lot of people, especially recently, that become a new person or a different version of their self. But it is a little unnerving having character. You don't feel like you have the right name for them. Yeah. And they sort of are vibrating in a way that's not helpful. Yeah. Sort of fuzzy and kind of like this. Yeah, yeah, yeah. You know that it's the right name when you stop vibrating in a fuzzy way that's unhelpful. So you know when it's going to be the right name? I mean, for me, like, he's sort of an every man character where really the people around him are more interesting yet, you know, he's sort of the observer of them, I guess you could say. This name feels better than the last one because it fits into the theme of the overall story a little bit better. It's just new and I guess I'm uncomfortable with the idea of changing him again to say competing with the theme. But it feels better this time through. I just don't know if I want to tamper with that element. You know what I mean? I understand. All right. Have you gotten to the end to the end of your work? Yeah, this is like the third draft I'm on right now. Okay. Each draft is cute. You feel like, ah, I need to type this name. Yeah, and I had the first table read of just last week and there's an invited read next month that it's going to go in for. So they suggested, you know, why not keep this name in the same theme as the other characters who you've named the same. And I did that and it just, it feels better. It just feels new and it's the right you know, title and its character. Yeah. It feels good. But you're writing the draft with this name. Yes. You could, I mean, just like for fun, maybe if you tried to start a recording, you could just sit around and list like 10 stupid names. Okay. 10 stupid names. And when we list 10 stupid names, like always like the second one, you're like, oh man, that's big. You know, when you allow yourself to be, you know, just free and relaxed about it, without sort of focusing your heart. I mean, not that focusing your heart is bad. But a table meeting happens. It's just that maybe you just need to be a little looser about it. And if that, if it tends to be names and you don't like any of them, then stick to the name that you chose for them and go forward and see. Sure. Because changing your name like, you know, often isn't such a big deal on the shampoo of, you know, things going on that it has taken that long to do. Oh, that's right. You're kidding me. Yeah, I can accept it. Yeah, I can accept it. Oh, yeah. Yeah. So we're good friends. Yeah. So, I actually react which is what happened with my play. Yeah. I still don't really have a title that's called Session Violet right now. Right. A race. So there being that it's just a two person play. Right. It's very long. You have already kind of hatched at it. Right. But I've also discovered some new things and they're like, oh, great. I might add more than what I've cut out. Cool. But there are like a couple of characters that you're spoken of that never spoken about that kind of fuel Right. some of the tensions. Right. And one of them is a brother. Okay. He's already in there. Right. Like, this is a bad guy. He's a good guy. He's a stereotype. I mean, I guess because he's a brother of the female character. Right. And so they're just such opposing views based on the incident. Right. Right. Right. And so I kind of don't know how to make it more balanced because it's so Chris has been working on it for a while. Wow. Long enough to work for two months. People working on it long enough for me to be a brother. Yeah. And it's a two-character play and there's a third character who has never seen but spoken of. Spoken of. Right. And so your concern is whether or not you're sort of presenting him appropriately or appropriate for whether or not you're presenting a fully fleshed out character or kind of I mean trying to get to Yeah. You know what I think What do you think? What do you think? Yeah. What you know when I started writing and remember it was supposed to go more in the romance Right. And then I was like all this time we can play with the dynamics Right. And I think part of white shift was because of everything that was happening just in our world. Right. You know the black guys being killed by cops and stuff and even though it takes place in the nineties and in 2006 there was an umbrella over my right so I guess I don't know if I'm kind of staying true to the story or am I just feeling so perplexed by the things that are happening now right is kind of if it may shift the direction of how I interact just as far as needs to be But yeah I mean it's like how do I write when I want to write while there are voices going on and I'm very proud How do I hear what I need to hear so what you do is focus turning into your voices and say outside girl that's going to come in to your place or your works or your novels or your songs or whatever you're doing outside girls will come in you live in the world you know and at the same time focus if I can say myself or you guys it's like mind you you know because he's trying to put on his pull ups it's complicated they all they are totally fleshed out they want things they're trying to get things to themselves they're trying to you know they're painting the room that you don't see right usually you think of a set and you know like if you think of a play or whatever you know we're very conscious about everything that's going on we fully imagine that person and just because you don't see him on stage doesn't mean it's not real right they need to make him like garlic look over your shoulder somehow marry that fear like am I right are these the characters or is this a journal entry right you know what I mean like is it just somebody now my characters just become me and my own thoughts and how I feel about the world right and vice versa so we counteract with the other characters right like I guess you know I know there are always pieces of us in all of our work but you know am I right it's not for you to start feeling so dirty right yeah is a crystal as a Jewish guy and crystal as a black girl from you know what I mean right is it my thoughts that do you have a reading schedule I'm so just reading this do you have a reading schedule for your work for this this is not yet it's schedule one even if it's your friends in your living room I know you're looking like what schedule one it's time to you know what I mean it's time to make that thing it's time to take that step my suggestion get to the end you've got to be in several times get to the end of what's that you like I'm sorry it's okay it's okay I'm just like schedule a reading even if it's two friends it should be two other people not you and somebody two friends eight years or in your you know living room during the you know sometimes your kids at school or sometimes when they have a play date some nice person taking from you you know what I mean schedule a reading for you and a couple of people just to hear it do that you've got to get out of you've got to get off the ferris wheel you've got to get off the ferris wheel you've got to get off the ferris wheel this is this is what we need you get off the ferris wheel you're working on it for a while I want to know you're working really hard on it it's time to get to the end clean it up set a date sometimes for the next month I'd say before the end of October set a date how do we meet in your home a little kid in those days who's friends that's released from slavery okay right exactly we released it from slavery so now you're free go for the system and do your thing anybody else they call it writing a book so an adaptation of a novel and let's say it's become it's like spring awakening like spring awakening for example like spring awakening a musical spring awakening is an adaptation of I think it's very powerful it's an adaptation of a previously written piece of literature by Vedic I think so well that's an adaptation it's a book for musical because it's just been an adaptation that would be like one puts a Jane Austen novel on stage or turn of the screw and leaves that there okay I think Jane is still there okay but there's no let's say there's no music so it's not the book for a musical a book it's only when it's a musical that's in my location I did not go to graduate school did you graduate school do you go to that school is that true yeah yeah yeah do you go to graduate school do you go to graduate school the wee tw己 yeah yeah when I tell you I'm writing a book for written with can't take acards basically he's like you write the book its a musical and we call it an addressing yeah I know but that is too much Let's not that's anстро I think the difference is that when you make spaces for the music, you indicate a song So do you then take chunks out of the dialogue? You probably should. Define those spaces. Exactly, yeah. Turn the dialogue into lyrics. Right, yeah. Before it's a musical, there's a scene between Susan Murray and Carol talking. If it were something, you'd just, wow, that may be a great song. So we'd have a 2X. Or you sing a song. Isn't this cool? I feel like I just put the brakes on. So it's like, I'm not sure it's written. So are they a little, are they a friend, a close friend, or are they kind of someone that you kind of know where it was? That's what they're doing. So Carol's doing some work, she's written these novels, and she often adapts her novels into plays. And now she's adapting one of her novels into a musical. Or a musical. That's what I'm talking about. And that's what people are sort of telling me. I'm getting the music. Right. But what also sounds like it's confusing is that someone comes up to you and says, wow, I'd love to read it. And it's something that she doesn't know very well. So she's thinking, do I kind of roll my hands? You know, expressing this person, well, by giving something to them, I don't think it's yet ready. Or do I lose their interest by not giving it. It's like dating. Which would you do if you were dating somebody and say, hey baby, I know you're happily married. But say it along to them. Say it like, hey baby, you know, I've only known you for, I met you at this cocktail party and let's go into the bathroom and, you know, would you do that? Would you be afraid of losing their interest? What would you do? No, but if it's someone who's input is very well respected. So does it. She's so, she's so happily married. No, no, but if it's someone who's input in respect, yes. Right. Who would say, who would have the knowledge to say, this isn't useful, this is not useful. Right. Why would I finish, you know, continuing bumbling along with it if I could get an opinion that would die for me. If you have a reading, who could have a reading in your living room? Yeah, but that's a great point, Garland. Why, why allow someone else to decide for you what it is that you are doing? The knowledge that this person has. Yeah, I would say that you also said, you also said like, I need help trying to decide if it's actually useful or not. I think it might be, but I'm not sure. So maybe this person who was an expert of these, maybe that's letting somebody else decide for you. Maybe that I'm reading. So I'm encouraged. Maybe you give them 20 pages. That's what he was just suggesting before. Yes, yes, yes. So come on, what do you think of this? Not the whole thing. Ah, okay, a little, give them a little, of course. Just a little, a little, like give them like a little feel or something. Like, let them like kiss and make out. But you're like taking an analogy. So wasted, I mean. Every 54 years. Sorry, so give them a little feel and don't take your hands off. Right. And a frame it, maybe. Give them 20 pages and frame it saying, I need some positive feedback here. Because I'm kind of like nervous or whatever. Whatever you want. You know how to say it. You know how to say it. So ask them for the kind of feedback that you want. Not like I want you to lie to your baby. But I want you to give me, you know, I need some encouragement. Because this is new. And an honest critique, but also some positive encouragement. And that would help, would that help get rid of the resistance of actually, I can find a million things to do. At least one that's a job we can do. It's my favorite subject, the resistance. Talk about resistance. Right. Get rid of the resistance. Sure. Sure. That's why we go to watch the marathon and we cheer people on. We're helping get a, I mean, maybe this. That gets rid of resistance. Maybe that is something that, you know what I mean? It helps you keep running. You're hearing that. You know, look, can you do it quickly? You just get out of it. Maybe that from somebody else gets rid of the helps, diminishing. I know that what I've done, you know, Steve Garnet and I have started a band with him. Yeah. Just playing. And he's a shredder. He's a genius and a shredder for some reason. We have a band together. Because I'm not a shredder. I'm not a shredder. But him, you know, playing with me and going, hey! You know, and it helps you get a little... I think that's what it is because I'm very insecure about the music. I'm very secure about the writing. Right. Right. But it's a step out of my comfort zone. Right. And yet, it's happening. Right. I can't ignore it. I've always followed whatever, wherever it's created. Right. Right. So that's good, though. Encouragement helps us. It helps the management systems. Yeah. Encouragement helps. But encouragement from people that we care about. You know, not just walking down the street with some guys. They do the night shift. So, a little piece of it. And tell them that you're looking for acknowledged fatigue, but also encouragement. No, no, no. I don't want to say that you didn't say, honest fatigue. You just heard lots of courage. Yeah. Right. I feel like writers at this stage, girls, they do us a very fragile thing. They can say something and dies a little bit better. It hurts. We need the best intentions in the world. And Susan, I mean, I think it's right. But what they say, good acting on the piano, you think it's right. I am so used to rejection from having been in a, I can feel, seriously, years. But I hear what you're saying. It's a hotly debating topic. Whether, you know, and you guys, because you guys have been in class with me, that I air on the side of cheering you on. Why? Because the world is going to stop on you. And what you have to develop in your mind, like absorbing my seventh track of praise. You know, you have that in your mind to help you take just one more step forward. You know, when you think you got it, the click or whatever, you just take one more step forward. And one more step forward. If you have this deeply in your seventh track of praise, I can look at it. I have a head, I live in Monterey, California. Okay. And I've been in class for almost 13 years, and I've been running this all the time. Oh. I heard it, so the scores are zero to 10. Right. Of course, we can do that. But in the way of the scoring, the trauma of the high and trauma of the low, so we get a 10. A 1, 10 out of 5 scores. Right. And every time you start to find out, I say, but you don't want to go. It has to go anywhere. But it's a normal victory. I can take that home. It's something that helps you take that extra step. Right. Pull it out. Take a little wave of the pipe, and smoke it out of the pipe or whatever. And it'll give you that extra pump. It's another way of saying what you just said. Right. Right. Right. Right. Right. Exactly. I knew it was going to start. It's very strong. I can take it away. Well, that can't be done. Right. Right. Right. Right. Right. And we need a lot more of that than we think. So we need a lot more of that. And we think, you know, maybe your second grade teacher told you, you were wonderful. You need more than that. And the way your parents say you're swell, we need more than that. Isn't it very good about doing that for others? Right. Right. I think one of the best pieces of advice I ever got, not just for writing, but just life in general, is don't take advice from someone who is not where you want to be as an individual, as an artist, whatever. So it might be good to put out your extremities and, like, you know, find somebody in your network that you really respect and you think, hey, can you see whoever is somebody who I think I would give you some good feedback. And they're kind of where I want to be personally, professionally. Talk to that person or those people and say, look, this is a new thing for me. It's my baby. Please be gentle. Give me the best feedback you can. I don't want to improve upon this. But, you know, I would listen to positive feedback and, like, you know, the chorus and the praise and the talks about it. That's great. That's great. And don't take it again. Don't take advice. What were you saying? The advice is basically don't take advice from someone who is not where you want to be. You're really great. Personally, professionally, whatever. I think it applies to... Where you want to be. Yeah. Don't take advice from someone who is not where you want to be. Where you want to be. But what if they are where you want to be? Don't take advice. Getting advice can be very helpful because if someone, you really respect something, so I give you advice. Yeah. And you're like, I don't want to do that. That's the most helpful thing in the fall. Like, you might totally respect them because they're super smart. And you're like, oh, no. That's exactly not the point. Yeah. Exactly the point is what I plan on doing. Like, when I was a kid, I used to be meaning my money because when I was going to order a restaurant, it's not because I would actually take it, because it told me, like, oh, you're disappointed that you got that one. Right. That means you wanted that one. Oh, that's good. So, like, when you get advice from people, sometimes the person that you respect most of the world still can't tell you how to write your word. Right. But they can sometimes tell you, like, oh, my God, I've been avoiding that idea but you're totally right. Right. Or they can tell you, like, no, that was the whole core of it. Like, you might hear someone say, don't make it a musical, and that's the moment when you'll realize, of course, you're going to take it. Right. I think that's like your guns, too. It's your own unique invention, you know. It's going to be true to you. And so you want to stick to your instincts and all of that. You know, welcome feedback, but also know, OK, if I really feel strongly that this works, then by all means stick to it and do it, you know. Like, one of the best things I ever saw was you watched a movie adaptation with Nicholas Cage. We're at the very end. Like, they say throughout the movie, don't use voiceover narration in your screenplay. It's like, you know what, that works. I'm going to use it. At the end of the movie, he's doing voiceover narration. It works beautifully, yeah. Yeah, yeah, yeah. But that's interesting, though, because in fact, it's two things. You best benefit is to seek advice from people who are at a place where you want to be. And yet then, you have to really be able to listen to your gut while listening to those people to know what you really want. Sometimes it's easier if you just ask any random person what you should do. You know, I think I am important to you. You seek out the people that you respect and then you really have to listen in. That's great. So I'll go for it. I'll do that. No, no, no, I love this. Anybody else have something they'd like to talk about? Somebody I know, right? Or like yesterday? Yes. Right. Because that's the thing that's why I say, that's why I love doing this class because the questions never go away. Because those questions I deal with, I deal with, you know, I deal with those questions all the time. Those same kinds of things. Sure, I do. And now I really don't listen to people or who are at a place where I think that's very smart. That's pretty awesome. The sound, I forget the sounds. It's very hard to hear. It's sort of like the wind was like, I was in like a wind tunnel. It was intense. It was absolutely crazy. Because everything just spread out. It wasn't a scary storm, you know. It was just everything was moving very, so yeah, it was very important. Right the day before I had just finished the read and work draft for my first novel. I remember just holding on to my novel because I said, at least I had written something else. Yeah, so it was very useful. So that was helpful. Yeah, I was just wondering, is the pressure of what the next is? Sure. A lot of you can talk to someone for a little while and be like, what do you mean by the next? I mean, the pressure is always there. That pressure is always there wherever we are in our career. People are like, what else are you doing? And you finish this ginormous play. I just finished this ginormous play. People are like, what's next? What are you doing? You know? And I guess I wrote two new things this summer. This is a show. No, but just two. Because that's what I do. So, but it's always, the pressure is always there. And again, to listen, focus in on what you're doing. And it's something like not listening to other people or anything. Just keep your eyes, your eyes are too focused on what you're doing. And you still can, you know, I have a four year old kid. So it's not like, you know, it's not like, I'm just like a long kid. I know. I've become more, just makes you, makes people want to go. And the excuses that we use, like, oh, you know, now that I have a fill in the blank, now that I have a day job, now that I have a kid, now that I have a spouse, now that I have a mother that needs checking in on whatever the things that, now that I have a wife, I can't be a fill in the blank because I have a fill in the blank. I understand the difficulties where they want to do their best. And surrounding our social people who are going in the same direction. That's why I did this. I have a question. I have a question, but I think about, this has happened to me like three times now where like, I'll do something and then I'll decide that I get really low. Like I get really, really low. Like to the point that, like, yeah, like to the point that nobody wants to go. I think my friends will all just shut up. Do you know what I mean? Like, I'm like, oh, maybe I should, maybe I should do something else and blah, blah, blah. And then that'll go on for like three weeks or a month. And then like all of a sudden when they, I'll have it and I'll start it. I'll do a new draft. It will be very different than the draft I had. And like, I know that like this is the draft. This is the draft that like I'm going to work with from now on. I'm just thinking about, do you know people where like that kind of like, depression is just part of the process? It's something I'm going to have to live with when I have to know that like, okay, like you're feeling that thing that you're going to give up. But what that really is, is, do you know? Yeah? Because it just feels like, okay, well then there's my... I just talked about, oh, so when you get on this, and this is the draft that I passed, there's a group to read the draft, I'm good enough to get to the end. Yeah. Yeah. And it happens to have a story. Anyone else? No one. What did you say? What did you say? What did you say? What did you say? What did you say? What did you say? What did you say? What did you say? I don't know. Maybe God was like, have a hand. But it's like, the energy is pushing you away. Right. If you continue to push toward it in a respectful way, suddenly the hand goes, come on. It's a weird thing. But it's like, what you got? Come on. What you got? Come on, come on. Right in here. I don't know, I'm into革ts. I'm sure it can happen. listen to you. Yeah, no, they are, that's fine. Okay, so, you know, it happens, it happens. But you can also add to your, think about what I'm going to write and I hate, you know, the thing that happens. You can add to those lines of dialogue, and this always happens like this, and I know this always happens, and this is part of me climbing this mountain, right before the summit, right? You know, those people who climb Everest, bless their hearts, they're like, fuck this shit, what am I doing? And then they go, oh babies, you know, I know you don't remember, the long time ago, you were like, it was like, forget it, and you were like, That's what I'm saying, it's much safer to be like, oh no, I'm not going to do this. It's much safer, but you know what, when you get to be 105 or 112, you would be happy that you did this, because there's nothing during the other, you know, being a person with creative urges who responds to those urges and nurtures those impulses and makes things. Regardless of the quality, if you don't care, but you know that when you try to bring, or you play some music, you've done whatever it is, and you're like, there's nothing better. Think of your idea was good enough for you to embark on the long, arduous process of writing and rewriting, and like putting 120-some on pages on paper, it must have been a really good idea, but like, if you jumpstart all that stuff, so like, remember why you started, and it'll help you fit. You know what I'm saying, but you know, surround yourself with people who care about you. That's what we've said. It just stuck to me, it couldn't be true. Let's start out, let's bring it out, so people can really get up and walk away. People go walk away for an hour, go hang out with a friend, do anything, but... Being lost, being in the wilderness, being part of the journey, being confused is part of the journey. Yet to write something, for that, I would use it as children. Six-twenty-five. That's kind of terrible. It's six-three for writing music. Do you have something? No, no, honestly. Okay, we're good, we're good. Thank you so much, you guys were awesome, great, and brilliant. Thank you so much, we'll see you next week.