 Hi, everyone. Hi, Jan. What is that instrument in back of you? The chum? Nice. Do you play? The chum plays, not me. Oh, cool. Nice. Is that a violin behind you? It is a violin. It's a violin behind me. My son plays. Oh, nice. I play the guitar, which is, oh, it's on my bed. I was like, where is it? Because I was just playing. That's what it was. Maybe it went outside. Yeah, I should go outside and play and make some money. I live outside. I live right near the park. So I could make some extra cash. Oh, I'm sorry, but this isn't about money. This is Watch Me Work. This is Watch Me Work, everybody. We're here. It's Friday. This is, we've been doing this two weeks in a row. I'm going to give the blurb. So this is Watch Me Work. I'm Susan White Parks. We've been doing this show for 11 years. Not like this, though. We've been doing it mostly in the lobby, live in the lobby of the public theater in New York City, where every week, usually on Mondays at 5, I sit down with a whole bunch of artists, and we talk about their work and their creative process. And the public theater has been a great supporter for 11 years of this show. And recently, a couple of years ago, HowlRound joined us to livestream, help us livestream. And they are working together HowlRound and the public theater to bring this incarnation of Watch Me Work to you and to me and help us keep it going. Now we're doing it five days a week because we are hardcore. And when the going gets tough and when you have to stay inside, what else are we going to do but get our work done? So we're here. Lots of thanks to HowlRound and the public theater. So what we do in this, oh, yeah. So what we do in this, this is a show. It's a show. It's a show where we create the action together by working together for 20 minutes. I'm sorry I'm looking around because I was playing the guitar and I left my timer on my bed. But we create the action together by working together. And then we create the dialogue together by you all asking me questions about your creative process. OK, so we use the time at Watch Me Work to help you get your work done to help you ask me questions about your creative process. We say that this show is just like Shakespeare in the park, except it's not Shakespeare and it's not in the park. But it is free. And it's open to all who are interested in participating. So what else do we do? Well, one thing we won't be doing is we won't be asking you to read from the work that you've been working on and me giving you specific feedback on your work. This is more about talking about your artistic process, not your artistic product. And while Audrey helps tell us what else we need to know, I'm going to run and get my timer. Go Audrey. Hi, everybody. Happy Friday. It's wonderful to see all of your faces. So sorry, my partners also want to call him at the same time, so you might hear him as well. But the way that you can ask questions is that if you are in the Zoom, you can click on the Participant button. And there's a button that says raise your hand in that tab. I will see a little blue hand pop up on your face, and I will call on you. And I'll let you know when it unmute you when it's time to speak. If you are watching on HowlRound.tv, you can tweet at us at atwatchmeworkslpe hashtag HowlRound, which is H-O-W-L-R-O-U-N-D. And you can also tweet at us at the public theater, Instagram, and Twitter channels. And that's about it. All right. OK, got my timer. And we will begin. And then we will get on to the questions. OK, so I'm going to start my timer. OK, ready? And OK. All right. We finished the work part, or not the work part. Yeah, we did finish the work part. Now we're going to do the talky part or the dialogue part. Did the action. Now we're going to do the dialogue. Anybody with any questions about your work or your creative process? Yep, we've got Zach with a question. Zach with a question. Hello, can you hear me? Yes. Great. Thank you. My name is Zach Avery. I'm a student at Aquinas College in Grand Rapids, Michigan. And I'm studying theater for social change. With my interest in writing and directing, I've made it my job to explore as many opportunities as I can in order to grow as a writer. So workshops like these are always really helpful. So thank you for doing this. My question is, when do you personally feel is the best time to share your work with others? I've oftentimes been so excited about a new idea for a story that I prematurely share it with my friends. And then once I say that loud, I already begin to self-critique and judge my own ideas. So what do you think? I love that you're thinking about that. It says I'm muted. Am I muted? I'm muted. I love that you're thinking about that. How's Michigan? Are you in Michigan right now? I am in Michigan, yes. OK. It's doing OK. We had snow yesterday, which is a little weird. But yeah. So Michigan's always crazy with weather. Yeah, oh, right on. OK, OK. But I think your question's really great because, yeah, we spend a lot of time working on our projects, usually by ourselves, pretty much. And we get a few pages or 10 pages or however many pages or lines or whatever. And we so want to just share it with somebody to get a little pat on the back. Good job. Some encouragement, which is exactly why. One of the reasons exactly why this workshop or show or whatever we are, the sessions we do, these sessions we do, I talk about process and not product. Because I think, yeah, I am relatively slow to share my work, which doesn't mean that I don't want feedback from people, but it does mean that I understand exactly what you're talking about. If I get so eager for someone to say, good job. You know what I mean? Then I'm doing a couple of things. I'm putting my work usually out there before it's ready. And I'm sorry, I'm distracted by J. Julian Christopher's background today, which I have exactly those cats from Ikea. OK, sorry. But I put it out there before it's ready. And I don't allow myself to develop a very interesting muscle, which is one of those muscles, like sometimes you go to the gym or your yoga class and you go, oh, I didn't even know I had that muscle. This is one of those muscles. We know about the tricep and the bicep and the character building and action building. We've got all those things, right? But there's another muscle that I don't even know where it is. It's the muscle of I can pat myself on the back. Yeah, whatever that muscle is, right? It's the something anybody who knows Latin or is a medical professional, you know what I mean? So if you're always out there seeking approval from other people, is this good? Is this good, right? You lose, you do not develop the ability to reflect appropriately on your own work, to give yourself meaningful critique that's not just based on like the anxiety of, oh, darn, I should have done a rewrite before I brought it to my group or my friends, right? You develop patience, right? You develop the ability to, what we call in yoga, which is self-study. So you develop that reflective aspect that is very important to any creative artist, right? So I wait a while. I wait a while. I write a draft and then maybe another draft, you know? Maybe I might share it with early drafts or early pages with my significant other, my spouse, you know what I mean? But that's a very limited kind of, that's more like a sounding board kind of relationship. When you're significant other, they know you so well, you know? But I'm very slow to show work to a wider audience. I do a lot of rewriting, writing and rewriting on my own. So if you have a tendency to, you know, you write it in the morning and then at night you bring it to your group or you write it and you're always running in with pages to prove, look, I'm working and look, aren't I good? If you recognize that tendency or anybody, we recognize that tendency in ourselves, we can take a step back from that. Okay, just take your time. If you're professors, you're in a, you said a writing, you're in a program at Aquinas. If they ask you to bring in pages every week, that gets tricky because then you kind of have to because that's the class assignment. You know, that is what it is. So I mean, that's just a teaching model. That's not the way I teach, but some people find that way of teaching and very helpful. So. Well, thank you very much. That's great advice. Thank you, Reverend. So I would say just hold back a little bit, right? It's like dating, you know? On the first date, the second date, the third day, well, maybe you do give it up, but I would say like, wait a minute, get to, you know, feel good about yourself. Sure, sure. Right, right. So don't be needy to like, you know, jump in, you know, with the, with the, okay. Develop those skills of patience, rewriting, learn how to encourage yourself, right? On your own. Thank you very much. Thank you. You're welcome. Thanks, Zach. All right. Next, we have a question from Julia. Julia, you got a question? I'm in Canada. I'm in Montreal and I'm a theater student and playwright and director. And I noticed that the CBC, the Canadian Broadcasting Corporation, which is I guess like PBS and NPR sort of smushed together, is offering an opportunity for playwrights to pitch a television idea just now during the pandemic. So that we have something to do, I guess. And I do have mixed feelings about whether the play that I was supposed to produce in June, that I'm not producing obviously, whether it should be a television show, but that's for me to decide. I do think it's an excellent opportunity to have someone read my pitch who would ordinarily not even read it. So I do maybe want to take this opportunity. I was wondering if you had any advice on how to write a logline or a one-to-two page summary for someone who has no idea what television people want or are looking for, and has never even thought about television. It's good Friday, people, that's a great question. What do television people want? I work for television people and I don't know how they want, they call me every day. Some days I'm like, I've been working for you guys for a whole year on the same project and I still don't know what you want. Yeah, so I think it's great, Julia, that you're gonna take the opportunity. I think that's a sign of strength, you know? So congratulations for jumping in there and trying your hand at something that is new to you, even though you're an accomplished writer in other forms. I would say, is there, is there a show that your play is kind of like? Yes, that's a good question, actually. I mean, not to say that you're mimicking or anything, that, you know, I'm just thinking of how might you go about describing that TV show? Yeah, you see what I mean? You see what I mean? Sometimes I encourage people to like, your play is a lot like this play, so read those plays and see how that writer might have navigated it. Your song is a lot like that. So listen to that song, you know? So that could be kind of a fun thing to do. Also, it's a two-page, it's a two-page treatment that they ask for. One to two pages. One to two pages, yeah. So again, again, you wanna tell yourself, tell your reader the story very simply, right? Emphasize the, you know, big pictures, you know? Again, it's a visual medium. I know there's a lot of visual elements in theater also, but you know, think of starting to see it as a TV show. A TV, yeah, what is it gonna be? Like a 30-minute show? I'm not sure what kind of broadcasting. You guys do all stuff, right? 30-minute program series. Yeah, they ask you to choose if you think it should be a 30 or a 60. Okay. I guess the comedies are usually 30 and the girls usually... Okay, so what do you think yours is gonna be? 30 minutes or 60 minutes? What do you think? 60, I think. Great, great. So also, you can spend a lot of time, I don't know if you're allowed to walk outside where you look Montreal. I don't know what you guys are, you know? I walk outside very early in the morning with a mask on. But, you know, as you walk around, imagine like, I know it's not a movie, I know it would be a TV show, but it's gonna be on the screen. Imagine your play on the screen in the movie theater of your mind, you see? So turn the movie theater on, turn the movie on and watch your play. You see, try to imagine it as if it were a film. Go scene by scene by scene. Try to start thinking of it as a film. And then... That's Siri talking to me for reasons that I don't understand. Okay. But do you see what I mean? So start imagining your play as if it were a film, okay? And then hit the big tent poles, as I call them. You know, this is a teleplay about Badam Padam. The character, you know, Julia, and she wants to get out of Montreal before Christmas because she wants to go on a whatever a fishing boat to save the whales off the coast of Japan. I don't know, I'm making sure that. But you see what I mean? She's got her, you know? I mean, I don't know, but think of the big story, right? Mm-hmm. Okay. Okay, thank you. Okay, thank you. Sorry. Thanks, Julia. All right, so our next question is coming from Madison. Madison, are you there? Do we hear you, Madison? I don't see Madison, I don't hear them either. I'm gonna go to the next one. Okay. All right, next we have MC. Are you there, MC? Hello. Hi, hi. Hey, MC. Hi. So I think my question goes kind of well with the conversation you and Zach were having. I am a playwright and autobiographical solo performer in Chicago. Oh, cool. And the struggle that I've been having most recently is that I feel like I get so bogged down in one line or one moment that I can't figure out how to solve. And I get very anxious and down about that. And I feel like I'm missing the forest for the trees a lot of the time. So my question is, techniques that you have to develop that muscle of in mind, what about your work is good and worth it? That's a great question, MC. And I get bogged down a lot, you know? One thing I do, yeah, there's a lot of techniques if you hit a wall. One of my favorites is to just take out a highlight. If it's a piece of text you have and you're rewriting it or it's a place in the performance piece that you're writing, am I on the right track of the kind of thing that you do? Nice to be writing along and you hit it like a wall, right? Sometimes I just put in really big letters. Oh, I don't know what goes here. Or I don't know really how to deal with this or fuck this shit, I gotta keep going. You know, something, you know what I mean? Because if you, it doesn't mean that you're not dealing with it. It means that you're choosing to deal with it at another time, okay? Yeah, sometimes people do free writing or exercises or all this stuff. But if you say you get kind of ensnared by these moments then I would suggest maybe just take out a, you know, print it, if you're doing it on a piece of paper in your notebook or wherever you work. Sometimes I just circle it and go, I'll come back to this, you know, put a pen in it. I'll come back to this moment. I'll just keep going. You see what I'm saying? That works really well for me. There are numerous exercises you can, sure you can go for a walk and think about it. You can free write it out. You can think of 10 stupid ideas that might be useful to you. Like 10 stupid ways to solve it. I don't know what the character does next. Let me think of 10 stupid things they might do next. They have to be stupid because you're lowering the bar and you're giving yourself permission not to be brilliant. Brilliant will come later. Brilliant comes, you know, after stupid sometimes. You know what I'm saying? But also one of my favorite things is I just, if I don't know how to solve something in a script or something I'm working on, I just keep going to the next thing. Something has to happen here. Character A has to interact in some way with character B and then character R has to come in and do something. I don't even know what, but I do know what happens three scenes from now. You know, does that help at all? That's very helpful. Thank you so much. Yeah, because I don't want you to get ensnared, especially if you're doing solo work, you know, it can feel sometimes kind of a lot, you know? You want to feel like you can keep moving, you know? Okay, and keep coming back here. We can keep checking in. Thank you. You're welcome. All right, we are gonna try and get Madison back on. She's chatted with me. Hold on one second. All right, Madison, you should be unmuted now. Hello. Hi. We did it. Hey, Madison, yay! All right, oh, hi, I'm Madison. I'm in Queens, New York. Hey. So my question is about genre and tropes. So I'm working on a suspense piece, but I normally write comedy. So I'm trying to try something new, because I feel like this is the best time to try something new. Any tips you have for avoiding any genre tropes and like stereotypes that might go with some of the other, some other genres like suspense and horror? I want to include a couple of character tropes just because I'm a big horror movie fan and I kind of want to pay homage to that, but I'm trying to avoid doing that and still sticking to like, just character development and action development. Yeah, yeah, well, that's a great, great. And I'm glad you're trying something new. This is, as Madison said, this is the perfect time to try something new. You want to write something that is in the form, but not of the form too much, right? So you kind of want to do both. Like, I mean, I don't know any, any stereotypes or tropes or anything that happened in the suspense genre. I don't know. Like a horror film, like the black person always gets killed first. Yeah, like stuff like that. Yeah, oh, try it like, yeah, like a 12-foot lesbian dies. That's kind of a common one. The trope of the lesbian dies and the, right. Okay, so I get it, okay. Okay, so let's not do either of those or any of those. Let's not do those. But I mean, if you have a clear list of the things that you don't want to do, you might find yourself, because you are writing in the form, doing some things that have been done often before. Yeah. You know what I mean? And that's okay. I think the main thing is, if you really ground yourself and your characters and make them really fun for you and make them exciting to you, then I think if you hit some of the well-used, you know, tropes, if you call them, then, oh well, you know, it's funny. I was writing something recently and there was an abusive husband, a husband who was physically abusive to his wife. And the producers came back and said, that's a trope. And I said, it's also reality. You know what I mean? I feel like I know what I am struggling with as part of that type of thing. Yeah. So sometimes what's weird is that sometimes just the realities of life have become tropes. They're often used, but they are true. And we can't simply eliminate them because they've been used often. Yeah. Just, so I would say, again, ground yourself and your character. And if these often used moments surface and tend to happen, that's okay. Yeah. Yeah, that's perfectly fine. Just make it fun. You know, it sounds like you're gonna have a great time. Yeah, I'm looking forward to it. Okay. Great. Awesome. Thank you so much. Thank you. Thanks, Madison. All right. Next, we have Rudy. Rudy, are you unmuted? Hello? Hey. Hey. Hi. You got to me. That's so dope. I didn't think you were gonna make it. Let's go. Hi, Ms. Parks. Hello. Do you go to Yale, Rudy? I do. I'm at Yale. How do we know? Because I have 1982 vintage sweater that I found or that actually a friend gave to me. I do. I do go to school here for playwriting. It's my first year that ended earlier than I thought. So my question kind of actually revolves around coming to school, right? So a little feedback or a little background. Like I'm a solo theater performer, dance theater artist, and I've been creating solo dance theater work for the last like 15 plus years. And then, you know, I was teaching down in Miami where I'm from and kind of was like, okay, what's the next step? Like what do I want to do? And so I've never really had like the time and space to the time and space to give to like my writing as much as I wanted to. So that's why I applied for grad school and I got in. And then I was like, damn, do I have anything else to write about? Like I was like, am I done writing? Like have I written everything that I'm supposed to write? Like I've written that mom piece with the brother. Like I've written like, you know, and so there's like prompts that like we've been giving given during like class and workshops and those kind of have been helpful sometimes. But I'm just kind of like figuring out, usually when I don't have anything to write, I move around and dancing helps me. And then I'm just like, oh, now I'm ready to write. But I've been dancing for 25 years now. And so like that also has kind of like ran its course. And so I guess my question is one, have you ever felt like you have nothing else to write? And two, if so, how do you keep generating the inspirations or the prompts or the ideas where you're like, oh, okay, this is what's next, you know? Does that make sense? Am I ranting? Yeah, you're raving actually. No, no, no, you're perfect, Rudy, you're perfect. Yeah, no, a lot of times, you know, a lot of times you get to the end of the road, you know, you've seen those signs that say, you know, the sidewalk ends here. There was one online a couple of days ago, sidewalk ends here and the sidewalk came all the way up. There was a sign. So you're, you know, or that book where the sidewalk ends written by, I forget who wrote it. Charles Silverstein? Yes, yes, yes, Silverstein, yeah, who's a strange dude. Anyway, who wrote a lot of children's books. But yeah, so you're sidewalks, so you're at the end of one of your sidewalks maybe and then you're looking around. It doesn't mean it's the end of your path. It just means that maybe it's the end of your paved path, right? So now here we are in the wilderness, Rudy. You know, you're gonna have to walk around in the wilderness and maybe be lost for a day or two or a week or two where the old tools don't get you the results that they used to. Yeah. It's not a bad place to be. It can be a confusing place to be. It can be an upsetting place or a less than comfortable place to be. But I think it sounds like you're there. You're in a place of change, you know? I mean, I was thinking the other day, does the butterfly enjoy its time in the cocoon? Probably not. Right? Yeah. Probably not. Yeah. They're in there going, what the fuck? Yeah, yeah, yeah. Yeah, yeah, yeah. Imagine it's like, oh, they're a worm. Whatever, I was worm. I was a mind of my own business at Caterpillar and then yeah, and then yeah. Okay, so you might be going through something like that. Yeah. Again, like Rilke says, patience is everything, you know? Patience, keep working. Keep, you know, keep writing. Keep dancing. Keep moving, you know, doing your movement. Keep up with your classes. Keep trying those prompts, you know? Yeah. Have you ever written the mom play, the brother play? I mean, actually, I didn't know. I mean, that's what you learn when you go to academic institutions. There are categories for these things. I had no idea. The mom play, the brother. Oh, I didn't either until I... Okay, well, you went to Yale, you go to Yale. But yeah. I think it's very much that, like the old tools that I've been using for so long and just like not working for me right now or in a bit. And so I guess I'm just, yeah, trying to figure out where these new tools are at that I can use to get to the forest and or use to climb down or climb up or go the other way, even though I can't walk this way because the sidewalk just ended, you know? So just like trying to figure out where I can find those things and wondering if, yeah, yeah. If you were at my side, or at my side. Yeah, I think, I mean, I think one of them is like coming to places like this and just hanging out with people like us, you know, strangers. Yeah, a hundred. Yeah, who are, yeah. I think we're more, yeah, we're a hundred and four strangers or something. Yeah, just hanging out like with a common, a common, uncommon set of difficulties or interests, you know? Relaxing your mind, going for walks because inspiration, Rudy, is all around you all the time. It's always there. You know, the spirit is always saying, hey, you have to show to the spirit. Look, there's the hand of God. You have to just show. I'm willing to show up. Here I am because as you go forward in your career and you come out of your cocoon and you go forward in your career, there are gonna be more times like this, you know? Yeah. And you're gonna have to double down and say, spirit, I'm still here. I'm not only here when the going's good and the writing comes relatively easily, right? I'm here, I show up for you when the going is a little rougher. Spirit, right? So just you hang in there and try everything. Read, listen to music, watch movies, you know? Read poetry. What kind of stuff do you not like to read? Actually, I've been reading all kinds of shit like the current situation, essays and novels and poetry. Great. Yeah. More than the reading I should have done during the last two semesters. There you go. So there you go, you know? Just keep at it and keep coming here and keep being part of supportive communities that want you to succeed. Thank you. You're welcome. Thank you, Rudy. Okie dokie. Next, we have Saf. I'm saying that wrong, I think, but hold on, here you go. Are you unmuted? Hi. Hey. Yes, it's Saf. So yeah, you said it right. Hey, Saf. Hello, everybody. I know there's a lot of people that can't say hey, but I'm just glad to be here. This is very different. I am in Georgia. I go to Kennesaw State and this is my last semester or half semester because, you know, we're all quarantined now. But so my question was kind of, so our last little projects that we have to do after a 10-minute play, and I have an idea and I've started writing, but I feel like it's slowly expanding because I have, like, so much I want to put into it. So my question is, how can I condense it without taking away all the love that I want to put into it? Good question. Good question, Saf. How many pages would a 10-minute play be? Do you think? About 10 to 12, probably. Uh-huh. For our class, I don't know. All right. How many have you written of the page? I've written about five pages and I feel like I have so much more. Great, that's okay. Right to the end of the 10, get to page 10 or 12, right? And then see. You see what I mean? What you're doing is you're inhibiting, you're stopping yourself from writing by saying I have too much, it's not gonna fit. Right. Get to page 12. Do you know what happens at the end of your play? Of your 10-minute play? Yes. Great, great. So that's the last page, right? Yeah. And right to that. If you have big, oh my gosh, but I'm realizing that in the, from page eight to page 10 is this epic battle scene where the hero, she gets on a dragon that she actually tames in the earlier scene and then she goes to heaven and she talks to God and God's not there because God's on vacation. And then she comes back to all that, right? You can put it in the stage direction, right? And you can even put to be expanded when I make the play longer. But don't let your belief that you're gonna not fit it in, stop you from writing, because right now you haven't gotten there yet. You only on page five, girl. Right. So you know what I'm saying? Yeah. Okay, so I'll just be harsh. Don't use that as an excuse to keep you from getting done, okay? Okay. And you can always expand it later. True, absolutely true. Thank you so much. You're welcome so much. Any advice? Thanks for energy, everything. Thanks. Thank you. Thank you, thank you. All right, it is 5.56. So we have four minutes left and we'll do one more. All right, Naaman, I believe this. How do you pronounce this? Are you unmuted? Oh, cool. Yeah, I'm unmuted. Hi. Hey, what's up, Susan? Hey, my question is, so I'm a songwriter, originally a pop songwriter, and I'm transitioning into working on my first theater pieces. And so a lot of my time has been just learning about the theater world and learning how to write scripts and all that kind of stuff. But now since I'm working on the first drafts, I wanna know what are your thoughts on script formatting when writing the first drafts? Should I stick to it as I go or maybe after I finish it, should I shape it up later? Because I feel like it slows down like my creative process of going through it. But I also kind of wanna adhere to some things that just make it easier for me when I actually start sharing this work. Great, great, Naaman. And again, great for you for trying something new. Very cool, very cool. So I would say, just in formatting, I would say just pick an easy format that you can, you write on a computer or... Yeah, on the computer. But I'm also thinking about freehand too. I don't know, it's something about that that I'm feeling, yeah. Okay, okay. I would say, again, like with SAF, don't let the specifics of the form trip you up, you know what I'm saying? I think it's really important that you, if you're on the computer, pick an easy format that you can do, like character name, colon, and then what they're saying, okay? Stage directions you can put in parentheses and just do that, okay? That's readable, that's understandable for everybody who reads plays. Later on, you can use programs like Final Draft or all that that help you shape it into more of a teleplay or a screenplay or a script format. But for right now, if you just want to get it out, you know, are you doing freehand? You just write the character's name, dot, dot, and then what they're saying, and then any stage directions you just write out in parentheses. Cool, cool. That'll be good enough. Yeah, and I also, you know, I asked because I got your script today. There you go, well, see, that's why we're talking about your work. Yes, yes, yes, yes, yes. And yeah, yeah, because I'm, you know, I'm like playing fast and loose with the rules. I like to do it in a certain kind of way because to me, I like that. But it's one of your early plays, then you can just, yeah, but enjoy Top Dog and Dog. Thank you, I will. That's fine, thank y'all. Thank you. All right, we got one minute left. We can do one more. Let's do one more. Great, we have got Terry. Terry, are you ready? Oh, I'm ready. Yay. Hi, from Gainesville, Florida, in the swamp. Hey, Terry, from the swamp. I write a lot of poetry, but right now I'm also doing some speculative fiction. And I have a couple of short stories that I'm compiling, but in the rewrite process, I have trouble ending it. So I'll rewrite and do something else and come back and read through it and rewrite some more. And, you know, it's just that I have a trouble ending that process. Any recommendations? Yeah, it's a skill, and you just have to learn about how you can let go. And a couple of things, Terry, that it doesn't have to be perfect to show it to someone. We started this session today talking about, we don't wanna send it out to our friends too early, right? But we also don't wanna hold on to it so long that no one ever gets to see it because we have to make it perfect. Okay. It's like if you have a kid, you know, and they're 40 and you still wanna mother them, you know what I'm saying? It's time to let go, right? So at a certain point, the kid becomes, however old they were gonna become, the script develops in such a way that it's, you've done several rewrites on it. You've read it to yourself. You read it to maybe one or two close friends. You've gotten their feedback. You've thought about it. You fixed everything that you can see needs fixing. And then you can pass it on, you know, to other people to read. Okay. You see what I mean? Yeah. And it doesn't, it does not need to be perfect. They say God is good, not God is perfect. Okay. Yeah, so that's the path we follow, yeah. Thank you. Thank you so much, Terry. All right, it's 6-0-1. We've done it again. Week number two. Week number two. As a reminder, all of the links for week number three are now up on publictheater.org. You can sign up each day by 3 p.m. Eastern time and I will send you the link between 3 p.m. and 4 30 p.m. And we'll see you here next week. Happy Good Friday, happy Easter. Those of you who celebrate that.