 24th of April. It's Watch Me Work. I'm Susanoy Parks. We've been doing Watch Me Work for 11 years and mostly in the lobby of the public theater but also in venues all over the country, all over the world where basically we spend time working together and then talking about our creative process or basically your work and your creative process. Just in case, I mean nobody knows, I'm a writer of many, many different kinds of things, plays, movies, novels, songs with my band, essays, all that kind of stuff. So I do a lot of different kinds of writing and 11 years ago, I thought it might be fun to talk with complete strangers about their writing. So that's how pretty much how Watch Me Work was born. I am the master writer chair at the public theater, which means that the public theater supports me in my endeavors and including this one. So a big thank you to the public theater for supporting Watch Me Work for 11 years. Recently, past few years, HowlRound has come on to allow us to live stream and big up for HowlRound joining us in this so we can bring it all to you all these days in a row. We've been doing it four weeks in a row, five days a week. So thank you to those folks there. So what we're going to do is we're going to work for 20 minutes. And then we're going to talk about your work and your creative process for the for about 40, 14 minutes. And yeah, if you want to get in touch and have a question about your work and your creative process, Audrey can tell you how to get in touch. Thanks, SLP. So what's going to happen is if you have a question and you're in the Zoom, what you can do is click on the raise your hand button. It should be in a participant tab likely at the bottom of your screen if you're on a laptop or the top if you're on an iPad. And if you're watching the stream on HowlRound.tv, you can get in touch with us over our social media. You can tweet at us at the public or go on our Instagram, or you can tweet at us at at Watch Me Work SLP with the hashtag HowlRound H-O-W-L-R-O-U-N-D. And that's it. All right. So here we go. We've got 20 minutes to work together. And here we go. All right. That was the 20 minutes of work time. And now we're going to go with the around 40 minutes of dialogue talking. So does anybody have a question? I actually don't see any hands raised at the moment. We can sit in silence. We got a hand. Oh, now we have two hands. Sorry, Meryl, you're up. All right, Meryl. Go for it. Turn up your volume a little bit. Almost. Can you speak a little louder? Chelsea do. But I'm just thinking when things resume, our days are going to be filled again. What do you suggest when there are days that the words are not coming for? Your mind is not on the piece of work to play that I'm wanting to work on. Do I jump on something else? Do I keep writing even though it's mediocre? That's a good question, Meryl. First of all, just trying to pick, choose a time of day that you can sort of maximize your creative output, if you will. You're thinking about that. Are you a morning person or a night owl or what? Okay. Okay. So maybe working at night might be best for you. Because that's kind of your time that you feel like, yeah. So that's the time of day that you could choose to work, regardless of your schedule. So you would want to sort of create a schedule that would accommodate that. Also, what do you do when it's just not flowing out of your pen like the scene in Dr. Jivago, where they walk into the house and it's zero degrees and he picks the ink up and he dips it in and it just writes, even though the ink would be frozen, doesn't matter. Inspiration is so hot, he's just going, right? That's what we think it's like to be a writer. A real writer can go into a frozen house and take a frozen bottle of ink and dip your frozen pen in it and the words just flow. It's amazing. For most of us, that's not how it really works, really. So the rest of us usually just pick away at the shit. We put the time in and we become okay with it not being beautiful and perfect right first draft. It's a trick. It's like Lysol. You don't want to believe that shit. That's a bunch of lies. I mean, I'm just going to say, nobody drink Lysol for anything or inject it if you have the apparatus to inject it. Please don't do that. But you don't say, Meryl, you just have to be okay with it being kind of bumpy some days. It's a relationship you're having. So some days it flows beautifully. Some days it doesn't flow at all. And you've got to just keep putting the time in. And it sounds like you're a night person. So pick a time at night. If it's just 20 minutes, that'll do it. That'll work. And just put the time in every day and it will accumulate. Awesome. Thank you so much. You're welcome. Thanks so much, Meryl. All right. Up next, we've got Crystal. Go for it, Crystal. Hi. So I am still trying to work with this story and hear the voices and still struggling with it. I'm trying hard not to give up and not to just move on to another story. But I really am, I mean, I know you said last time not to look at the faces, but to listen for the voices. And they just seem so faint still. But I'm still writing more like stupid plots and more like things for the bios and things for the things like that. And I'm even trying to write like scenes not for this particular story, but just scenes to see if like maybe if I just get dumb random scenes out that like something else can come of it. So I just, I don't know why this is, it seems like it's so complicated and it shouldn't be. Yeah. I'm just going back to something. So I said don't look at the faces just the voices because you were getting hung up on how they should look. Yeah. Right. So if you're getting up on how they should look and that's stopping you then I said don't worry about it. If you're not getting hung up on how they should look then that's fine. Right. But yeah, I like what you said about it's complicated and difficult and it shouldn't be. Why? Maybe writing is complicated and difficult sometimes. Yeah. You know what I mean? Maybe it's hard. I mean look at this way if it were easy, everybody would do it. Yeah. You know? It's like running a, it's like it's like winning the New York marathon, you know? I mean it's hard, right? Right. And we don't have any question about it being difficult. That's hard. You see those people running. Oh my god. That's hard, right? I mean even if you don't win but if you come in under whatever, three hours or whatever, I mean you're running. It's hard. We have no question that it's difficult. We see somebody play the guitar or ice skate, you know? Or anything, anything, anything that requires a certain amount of skill. And we go, whoa, you're playing soccer, catching a football. What a baking a cool cake and something, right? We go, wow. Look at them. That takes some skill. Writing we're like, it should be easy. Why? Writing is a skill. It's a craft. It takes a lot of work. And so we get all wrapped up in our heads because we think it should be easy and then we're mad at ourselves when it's not easy and it's difficult. You're on the right track. It's hard. Ow. Painful sometimes. Mm-hmm. You know? So if you're having a difficult time, that's okay. You know, you're in, you're in league with others. There are many others on this path, you know? Yeah. If you're having a difficult time, that's okay. If it's easy, great. I mean I don't want it. I don't wish it to be difficult for you but I also want to tell you that if it is difficult, you need to like hate on yourself for it, you know? Like, oh look, I'm a loser. Not that you're saying this but you know, ah, bad me. It should be easy. I should just be able to write this in five seconds. Right. Writing is a skill. People who are pros, I mean, you know, it's like ice skating. You know, those ice skaters, they make it look easy, don't they? Look at that. You never go, I could do that. I could, right? I mean, and yet we go, we look at some writing, oh yeah, I could do that. Yeah, because I got a story inside me. There's a lot more to writing than just having a story inside you and admiring the works of others. Okay, and you know that because you've done a lot of writing. You know that. Right. So keep going with your character bios. Keep going with your crazy plot stuff. Keep all that stuff. That's the work. You're doing the work. Okay. Okay. And just keep going. Keep working. Okay. Okay. I know you've got a lot going on. I mean, it's tricky, but just keep putting the time in, you know, and it will accumulate. Okay. Okay. Yeah. It's always great to see you, Crystal. Thank you. Thank you. Thank you. Thank you, Crystal. All right. Next we've got Gerald. Are you with us? Yes. Hi. Hey. Hey. Thank you so much for doing this. Can I just say I love Fakie so much. I know it's like embedded on my soul, especially when I think of Hester and their son anyway, and those scenes anyway, especially now what we're anyway, what we're dealing with, not that we're in that time, but it's making me think a lot of that way. One question I have. Thank you is about transitions because I'm working to play and I wrote, I wrote different scenes like you've talked about on index cards and then I brought them together and I'm finding that the, the transitions from one scene to the next are not smooth. And the other thing, can I ask a two part, I don't want to be greedy. No, go ahead. Let's see if I can answer two questions. Sometimes I feel that just my vocabulary is just not, you know, how do you trust your vocabulary? I feel like I'm not, I don't have, always have the words, you know, when I'm writing, I do a lot of nonfiction writing. And I feel like I'm just using the same words and how do you develop that muscle of finding better, I work with the source. Okay. Okay. You could, well, to develop, I mean, to get more words in your head, you can read more, you know, I mean, that's a good, a cool way to do it, you know, so you're reading at random and you're reading things that delight you, and you're filling the well of your, your word horde, you know, you've got lots of words at your fingertips. Yeah. That's a good way to sort of just read more, read some classic plays, read some poetry that you like, read some, you know, just enjoy yourself and listen to music, listen to lyrics, you know, lots of great songwriters out there who write beautifully. Be great to hear what words they're using. You know, but the transitions question, I mean, you want to make sure you want to feel like the end of the scene kind of tees up, introduces, helps to guide us to the next scene, you know, in some way, it can be story wise, it can be emotionally, it can be kind of imagistically kind of, they're kind of sort of related, you know, they don't have to be lockstep like this necessarily, but you want to feel that you're helping the audience go from one to another, if they don't feel smooth to you. Just want, you know, like what happened in this scene and how does that help what's happening in the next scene? You see what I mean? Yeah, like she bakes a cake and then she lets it cool. And then she's going to put icing on it. And then she'll have a dinner party. You know what I mean? I mean, track your story, see if your story is making, is making, you have a novella, right? Oh, you have a good memory. Yeah. So, so you, and you've already written it and now you're, so you've already got transition. How were your transitions in your novella? Well, I'm in the midst of the novella. So I feel, yeah, it's, it's the play. I feel like they're not strong enough. So it's not going to make the novella work if the transitions aren't feels very compartmentalized. Well, just again, this is the thing, right? And then when you go back, rewrite and look at the transitions. So don't stop to get the perfect transitions. Just write it. Since you already have a draft in one incarnation, and then go back and rewrite and focus just on the transitions. You know. Okay. Thank you so much. You're welcome, Gerald. Thanks, Gerald. All right. Up next, we have Bo. Hi. Hi. Just a sec. I think I'm not, I think I'm on you. We hear you. Oh, we hear you. Hi. Yeah, I'm wondering how you, how do you balance that part in the process where all of a sudden the characters start taking a life of their own and, and the craft of still following your outline and your structure. I mean, still allowing for it to grow. But you know, that point where all of a sudden they just want to go over here. Yeah, I mean, follow, follow them if it seems interesting. Yeah. You know what I mean? Follow them if it seems interesting. And if it, if it leads down like into a dead end and come back and say, okay, guys, okay, people, you know, we're going down this way, you know, it might be that they have a better idea than you do. It might be that you are having a difficult time concentrating. You don't know. You know, we don't know. So ask them also why are you going down that way? I had this plan for you. What are you doing? Why are you going over there? You know, I mean, treat them like people that you're on a road trip with. Yeah, because I always find that part is quite magical. It's great. It's a great feeling. And you want to allow your characters to have a life, you know, have lives. But at the same time, you, you want to, you if you have an idea about what you'd like to show, then just keep your don't totally let your idea go out the window without really thinking about, okay, well, where are we going here? Because, you know, we'd hate for you to be like in the bushes or whatever and go, ah, now what do I do? No, but it is like you're having a conversation with them. Uh-huh. Uh-huh. Sounds like fun. Yeah, it's fun. Thanks. Thanks so much, Bo. All right, next, we've got Roxanne. Roxanne, can you hear us? So, hold on. Okay. There we go. There we go. Sorry. Don't worry. Thank you so much for doing this. I have a question about getting stuck in the research phase. I feel like maybe I'm using it as a stalling tactic, but I'm like, okay, I have this idea. And I'm doing my character development. And then I'm like, you know, I'm going to watch this show to get inspiration because it's like this or I'm going to go and make a spreadsheet of the books I need to read to learn more about craft, especially since I'm new to playwriting. And I wanted to know just kind of how to wiggle my way out of using research and finding other forms to be inspired to just actually start writing. Right, right, right. And, you know, starting writing and keeping going are skills, you know. It takes a huge amount of courage. And you just have to realize that maybe you don't, I mean, how much research do you need? If it's something you know nothing about, you know, set a time limit. Okay, I'm going to do a month of research. You know, whether it's I'm going to do a month of research because I want to learn more about playwriting. You know, I'm going to do a month of research because I want to learn more about that particular aspect of what I'm writing about, right. But you keep it to or two weeks of research. That might be even better. And you can really gorge on the research. I'm just going to take in everything I can. And then when two weeks is over, I close the books and dive in. And I write for, I try to get a draft out before I go back and do more research, you can always do more research, you know. But if you get bogged down in it, you'll never get your writing done, you know. Yeah. So you can always go back circle back and oh, I didn't know so much about that. You know, let me circle back and do a little bit more research, you know. Yeah. I mean, research is great, but too much of it like anything. Yeah, totally. Yeah, keeps you from doing your thing, right? Yeah. Thank you. That's that's really helpful. Yeah, just put some boundaries on it, you know. Thanks. You're welcome. Thanks, Roxanne. All right. Next, we have got Michael. Michael. Yes, hello. Hi. Hi, Michael. Hi, Susan. Thank you so much for doing this. Oh, thank you. So I'm a, a lot of my professional experiences as a director and I write writing and I'm working on a new play from the other side of the table as it were. And I guess one of my questions has to do with structure and how much, how much is it helpful to know the story ahead of time, structurally, someone else mentioned an outline and how much can I just get on this road trip without a map or a GPS as you're saying with a road trip? So that's, so that's one thing. And the other, the other thing if, if there's a way to answer both is like as a director, I'm really used to like being the audience until the audience is there in rehearsal and just thinking about the audience's experience. And I'm noticing with writing that like, I'm getting really product oriented or like, will this work just like stuff that is very practical production, not even just like a flying chandelier or something, but just is it any good? And then again, and then like the critic is sitting right next to me. And I just really admire the work you've done and how you just, it just seems to me like you just pursued your voice, you know, you just pursue it. And with a, with a singularity that I think there's a lot of bravery in that I'm encountering the, the critics. Yeah, they're always there. They're always there. Yeah, it's, it's tricky when you, when you've done a lot of work directing and you're trying, you know, it from the other side, if you will. And you have to sort of, yeah, develop new skills, right? I say keep both eyes focused on the work. You know, it doesn't mean that we don't care about the audience. But really, if you think about it, like, if, if you're, if I'm writing a play right now, and I was thinking about the audience, what does that even mean? Who is the audience? Where are they? You know what I'm saying? I really think about it. And if we're lucky, the audience is a whole bunch of people that you've never met, you don't know, you don't know who the people are back in the house on any given night. You're, you know, 1000 strangers or 600 strangers or 50 strangers or however big your house is, you know? So I don't really think too tough about the audience in that sort of, will they like it or not? Because I don't know who they are. Right? My audience is me. Do I like it? Is it working? Is it funny? Does that make me laugh? Make me laugh. Oh, I like that. You know? So I'm the primary audience when I'm writing. And it's super helpful, which is maybe different. Obviously, it sounds like it's different for, for a director. But, but for me to get that first draft out, I have to just folk both eyes on the work. Who was that? Was it Virginia Woolford? Was it Emily Dickinson or someone said about Emily Dickinson? I can't remember. I think someone said about Emily Dickinson. She had both eyes on the work, you know, which is kind of cool. And I can't remember your second question. I think it's just how much structure is just road tripping and seeing what road you want to turn on to. How much, how much, I mean, I think you should do what you feel like and see how it feels. And then if you don't like it, try another way, you know? I would say, you know, outline a little bit. But if you don't like it, then don't. And just run off into the field and see how that feels. You know, run down the road and see how far you get and see what it feels like. Does that make sense? And if it's like, whoa, then, then you might want to do a little bit of outlining. What are you going to say? No, I was just saying, it's sound, it's what I'm hearing is you say, try some stuff and then, and then check in and see how it feels. Yeah. Yeah, see how it, see how it feels. See how it seems like that's a lot of the feedback is sort of like, try it, check in. Right. Well, that's what it is about making art, you know? Yeah, try it, give it a whirl, because some people don't like hate outlining, but they hate outlining and then they always get lost and die. I get to page four and then I'm, you know, okay, try outlining. You know what I mean? Try a tool. You know, I want to, I want to, I want to make a dog house and I have a nail when I'm hitting it with my head and it's hurting. Yeah, try a hammer. You know, that's okay. Plenty of people can make a dog house with just their forehead. I'm not one of them. There are tools, you know, so I'm just saying try a tool. You know, try one. They're out there. They're no, no tools are evil. They're all for our use. You know, and people have used them over, over hundreds and hundreds of years. I mean, even, even if you think about like, you know, I don't know, Homer, the Homer, you know, epic poems, you know, they had outlines in a way because they were known stories. You know what I mean? That's an outline. You're telling something that's known already. So there's an outline of sorts there. You know, it's not like this is kind of a new thing that people start doing in grad school. I mean, I wouldn't know. I didn't go to grad school, but, you know, I think maybe Alan Actborn didn't invent it, you know, that kind of thing. Yeah, yeah. No, no, no. It's just, it's just basically just some structural beats. Structural beats. Yeah, structural beats. If you've ever gone spelunking, which is caving, which is go down into the, have you ever gone caving anybody? You know, nobody's gone caving. Well, you should try it maybe when this is over. I've gone caving before and they give you this yellow rope, you know, and you crawl down into the earth, crawling along with a light on your head. You know, it's really weird. It's really weird. And what makes a lot less weird is that you've got this yellow rope in your hand. You're like, okay, I'm going down into the deep shit, but I know kind of, I'm connected to something, you know, even Ariadne or what's his name, the guy who went in the maze, I forget his name, you know him, you know, the minotaur, you know, and then Ariadne was outside. She had the ball of yarn. She had a ball of yarn. She had a yarn, a yarn to give to him a story to give to him to help him find his way out. It's like Hansel and Gretel's breadcrumbs. Exactly. It's like Hansel and Gretel's breadcrumbs. Right, right? And I always remind people, people go, oh, I don't have enough, you know, time or money or ideas or whatever they say, you know, and I remind them of Hansel and Gretel, even with breadcrumbs, they found their way home. That's good to know. You don't need everything to be perfect, you know, to figure out our things that we need to figure out. And if there's Ben Brantley, like with a wolf's costume, you just say, pay no mind. No, pet him. Oh, he just needs to be pet. Well, I mean, doesn't everybody? Normally not right now, but everyone needs it now. Exactly. Everyone needs it. Just pet him, you know, or throw him some meat or something. I don't know, but, you know, but don't worry about him. He's just doing his thing. He's just being himself. You know, okay. Thank you. Good questions, Michael. Thank you. Thanks, Susanoy. Here's Michael. All right. Next, we've got Ray. I tried for like three weeks to ask a question and now two days in a row. Oh my goodness gracious. Incredible. Hi, Ray. I don't even really know how to ask this. And I know the world is on fire right now and that really throws a wrench into people trying to pursue theater, but I'm, whether or not there's a graduation, I'm graduating next month. And thank you. Yeah, yeah, really, right? We're going to do a dance for you. I guess I'm just wondering, like I'm, I will do whatever job exists in the next couple months and I don't know what that will be. But in terms of like in your dream world of jobs that accommodate also pursuing theater and like fields that will also fuel your pursuit of theater and ideally don't kill your soul, do you have advice? Dream jobs. We're about jobs that I've worked. Like accommodate. I don't know. Right. It depends when you're making theater. I mean, I had a lot of temporary processing jobs. I love temporary processing jobs because and I'm maybe the bankers are listening, but they can listen because they got that billion trillion gazillion dollar fees off the bailout. So they ought to be given back right now. Sorry. So I worked in banks where, you know, for bankers where you where you could actually like do some of the work you had to do typing, you know, or for a law office. And then when they were looking, you could do your own shit. All right. That was, I did that for a long time. Also the copier machine often had a ream of paper that was just sitting there looking lonely and maybe wanted to be brought home. Boy, I needed that paper. Some pens, you know, that said, whatever, city bank or what do you know what I mean? Oh, well, who cares? I need a pen because I didn't have a lot of money. So sure, I also worked very hard for these people and did a really good job. But there was sort of, I allowed them to share with me their office supplies. Allowed for them to share. Allowed. Yeah. And also, I mean, and also things like, I mean, you got to be a little, it's a little bit of a renegade, you know, you got to, you know, it's, it was like that. It was kind of guerrilla warfare sort of, you got to do your thing. Also, the thing is that the job would end at five or, you know, it was nine to five, which for me, I would go to rehearsals in the evening. Perfect. Perfect. And I made enough money to pay my rent. So my parents didn't have to do that, which I think is very important. I did not live on my parents' pocket when I moved to New York. That's my own personal, you know? But so, you know, those office jobs are kind of great. You know, I know much is said of like waitressing jobs and barista jobs, but those jobs don't allow you to sit and think. Too tough, you know? So you would say day jobs, more than night jobs. Well, that's, that's for, that was, that was, that's my, you know, I did a lot of day jobs. Yeah. Yeah. I think night jobs, sometimes it's a lot of a scene. You kind of get, you know, if you're like a bartender, it kind of is a lot, you know, you kind of get wrapped up in a scene. You want to get wrapped up in the scene in your head. You want to keep that real estate clear for your work. You know, what did Flaubert say? Be, be, you know, bourgeois or be boring in your life so that you can be violent and original in your work. Yeah, Flaubert. So, you know, we want to be, we want to keep it simple. We don't want to say, yeah, I have a really cool, you know, job, you know, but the pays, I got, I have a boring ass job and then I go home and I write. Thank you so much. That's really concrete. And if anybody wants to quote me on stealing or pilfering office supplies, I'll say I was being sarcastic like our president. You got an alibi. That's right, yo. Thanks, Ray. Thank you so much. All right, next we got Carol and we've got about seven minutes left. Go for it, Carol. Hi, can you see me? Yes, we can. Good day. I just wanted to say this has been so helpful, you know, it doesn't matter what phase you're at in writing, there's always something to learn. And just I've been doing these conversations with my characters who I thought I knew well, but apparently I didn't because I'm pointing out a lot about them. And I've been doing that just because with your support and encouragement in this program, doing that from my writing time, rather than working on it or struggling with what I need to think about. And I'm just talking to my characters and listening to and in amazement sometimes with what they're telling me and asking them why. I think you suggested it when I asked the first question a few times ago. But I just wanted to say that's really helpful and seems to be a surprise and very interesting to do. So thank you. I'm so glad you're always great, Carol. Oh, I miss you all. I know, I know. We miss seeing you every day, every week in the lobby, you know, the public theater. Wonderful. And I just all stay well. Yeah. In this crazy time. Is your great-grandchild born yet? No, she's still on the way. And it's twins. It's going to, we just found out it's identical boy twins. But we have to wait till August, August, September. But it's very exciting. And I heard their heartbeats. That's fantastic. Yay for you. Yay for me, Carol. And I love seeing Durham fly by the other day. So love to, love to all of you. Yeah, you guys. And happy writing. Yes, really, right? Yeah. That's something we can do for ourselves. Totally. Thank you, Carol. So nice to see you. So nice to see you too. All right, Darren. Let's do it. Hi. How's it going? So I'm currently still in school and this whole thing is like really crazy with everything that's going on at the times. I currently, my issue is that I write a lot of poems, short stories and screenplays and plays, and I'm currently in school as a theater performance major. My thing is I always found it easy to like finish a poem like beginning, middle and like I really, I'm good with finding the end to poems. But when it comes to like writing plays and screenplays, I have like plenty of ideas, but I often have the problem of finding like the key points, like the climax, like I think of like a crazy scene, I could think of like the pivotal moment of the story or like the really all dramatic end or even just how it begins too. But when I, I can write all those pieces out, but my struggle is trying to bridge those together. Yeah, but, but like I'm not sure if like, if I could use what I've done in poetry to help like with that or not. Yeah, I think, I think you can. That's a great question. You can use what you've done in poetry to help with that, but you can also use if you want to build a bridge, study bridges, right? Right. So you want to build a play, you want to write a play, study plays, and you're already in school studying these things. How much reading of dramatic works do you do? I'm currently in multiple classes that we read several plays a week. Right, great. There you go. So do you take notes as to their structure? Yes, like light notes, but I can just improve on that more. You see what I mean? So you're studying the beginning. So you pick a play that you're reading, I don't know what, Hamlet, and you go, wow, that's the beginning. And you think of King Lear, wow, that's the beginning. And then you think of the Scottish play, wow, look at that beginning, you're looking at beginnings, and then you look at this classic play and you think, wow, what's the climax, if you will, what's the high point? You know, also, what are the characters want in plays and dramatic writing? It's more, you know, action based. What are the characters want? What are they trying to do? And pick, when you read those plays in class, take them apart, as if you're trying to, you know, you're taking a car apart because you want to learn how to put it back together. Or you know what I mean? You really take it into part in analyzing the pieces of it, right? And then you sort of soak that up, soak that in, and sort of, okay, in this place. So you get really analytical about it, which won't ruin your creative edge at all. It's just going to bone up that, it's going to firm up that muscle, right? Okay, that architecture muscle, you're trying to learn architecture. So you can also, if you want to take, you want to read a play, you can watch a movie, you know, classic. I love doing that. Great. And when you watch, watch it with a notebook. Okay. This is what happened in the first minute. This is what happened at minute 10. This is what happened in minute 30, you know, look at that because you're building a bridge. So you want to see what the pylons are, the tent poles, if you will, you're building like raising a tent, you know? And this happened, and then this happened over here, and then this happened here. And so you want to really study that architecture. Right. And just like one small question, like once I do like complete something, how would I go about with like pitching it to like a production house? Or like, because I do have a goal of like, like running my own like film production company. But yeah, but I do know I have to start like with collaborating and starting with other production houses. Yeah, it's a great goal, though, man. It's a great goal to start your own film production company. I would ask, because we're on the ground level that you'd be kind and generous to everyone you meet. Right. That is, that is a thing that is sorely lacking in the business. That is true. I've been in this business for a while, and I'm appalled and dismayed about just the way that people treat each other in this business. So I would ask that you have, you know, you have a kindness in your in as part of one of your platforms or your company. But I would say, you know, you've got your again, you're in school for it. I would think that your professors would have great ideas. Those are go to people, you know, and ask them and they would be very specific to you and your play and help you make those moves. Okay. Thank you so much. I appreciate that. You're welcome so much. It's six o'clock, magically. I know it's crazy. It goes by so fast. It's six o'clock. So it's six o'clock. It's Friday. And Audrey is going to give us an update about what is going to be happening in the next couple of weeks. Take it away, Audrey. All right. So in the next couple of weeks, we're going to take a brief hiatus from watching work every day. But we will be back on Monday, May 11th, which is which makes her a two week hiatus for those of you doing math at home. But you'll be able to do you'll be able to sign up for those sessions of on our on our website. They should be up pretty soon. Great. Thanks, Audrey. In the meantime, keep your work going. You know, there's no reason why you can't just keep your work going. If you want to, you know, just write every day at any time of the day, get your work going. And then when we meet back up on the 11th and they will have lots of cool stories to tell each other. Okay. But thank you so much. Thanks, everybody. Okay. Okay. Bye.