 We are today with Marcos Salabardo from Spain. He has been a pretty expert since around 2010, which is longer than I've been an expert. Congrats, Marcos, that's pretty cool. Marcos has a journalist background and is passionate about multimedia. He's also passionate about visual thinking and especially about writing. He evolved from being a pretty expert to a story angel. He does storytelling mentoring, which comes to the topic that he will develop with us in his masterclass about agile storytelling. He works with major companies more than 10, 15 years, especially in Spain and Europe, but he agreed to share with us some of his knowledge and give us a masterclass on agile storytelling. Thank you, Marcos. Well, thank you very much. First of all, I'm really glad that you invited me to be part of this conversation. Yes, I've been a president for a long time, but probably you are more expert than me nowadays because for a long time, I've been switching to more than the tool itself into the storytelling techniques. So today, what I'm going to do is try to share the outcome of my evolution as a storyteller and especially when oriented to helping companies, companies, organizations or basically anyone to organize their thoughts and in a quick way try to communicate them. So I'm going to use a tablet to draw a bit. I'm not a great artist. I'm just learning how to express myself with drawing. We love having a peak at your process. So I'm going to first share my iPad. So what I'm going to talk about today is about agile storytelling, which means how to organize very briefly, very quickly any ideas you have in order to present them. We quickly will move on to press it, how to apply that to press, of course. But I think before diving into the tool, which many of your students may know a lot, even a lot better than me, I can only use them daily on a daily basis. I think sometimes it's important to just step back and rub your thoughts, rub your mind, because we have deep knowledge of what we want to express, but sometimes we don't fight the way. So I'm going to share with you very briefly three structures. I use a lot. So the first structure one is like the sun. I'm sure you're familiar with this idea. The sun means that something is central in your mind. Some big ideas. You go to smaller ideas that are around or that derivate from that. So what does this look like? This looks like basically a solar system. And I love this metaphor to organize thoughts. Yeah, a solar system is an overview of a system of thoughts, a system of ideas where there are some bigger ones like the sun, and there are some smaller like the planets and there are even smaller like the moon. Now you organize this in a hierarchical way because you basically want people to understand in one shot what you're going to be talking about, the universe of your thoughts. Any idea is able to be the center of the universe. Sometimes what happens is that you go for the very big idea and then you consider the most conceptual of the concepts and then you make it the center. And then you go making the small bits or small parts around it. But you have to try to do the opposite as well. Try to make a very simple thing, the center of this universe, and see how everything switches around. For instance, we are talking about literature. Literature. And then we say, OK, literature means there are writers, there are readers, blah, blah, blah. And there are tools. Like, for instance, a pencil, a pencil. So now let's go back and let's think, OK, I'm going to make the pencil the main character of my story. So I'm going to start by talking about the pen. So eventually, because it's part of the same system of the same universe of ideas, I will reach to literature. But I kind of start by telling the life of a pen, which is going shorter and shorter until it has delivered everything it had to deliver to the world. And at the end of the life of a pen, you have literature. It has become literature. So why are you laughing? Because I like the metaphor of the pen giving all it has to give to the world. Just with the pen, you came out with a great story. It's an interesting life because instead of growing, it decreases. It's ungrossed. It's a backwards life. It comes full of energy, but leaves depleted. So basically saying that having a strong idea doesn't mean that it has to be the biggest one. You can imagine. It can be any idea. At the end of the day, the link between the pen and literature that may be in a planet over there, like here, literature, is already set up. It's just the way you want to tell the story. Or you can also start by having as a main character, a writer or whoever. So that's a brief introduction to this concept of one, of having one big idea. Now, the next one is two. So we have two. What happens when we have two things? What we have is a comparison. It's all in opposition. For instance, we have, for instance, we have water and we have fire. It's a contrast. Gianni Rodari was a wonderful writer and also teacher of literature. And he had this concept of fantastic binomial, which means that every time you compare two different things, there is kind of a reaction, chemical reaction that appears. So basically you can compare a mug with a chair and see what happens with a mug and a chair. Or what happens between a table and a chair. They are both furniture, but the table is meant to people to put things on. And the chair is only meant to put bottoms on, you know, so like they have different kind of kind of feelings about their bottoms or cat. What? What? Or cat. Yes, exactly. You know, you are, you are facing a table against a chair. The chair may have some regrets towards the table because the table gets the better part, you know, the food and the, and the conversation and the chair is always there to serve, but it's below, you know, so you can start imagining a lot of consequences of joining two concepts, you know, what is this useful for, not only for literature, like I was joking about now, it's about when you have to, to, especially compared to two scenarios, like, for instance, and a scenario of how are you now? Okay. And what do you want to become tomorrow? Okay. This is typically when, for instance, a company wants to launch a new project. Okay. And you say, okay, this is our departure scenario. And this is where we are going. No. In this process, there is a transition. There is a bridge. Okay. And, and you can tell a story by only showing two concepts, like one scenario of departure and one scenario of arrival. Okay. And the transition in between. Okay. This is, this is typically, for instance, this is used in visually thinking when you have like a situation, okay, a challenge. Okay. You have seen this many times probably, yeah. There is a bridge. Yeah. Okay. And here, here are you. Here are you thinking how I'm going to get there where I don't know a castle is waiting for me. Okay. Okay. I'm the princess over here. Hello. Okay. So how I'm going to cross this. So here is, is your purpose now? Oh, sorry. I am. Here's your purpose. Here is your goal. And here is the challenges. Okay. Right. So basically you are studying already the story with those, with those two words, you know, because the story is always the transition between, between two stages, always. So there is always a scenario of departure and a scenario or arrival and there is a transformation in between, you know, so basically that's a story. Any story can be told like that. So if I had to make a presentation, I have very short time. I could grab one of these quick schemes. So people get the idea in one word of what, where I'm coming from and where do I want to go. And what do I have to do to overcome my challenges, you know, in the future? Okay. Okay. So I'm going to start by telling the story from, from one object or one word, telling the story from two objects. Now we get to the interesting part, which is the three. Okay. So having three parts is the most natural in my opinion, way to explain a story, because it starts to deliver progression. Okay. Actually in the previous example, there were three parts because there is the beginning. It's just that you put emphasis on comparing both the scenarios. Okay. On the contrast when you have three steps, you have many advantages. Let's see. First of all, it's natural. We all can, you know, summarize our life in three steps. Like we were born, we grow, we die, right? Or we can show all the type of events. We were born, we married and we divorced. For instance, we can. So I had three events or I had a child for instance, that changed my life. So you can always very, very quickly and very briefly deploy story with only three steps, you know. So there was, there was a conflict. The hero started a journey. The hero defeated the beast. And why it's important to make it in three and not four, five, six or seven steps, which is obviously possible. Otherwise movies wouldn't exist because it's easy to remember. The structure things in three steps in ABC. I always, always for anything, if I can summarize things in three, three blocks, better than, than, than anything. Sometimes you can't sometimes you have to do more, but then try to put them in a category below one of these big steps, you know, because at the end the story is, is this is start. The middle and end, you know, so the start is a concept, meaning context, the part of situation, what tools do we have, what our expectations are, what our wishes, et cetera. This is a big, big planet, you know, then the middle is all the development, how, how we start to move, how we, how many tests we have to pass, how many challenges we have to overcome, you know, is the growth part is where we grow, we were developed. And the end is the, you know, the outcome, you know, what the result of all these movements. So it's very natural, it's very simple. And if you can, anything you want to talk about, anything you want, and you know, of course, you want to tell this in very structured places, choose three words, choose three actions, three verbs or three images and work from that. So let me put an example of this applied to to something we all know very well. Probably you know very well this story of Lighty in English is Red Hood. Red Hood. Red Hood, yeah. Okay. So let me deploy this story very quickly, okay. We have on the one hand, beautiful house, okay, where mom lives, okay, mom lives. On the opposite of the scenario, we have the house of very similar because I am not a great drawer. Okay. But they're both, they're both very good. Yeah, there are more trees, okay. And there is a river as well. Where grandma lives. Okay. Let's, I think I can draw grandma. Okay. Okay. That's a great representation. Okay, so we have one world on the, on this side. Okay, one, one world in the side is, is, is this. And one world at the other side. Okay. What is in the middle. Well, you know, there is a forest, right? There is a forest with plenty of trees and so on. And in the middle of the forest, there is this, this wolf waiting for a little red hood. Okay. To come across and find that. Okay. Well, what I want to tell is not this story. It's about the structure what I'm talking about. Okay. So here you have like very clearly. The parts, you know, the part, the first part is where you speak about, you know, who's a little red hood. And then you have all this, all this part of the woods where, where she transitions, she enters, enters more or less the danger. She enters the venture, you know, and it's trying to be, it's triggered by the wolf and so on. And she gets to her mom. Okay. Now this is a story everyone know, right? I love to explain this because a destructor helps to squeeze or enlarge the story. You could spend more time here. For instance, in this part, much of the story happens here, you know, usually you spend very little time on the mom's house. And then you spend a lot of time on the conversation between the wolf and the girl. And then you want to move. But imagine you want to really change a bit the story and focus on, on the past. And let's say all this, all this part is just the end of the story that begins early, you know, so bent something here, which is the beginning of the story. The mom, where did she grow? Who she married to? Where did she study? Did she study at all or whatever? What is, what's his life? Even the wolf has a past. Maybe he has a group of animals that, that were with him and there is a reason why this wolf is so mean and wants to, well mean, you know, so natural and wants to admit, you know, but the thing is that if you think again, in terms of the structure, then all this part, which I just now read became, can become the end of the story very quickly. And we can focus on the life of this mom and child. And we can build a new story here, you know, and we can imagine something that is not created, it's not in the map. So this means that you can alter the story line or maybe all this story, I'm going to use this tool here. All this story is just the beginning of a new story that is going to be told after this happened. Okay. And then appears someone who is from the protection of animals. Okay. And starts wondering what is the wolf, you know, the world was protected, you know, and there is a mystery story because the wolf has disappeared somewhere in a well, you know. Now, right. Now you have a different story to tell. You have a whole story which has became chapter one of a new story, you know, so that the three acts structure, which is a classical for anything, for theater, for movies, for literature is very useful to organize very quickly thoughts and events and things and put them under the title. Okay. Right. So imagine your head is full of knowledge about one, one, for instance, about Prezi about mathematics about anything. Okay. This is a big banner of your mind. So what we do as a storytellers is organized these in great parts. So we can focus and we can move on, you know, you know, I'm a journalist. I deal with a lot of information, a lot of many things, things I don't know about, for instance, then something about real estate or something comes about chemistry or far or pharma or anything. And I don't know about this issues, but I read and I make great groups. And I try to, to, to do these three parts. Okay. Three great concepts. And then there is a second great advantage, which is progression. A story has to progress. So progression is fundamental because you can divide the world, the universe into three parts, but then it's static happens nothing. You can see there are the stars and the sun, the moon and the earth, but you have to move on. You have if you want to tell something, you have to set up a path, which is very Brazilian, right? You set up a path. It's not new for you guys. So, so this is, this is what crazy. I love crazy because all these things, all this philosophy, I am telling about this very crazy, like crazy, pretty friendly, you know, so you put in movement, all this, all this story, but the funny thing here is that why do you need to be in an order? A universe is a universe. Sometimes you will need to explain the story in a different order. Sometimes you will need to explain the story by the end or what you think this is the end and then go to the middle and they go to the beginning. Or sometimes, which is called immediate rest, you start from the beginning, you go faster to the past and then you move to the end. So this idea of changing the order is very important. I think it's, it's a, it's very creative. It's what I call a narrative kung fu, you know, narrative kung fu is the ability of train yourself to tell the story in another way because you never know who you are going to find or talk to. You never know if this person is actually interested, very much interested in, in the third point and you are, you know, boring them, explaining one and two. Right. So you have to be able to one, adapt the length of your explanation, you know, the structure, as I said, the structure of the, you have to be able to say, okay, I'm going to spend 50% and here 25 and here 25. Or on the other side, we can say, okay, I'm going to really make a long introduction. Okay. And then I'm going to very quickly go here and very quickly finish here. Okay. So you have to be able to do that and only structure gives you that ability. So this is one thing. And the other thing is the order you tell the story. So I invite you to train yourselves to say, you know, you know, you know, you know, if you use to explain the story from A to B and then to C, let's try it from C to A and from A to B, trying that because the more you train, the more flexible you are to tell the story. And beyond that, you will start getting new insights about your own story. Like maybe you'll have to make questions that you, you haven't thought about, but maybe your customer or your audience is going to, you know, be a difference of a linear storytelling. And a, how can you say conversational storytelling where you can start from any point. Okay. I'm going to put then an example about this in, in Prezi. Okay. Prezi delivers you with a huge canvas like a whiteboard. Okay. So, right. It's organizing. And the second thing is a very, very clever mechanism of zooming in and zooming out, which goes perfectly in, in tune with what I'm telling, telling you about, you know, so if I have to, to talk to you about storytelling, I can summarize this in three words. These are my three keywords. I mean, anyone else can use other keywords. Okay. But I can say, look, storytelling is about people. It's about emotions and it's about technique. Okay. It's about people is about you is about me. Every one of us is leaving a story that is worth to be told. You may have had a very long period of sadness. Let's say, okay. You have a long period of sadness and then your life is sadness. No, that can be the beginning. Or the previous stage of a story that is now starting to, to develop in another, in another direction. The thing is how time squeezes and enlarges, depending on how we attach emotions to it to them, you know, how, how attached we are to those emotions. So sort of storytelling is part of the story living, you know, story living how you live your story, you know. So it's about people because we all can relate to a story. We all can relate the story. You know, stories come from the very early ages where people would transfer knowledge to each other by, by work, you know, by talking, by picturing how, how could you overcome a situation? Stories are familiar to us and it's because it's all about people because there is no other being in this planet that, that is moved by stories. Only people, only people, you know. Right. So if in a way when you are using a storytelling techniques to communicate, you are going to touch something, some fiber in the other person because it's going to be related to that. If you only use data or you only use like examples or very, or facts, there is no progression. There is no challenge. There is no, nothing you can relate to. So it's going to be not emotional, kind of to be intellectual, but not emotional. And some studies show that you remember more something that has created an emotion in you than mere facts or mere figures, you know. So when I go back from this concept, people, now people is for you, not only a word, like mainstream word, people means, you know, so many things. Now people is attached to what I have explained to you about it, you know, is a little bit attached to my own experience, which I have shared. It's a little bit attached to my view of the world, which I have shared or for what I have defined people to be there. Now people there is not just a word, it's a little planet with a certain shape I have given. Okay. And you will remember that for a while you are, you have really find the word in this. Now I say, okay, this is people, but there is not enough with people. There needs to be emotions. Okay. I am progressing. I am adding a new step, which is I have the people, the person, but now I have to put in the heart or not the, the living part. So I focus on emotions. Why is storytelling so, so important for emotions? Because the brain generates different kind of chemicals when listening a good story. Oxytocin is about alerts. It's about when you have to be aware or awakened about something. So for instance, I'm telling you a story that has like a, like a thriller, you know, has a, there was a situation of anger. The dog was about to attack me. There is kind of alertness in the listener. But anyway, these things generate some kind of emotions and emotions are information is heavy. Information is happening to you, not just going through your brain, like, like so much words and things, but happening. You are experiencing them. So, right. A story, a story ignites emotions, ignites experiences. Okay. And all engagement, all engagement, when you feel something, it leads to action. You are, you want to save that person that, you know, you know, you heard this story about someone who was hanging from a cliff. And you're like, oh, if I was there, I'm starting imagining I could throw a rope or I could help or how would they feel hanging from there, you know? So it leads to action. It moves action because we can identify to them. You know, even if you go to the movies to see a, you know, a Batman or a Spiderman movie, you get out of cinema wanting to be that character. Remember Matrix? The effect Matrix goes to you. We were out of the cinema. I came out of the cinema. And we all were thinking, what, what is, where is there? What is it real? And it lasts until today. Imagine this is like a Cosmo vision that it lasts today because, you know, yes, there is a Matrix. Someone is programming us and whatever and blah, blah, blah, blah, you know? Okay, we have zoom out now. And again, emotions is not just an emotion. It's imagine emotions related to storytelling. It's emotions more related to what I have told you. So this is the simplest way to approach, but what I'm, I'm, I'm colored, I have colored the words because people is now more related to something like a biological person. Emotions is red is about red is emotional color. And then technique, which is a blue, like a blueprint color, right? And then I have said, okay, we have people, we have emotions and then we need technique because people and emotions alone don't make a story. Don't make a good story. I mean, every, every world, all in the world is full about people and emotions, but most of them cannot tell a good story. What do you need? Techniques, tools, there's where you go into and you need a kind of knowledge of how to structure them, how to put the, the climax, how to start the story, how to end it, you know? So idea, structure and style really shape what the story is about. Okay. So as I said, stories needs progress and in order to make a progress, you need to put things in certain moments of the line, you know, to make this transformation happen and be, and be reasonable. If I have like three minutes and I cannot even draw anything, I just have to explain something. Okay. My, my choice would be through choose three good words and make them progress and make them and start looking at them as they, if they were the parts of a whole story, because I could tell the story beginning from the technique. I could make the technique. The most important part, I could say there is no story without technique. That could be my title. There is no story without a structure. Okay. Oh, but yes, there are people who, who tell their stories and they are using stories, they know it or they know if they are good at it, you know? So the next thing is empty technique serves no purpose. You need what? Emotions. That's the gasoline off technique, you know, you need to poor this gasoline in the car so it works. And finally someone has to drive it. Who, the people? The, because the story starts and ends with, with people, you know. So you start being creative in the way you tell the same story by just changing the other. Of the parts you have chosen to, to make, you know, to make, you know, to make this story, you know, or I could start the emotions and be very, very passionate about it and tell you, look, there is no storytelling without the heart, without this emotion. Emotion is the only thing that really matters. And then you need, okay, then you can start saying, okay, I go with now with the technique, making it the bridge to reach to the people, or I can go with the people making it the bridge to reach to my final point, which is the technique. The technique is the outcome because you can have the best story, you have the best audience, but you need to plant it like in ground. If you don't plant it, it will vanish, you know? And the technique is the same. So I think you also realize that I'm using a lot of metaphors, which are very helpful metaphors, images you may have to compare. So these are no longer three single words from a dictionary. These are filled with a certain purpose, a certain use, you know? And very quickly moving on to the next one is, okay, now let's not be so boring and let's just start using images, okay? And I think here, here is the idea is very crazy again, very crazy, like is that you choose like three icons, three images, three concepts, and you don't even need to title them because you are going to explain them. And when people understand what you're talking about, they are going to memorize very quickly all these three images, they are going to remember. So again, I can go in and explain the same story than before, but at the end of the day, these three icons here substitute, replace what I was using as words. And you can easily memorize them and still the story is not empty. The story, I'm going to fill the stories like a glass, an empty glass, I am filling. Right. Okay, my last approach, and to finalize this, probably I have taken too long, too much of your time, but my last approach is that. I thank you, I thank you for your time. We all thank you for your time. I'm very glad really to be here, very glad. I also had me to develop myself. So my final thought is that if you can, if you can use your own drawings, that is going to be a very emotional presentation. It's even going to engage more. So you see, you don't need to be Picasso here. You can just, you know, I'm going to talk to you about storytelling. For me, it starts about people, emotions, and structure. You see? These are very simple drawings any child can do. And they give you the ability to do them fast very quickly and incorporate them. You can do it by paper. I do it with a tablet, it's easier, but you know. And then you go about the structure and you can start using even the image like I was telling you, you know, okay, it doesn't matter if you start with the middle or you go to the start, try and yourself to tell the story all the ways you can, all the ways, because it's right. And we are the storytellers. We are the pathfinders, you know? So if you do that, you will start to get insights you never thought you would get, just because the order you have chosen to tell your story, you know? And go to emotions you see, I have put these three words because one thing to develop further is, okay, I have gone into the emotions. Now let's divide this into three more concepts, okay? What is emotions about? Well, for me, it's a brain activation because they are like chemical happening over there. There is the emotional part of the feelings and how we feel the experience we get. And there is another thing that I can add to the subject which is transportation, which is the ability we have to see, to put in other people's shoes, you know? Is when I am telling you something that may have happened to you, maybe not exactly, but similar, you are, I am transporting you to my story. And we are basically living in the same world. So when you go out, you remember your own story compared to mine and that is going to make kind of engagement together, you know? These are only a few examples, you know? So I could tell a story only with these three drawings. I can't tell it because I know it well. I can speak about this two hours, three hours. I mean, I have enough information to fill the time. Right. But I have chosen this only for this particular masterclass. These three words, maybe in a different class, I choose other three different words or different concepts that will shape my story, you know? So to finalize this, I'm going to tell you what. I started being a people, being a person, okay, with an empty path ahead of me, you know? And because I leave so many emotions like anyone else, I leave experiences good and bad, some very bad experiences that led me down, that put me down, that pushed me to the level of, you know, of learning how to love myself, you know? And put myself in the world, you know? Then I could finally get to a shape, a structure, a way to express who I was, how I relate to the world. And this is my structure. So my life is actually like this image, you know? I start like anyone else. I get my share of emotions, my share of experiences. And finally I find what is my best path, the best way I can help the world. I can help myself, I can help others to develop. I find my job, my proper way of doing things, you know? So this is one of the thousands of ways I could tell you about the storytelling, about my life or about almost anything. I will finalize, totally, just recommending people to do this little exercise, okay? You basically choose three objects in your house, three, any three objects you find, a glass of water, pipe for instance, and a match, for instance. So you have three objects, these three objects, okay? And you have to make them become your story, any story. So tell me Pablo, something you would like to talk about for instance, anything, like you'd like soccer for instance or something? Well, I was born in Argentina. So I used to like soccer though, I haven't been exposed to soccer for so many years. Let's say you want to talk about Argentina. I am very interested, you tell me about Argentina, okay? Now you have to only choose like three keywords to tell me about Argentina, which would they be? Would be mate, which is a beverage similar to coffee or tea that we drink in Argentina. I would choose soccer because it's so ubiquitous, like soccer is so, I would choose also asado. Asado is a way of cooking meat that is very popular in Argentina, which is delicious, but the main point of it is that people gather all together to eat asado because it takes some time. So we have a chat and a glass of wine while cooking the meat and some of us are making salads, some of us are making the meat, some others are playing with the kids and then we gather all together around the table. Don't you notice that you have chosen three things that are made in common, like in society, they are all celebrated together, football, asado and mate, which is also shared, it's very important to share. You think, okay. No, no, no, no, we are in the middle of a pandemic, so mate is an individual thing, at least for a couple of years. But Pablo, then you are touching a very important point is how do we miss these things? How important is to be a society? How important is to share these ceremonies that we are not able to do now, but it's very important that you start building a story about talking about Argentina, you talk about the past, how it was, you are referring to the present, now we can't, we are willing to do this again, probably better than before, probably in another mood because you know, football we used to arc, we used to fight, but if we could again celebrate football, wouldn't we try to make it nicer, make it twice, you know? If we were again to share, Mati, wouldn't we be more gentle possibly instead of trying to make the first sip and then? Well, I'm pretty sure that after the pandemic, we will all value those little things much more. So being able to share a moment with other people is going to be very appreciated. I tell you that basically, you are building a story, you are telling a story which is touching because it's about something we used to do in the past, something we can do now, and something we wish we could do. That's a story, it's a progression. And in this progression, we expect some transformation, something that we expect this to be better than it was because of the struggle we had to go through, you know? And now to finalize, I tell you, this is Mati, okay, this represents Mati, okay, this is going to be, like water, Mati is like water, it's basically water and air. It's like coffee, Mati is like coffee. Yeah, but you put water in it, right? So at the end of the day, what water is? This is Mati, this is not, let's show to the audience. This is Derva Mati and I have a thermos with cold water. This is like tea or coffee, but it's an air called Mati and you pour. This is fantastic, Pablo, it's fantastic. I'd like to share that. You pour it and you drink it. But now, Pablo, let me tell you this, you have used a literal picture of Mati, right? Now I am forcing you to imagine this represents Mati. So what other things are there that are related to Mati? For instance, transparency, life, water is life, it's important to life. What else is something we all need? I mean, Mati is not a life-saving thing, probably, but we can say there is a value in Mati because in Uruguay, in Argentina, you drink it a lot, it's like water, you know? So you may find in the symbol of water, of this glass, something that relates to Mati and adds some value to the literal image of Mati. Second thing, the match, it can be football, you know? Because it can either be the potential to ignite something like a fire or it can be a rage, you know? A rage, it can be many things, it can be like a fire to warm ourselves or it can be destroyed, you know? It can be a- Right, yeah. It can go either way. The match, because I am forcing to relate the match to football, I am getting new insights. I am getting new ideas of what this can mean, you know, about football and still I am- That's so an interesting concept about how to work and help people to develop a story. It's amazing. I'm not the least. The pipe is very similar to the third concept because we said asado, you know? Okay, you have to- Asado, yeah. It's tobacco, it's not meat, you know? But this also represents, you know, in the ancient cultures of American Indians, represents the peace, you know? Something you share. Yeah. Moments of sharing, you know? Moments of sharing with the world, with wisdom. And asado, asado is a ceremony, it's a religious ceremony in Argentina because people gather- Very much. And everybody, why is it about the meat? They know everything about the meat and they know everything and they gather together. So it's a gathering symbol. You may have never made the relationship between a pipe and asado, but once you are forced to do that, you get new insights or new relationships or new feelings about the concept of asado. This is not only about frying meat. It's about- Yes. Something- A lot more. You know? And you can find more and more acts you do that exercise when you are teaching. These random choose of images or icons and forcing yourself to make a match between the icon or the symbol or the image and the concept you want to talk about. Willing night, new ideas that will enrich your imagination. And you know why is that? Because everything in this world is related, everything. All- Right. It sounds like a network of meanings that are related and connected, like the neurons. And therefore, you are able to tell the stories with very simple things as much as you want in any order you want, anytime you want. And that's what I call kung fu narrative kung fu. Which is amazing. This is amazing, amazing concept. I like very much how you actually deliver the full masterclass based on three words. You started with three words and using that going through those three words in different context and representing them in different ways. You spoke about them again and again while teaching new ideas and new techniques, which is exactly what you have been teaching. The whole development of the masterclass, it's amazing because you use, you implement what you are teaching to deliver the masterclass. This is amazing. Well, Pablo, I'm really glad because this gives me the opportunity to do this, to learn and to find this and to make sure that, how do you say that, I can do this as well because if I can, anyone can, you know? We haven't agreed on the objects or anything, but we have just made the exercise to relate things and think about it and we can do it anytime, you know? It's amazing. I have one more question. Would you be available for answered questions if my students have questions for you? Yes, sure. If I can answer them, yes, sure. So, Marcos, thank you very much for investing this time with me and all our students. This has been a big thing. Again, thank you very much for your time. Thank you, Pablo, for what you are doing and keep it up.