 But I thought instead of, we'll just get our technical announcements out of the way. That was Thea's idea. Thank you, Thea. So just, I'm Andre, and this is Watch Me Work. As soon as SLP gets there, she'll do a beautiful intro, but I just wanted to remind you about how to ask some questions, which is that if you are inside of the Zoom, all that you need to do, as you know, I think is click on the participant tab at the bottom of your screen and click on the raise your hand button. It's the bottom of your screen if you're on a laptop in the top, if you're on an iPad or a tablet. And if you're watching on HowlRound.tv, you can tweet at us at atwatchmeworkslp with the hashtag HowlRound, which is H-O-W-L-R-O-U-N-D. And then you can also tweet at the Public Theater, which is at Public Theater NY, or you can write into our Instagram. And so when SLP gets here, I'll let her know that we've already talked through the tech stuff. But I can always repeat if anyone needs, and she'll be here in just a few minutes. Hi. Hi, SLP. How are you? I apologize for being late. I was in another meeting. We love a Zoom meeting. You are all good. I was like, I have to leave. We went over how to answer ask questions. So we are, we are good. We used our time. It's all perfect. Done. So yeah, so, so you guys have done the part that comes after the part that I'm about to do. Happy Tuesday, someone says. Happy Tuesday, everybody. This is Watch Me Work. We've been doing this for 11 years, mostly in the lobby of the Public Theater. We want to say thank you to the Public Theater for giving us a space to do this show. Thank you to HowlRound for giving us a way to bring it to you more effectively and more efficiently than ever before. It's Tuesday. It's the 7th of July. And we're going to do what we always do. We're going to work for 20 minutes. And then we're going to, I'm going to answer questions about your work and your creative process. So remember, it's all about you. And since you already know how to get in touch with me, you already know that we won't waste any time. And we'll just, we'll just begin to work. I have to get my notebook first. Wait a minute. My notebook. Now I can start. Dumbadum. Dumbadum. Everybody. Capitalism. Capitalism. Never forget. I know. No. Anyway, here we are. And anybody got a question? Anybody got a question? We don't have any questions quite yet. I'll work on my posture. Yep. I always forget to do that. Oh, we got a question. I was going to talk about posture. We can work on our posture anyway. Sorry, before I take your question, Erica. So, so, um, you know, engage, if you're sitting, engage your stomach muscles if you can, and lift your breastbone a little bit. We, especially when we're working at home, you know, we might be hunched over our desks a little more than we ought to. We don't want to, you know, get all bent out of shape. You know what I'm saying? So, okay. So here we go. Thank you. Erica. Hi. Hi. I'm working on something that's the first time I'm working on anything long. So in the past, I've only ever done short stories or, you know, essays and things like that. And I'm actually trying to write a whole long story, like in kind of a thriller thingy. And I've been working on that, um, on the outline. Like I was, I know we've had a lot of conversations on here about outlining and how to do it and go, and I find it very helpful. I'm working on what you said about just kind of heading toward the next, um, you know, knowing the main points that you're heading to and then like filling it in from there rather than having to go like in order and all of that. Exactly. So I've been working on that and it's better. It's easier. But the thing keeps morphing like because I go to this, I still am not fully going forward and I'm going to the side. So I feel like I'm, I can outline ahead at like in, within a particular section, like especially the middle that I'm working on. But then I, um, I change it a lot when I'm outlining and then I kind of change the outline again. Um, is that normal? Is that okay? Um, Do you have any thoughts on that? Like I sort of, like it goes straight and then it goes fat and then it goes straight and then it goes fat. If that makes sense. You said straight and fat. Yeah. Like straight ahead in the story and then to the side, like, oh, and then there's some other things I wanted to bring in. So I'll kind of go sideways for a minute and then I'll go back to going straight. Um, like that. I was trying to act it out. Then I could. Exactly. That is it. Oh, it's okay. I think Erica, I think it's fine. I think it's fine. Even if you were writing it and you were, you know, I mean, straight, you were sort of following your beat sheet and then you kind of strayed from the beat sheet. Yeah. Even if you're writing, I think that's fine. I think you just keep, keep sort of leaning forward and you never know what you're going to find on one of those side access roads. You know what I mean? Yeah. So it doesn't help to, to chastise yourself or to feel shitty, you know, about sort of looking over there. You know what I'm saying? As long as you can, I would suggest, you know, bring yourself back if you can to the task at hand because I, from listening to you, I don't think it would be helpful if you kind of went off this way and then decided I'm going to write something else. You know, you know what I mean? So I want you to do your best to stay on the road. You know, where do you live right now, Erica? Well, that's an interesting question. I mean, I live in West Texas. I live near Marfa. I'm near Marfa. Well, I live in Alpine, which is the poor relation to Marfa. I know Alpine very well. My, my, my relatives are from Odessa. I have a lot of friends in Marfa. Oh my God. Well, I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. Okay. Okay. Okay. So I know, I know. Well, the reason why I'm at, uh, yeah, you guys have recently had an outbreak there. So. Oh yeah. Be mindful. Right. I mean, Okay. So, so if you were going from Alpine to Marfa, say, right. Yes. And you kept veering off the road. Right. And you're like, but I want to go to Marfa. I want to go to the city. And I'm going to, you know, Fort Davis or Odessa, you know, I mean. Yeah. I can't. I know Odessa of Texas very well. My mom is from Odessa, Texas. Anyway, I know the area very well. Uh, I would suggest. Do your best to stay on the road. Because that's what that's your stated intention. Yeah. You know, um. There's a week. We can sometimes when you're writing an outline or a beat sheet whether it's a play or a novel or a movie or whatever, there's a lot of confusion and fear and you can get discouraged and it feels very overwhelming. You know, especially since this might be your first foray into writing something of this length, you know, your first time when you run a marathon, it's probably more frightening than your 12th time. You know what I mean? It's new. You don't know what you're supposed to be feeling and when. Um, so I would just say, you know, I don't know what you're supposed to be feeling. I don't know what you're supposed to be feeling. I don't know what you're supposed to be feeling. Let it do what it does, but continually try to bring yourself back to the story that you tell yourself that you want to tell. Okay. Yeah. Yeah. Okay. Thanks. Thank you. All right. So we don't have any questions and I've already slipped down in my posture. Oh. Oh goodness. Oh, somebody has typed one into the chat. Oh, I'm sorry. I'm sorry. I'm sorry. I'm sorry. That's too many things that happened. I'm going to write to this person and I'm going to call in Crystal in the meantime. Okay. Crystal. Hi. Hi. How are you? I'm doing all right. I'm doing all right. How are you? I'm good. I'm here. Good. Um, so, um, I haven't touched the demagogue, but I've been working on it for a long time. And now I'm like, I'm reached the point with the father chronicles where I'm, well, I'm, I'm out of ideas again. Um, so I'm, I'm empty. On one. And I'm a little anxious about. How to approach. Um, the game demagogue. I don't want me. So I guess I'm just trying to figure out what, where to go next, where, what, what would be the most beneficial thing to do as far as, um, I guess what, what can I offer? What do I have? I feel like I don't have much to offer the father chronicles right now. Um, that I've, I've, I'm empty again. Um, so I'm just trying to figure out what to do as far as, um, what to do. I'll probably have to do the hand on the script. Like you said last time. Um, and, and print them out. But I have, I have. I have 67 pages. So it's coming along. It is coming along. And I still don't think I'm done. I don't feel like it's finished yet. Right. I just need. A renewal of spirit to get through it. Okay. Um, I think it's just, like I said before, where like it's the, it's the next phase is rewriting or revising and, and, and I'm not sure what I'm looking for to make it better. Uh, because I had such a hard time writing this, this draft already. Um, so I'm kind of wondering. As I switch gears, what would be the best approach to. Graciously. Attack this. Uh-huh. So how many pages is the demagogue. Play. That one is, I think 13, 13, between 13 and 15 pages. Okay. Great. So. If you could, um, and it's been like pretty much two weeks since you've sort of put it aside, right? Okay. So if you could, um, maybe if you have time today or maybe you could try this tomorrow, you know, we're almost at the end of day on the East coast. You're in New Jersey, right? Okay. Okay. So you can maybe start on tomorrow tonight, whichever you please, um, you pick up the text and you read just the first page, right? You ever, you ever printed out, right? Uh, no, I actually don't, but I can. Great. Okay. So print out the whole thing, right? And just read the first page and then right in your notebook, two things. What I love about this. Okay. Okay. What I love about this. And it can be anything. It can be it's printed out. It can be, I wrote it. Anything you want. I like the character. I like the setup. Anything you want. Okay. Okay. First, what I love about this. And the second question is what could make it better? Okay. That's all just that page. Just that page. Just one page. It's 13 pages long. You're going to take one page at a time. Anybody old enough to remember a song by Johnny Cash. Call one piece at a time. Nobody remembers. Yeah. There you go. All right. Okay. Okay. One piece at a time and it wouldn't cost me a dime. You'll notice me when I come through your town. I'm going to ride around in style, drive everybody wild. Cause I'll have the only one there is around. Don't ask me why I remember lyrics to songs. The point is that you're going to do one page at a time. Okay. So you're going to look at one page. You're going to read it out loud. Right. And you're going to say, what do I love about this? And second question is what does it need to get better and what can I do to make it better? Okay. Yes. Okay. And those answers can be as long as you please. Okay. And if you spend, if you devote, can you devote, do you think you can devote 20 minutes a day to this project? Great. That's all you got to do. Okay. If you go for longer, that's fine. But I want you to go for at least 20 minutes. So you turn on your timer and you really start reading aloud. And then you go to your notebook and you answer the two questions. And if 20 minutes has gone by already, that's fine. Keep, keep answering the questions. Okay. Do you understand? Okay. Yeah, I understand. One page a day. One page a day. Okay. Okay. So you're going to be working on it every day, but you're going to move deliberately toward the finish line. Okay. Yeah. Okay. And that way you'll be working on it every day. You'll be engaged with it thoroughly. But hopefully this slowing it down will help you not feel so overwhelmed by it. And it will allow you to hear what the work needs you to do. Okay. Yeah. Yeah, totally. Okay. Yeah. Thank you so much. Thanks. And listen to that Johnny Cash song. It's pretty good. I'm gonna. Thank you. All right. So up next is Jay. There's a possibility that their mic doesn't work. And if it doesn't, I will read their question out loud. Okay. All right. Are you there? Yeah, I am. Can you hear me? Yeah. Oh, great. Okay. So I've been working on it on something about a young girl. And I realized I'm doing all this writing and I realized that I started focusing on the sad characters rather than the central character. And I'll just be writing away and having fun and developing this. And then I'll, I'll think, but wait a second. I've spent, and I just recently realized this, that I'm developing like the friends and the mom and this and that and all the extra things and things that are important to me. And I've been working on it. Rather than what I consider the central part of the story. And I'm just wondering. Is that okay? You know, I wanted your opinion. Is that okay? Do I need to change that? Maybe I need to change the focus of the story. You know. And if I do need to change. How do any suggestions on how to do that? I would appreciate. I think that the only thing you need to do is keep going forward. Writing comes out in all kinds of ways. You know what I mean? Like love looks all kinds of ways and people look at us infinite variety, right? If there were only one way to be human. Gee, some of us would be out of luck. You know, so fortunately writing the creative process comes in all kinds of ways. Sometimes we see the main character clearly. You know, at first. Sometimes we see them only after getting a better view of their environment. Right? Yeah. So I would, I would just say, keep going. You know, be, are you enjoying it? Are you showing up every day? Tell us. Yeah, I do enjoy doing it. I don't write every day. I found that I write when I'm doing this. I'm writing and I just keep going like when you say a time. I thought, wow, wait a second. That couldn't have gone that quickly. Because I was still into it. Right. That happened. You know, I think I do probably need to write 20 minutes like you say it every day. So that's going to be my new goal. I don't have trouble writing. I'm just very profuse when I start writing, but then how to really pull it in. And complete it. You know, say, this is enough for now. Well, sure, sure. But if you do your 20 minutes a day, you'll start to accumulate the story. You'll get to the point where you have a clear view of the, the secondary characters, let's just call them. And then you'll start to probably get a clear view of the person you're calling your main character. Yeah. And it'll unfold. But keep, but keep writing. And I think the most important thing is to keep going and you can add to that. Like you said, the goal of showing up 20 minutes a day, you can start by doing 20 minutes, five days a week and taking the weekends off. You know, that might be a fun way to do it. Try to do, I would think around the same time every day also helps. Okay. Yeah. Thank you so much. Oh, this is wonderful. So thank you. I'm glad I discovered it. Thank you. So are we. Yeah. Thanks. All right. We've got Julia. Go for it, Julia. Hi. So last time I talked to you, I. This. Writing to, I feel like I'm like bipolar or something last time, the time that I spoke. To you. I was like crying with joy. I made this breakthrough. And it seems like I'm either there or I'm in the throngs. Of despair and anxiety when I was sitting at my laptop. Um, so I. I'm working on this one character play. And. I had been working with a director who was sort of, you know, helping me mold it. And I had these two different drafts. And I was like, I'm sorry if I'm rambling a little bit, but like, so if somebody says to me, oh, look, there's the living room. And I go and I look and the furniture is there. And then somebody says, Oh, when should we do your living room? I would probably buy a couch and put it like where the couch was when I first walked into the room. So I'm. I need to take, I'm working with a new director. Um, I am being urged to take this in a different direction, which I think is good, but I don't, I keep getting in my old. Way of thinking about the piece. Or. Yeah. Do you understand what I'm saying? Does this making any sense? Maybe let me repeat what I, what I got back to. So you're, you're working on your one woman show. Uh, your one woman play one person play. And you, um, Are, you have two different drafts. You're working with a new director who is encouraging you to go in a different direction, which you think is a good idea. You can't seem to get yourself to go there. Yeah. I kind of don't, um, I can, I know what he's talking about. And, and I, but I can't like see it. And so when I sit down to write, I start to get. Uh, kind of overwhelmed and anxious. Like. I don't, it's, I don't know how to get there. Yeah. Yeah. I understand. I understand. So, so when you sit down and write, what does that look like? Are you at your computer with the, with the laptop open and typing or looking at an old draft or writing by hand? What actually are you doing when you sit down to write? When I sit down to write, usually I just sit down and open my laptop up and start a new document. Right. So when you sit down to work on your one person play, your work, when you sit down to write, you open up a new document. So you're not, go ahead. Yeah. So that it's like, um, I do it by days and I, I write down the day. Okay. And, um, and then put them all in the same folder in my computer. And so the work you worked on, say yesterday or last week, is it related to what you might have worked on today? Maybe. Okay. No, no, no, no, because, um, you know, we talked about, um, getting organized and I mean, if it's a process is working for you, great, you know, don't change a thing. Um, if you seek to feel like you're moving in some kind of direction, then you might want to get a little more organized in a way where you can actually track your progress. Does that make any sense? I mean, I don't want to marshal mellow or anything. No, no, no. You know, so, so again, we talked to Crystal about printing out her pages. That can help. Yeah. Also, when you print out your pages, say you have 50 pages and you can see where you left off yesterday and pick up from there. So you don't have to like remember, you can just see what the last scene was or what the last beat of the, of the play was, right? Um, you can also, so there's that you can also not engage with your computer at all. I would say print out what you have. Okay. And email it to yourself. Because it seems like it would behoove you to have it all in one place in one document. Email to yourself saying, here I am so far in the date. Just so you have a document of that. So it doesn't get lost. Okay. And then print it out. So you have it. And then maybe not touch your computer at all. Maybe just sit back and get some three by five index cards or pieces of paper ripped up, you know, small, you know, small piece of paper, you know, and write beats of the story on your cards. Okay. So you're basically you're telling, you're telling yourself the story in this new way. Okay. First the character does this. Then they do this. Then I see them do this. Then here's the part where they do this. You see what I'm saying? So you're telling yourself the big beats of the story of the play. Okay. All right. And you have it on index cards. Okay. Um, give those methods a try. I think I do think it does help, especially if you feel elated one day and then feel anxiety the next. Having things to help you stay a little more organized could be, could be helpful. That's great. Thank you. Okay. Thank you so much. You're welcome so much. Good question. Thanks. Thanks, Julia. Um, all right, we've got about 10 minutes left. And we're going to go to Karima. Karima, are you there? Are you unmuted? Yes. Hello. Hi. Hi. Hi. I have a. First of all, I would say I bought a timer. It is wonderful. It does make a difference. And I understand why you love it. It's great. Um, because it really is. I'm so glad I got it. Um, one of my questions is I am. Almost to the end of completing my first draft. And my question, one of the questions is, is. You keep hearing about voice. The different voices of the character. And I, and I'm. It throws me a little bit because when we write and we deal with people, we tend to use not all of us, but depending on your group of people with, um, that's talking to your, that you're around. You tend to use words, the same kind of words. You have your own too, but. You kind of speak a little alike in how you express yourselves. So I'm trying to figure out. Making sure that each, because I have four characters. Making sure that, and they're all women, but making sure that each voice is actually. Sounding different. And I'm like. From an actress part of you when I did that, I was like, I don't know. I don't know. I don't know how to bring that into it. So I'm trying to figure out how do you make sure on the writer's end. That each voice is actually. Different. Even if they are using similar words at times. And expressing themselves. All right. Yeah, that's a great question. Karima. And we talked about, you know, the two points make a line. In character dialogue, meaning where they are and where they play. Right. So there's that. There's just where a character is now and where she wants to get to by the end of the play is going to help you build her lines of dialogue. So that's helpful. Hopefully. The second thing that's helpful could be even though they're, they might be from. Let's just say the same town or the same ethnic group or they grew up together or their siblings or whatever. They might have. I mean, look at them a little bit more closely. Do they have different educational levels? Do they have different educational experiences? Do some of them aspire to. Appear in a certain way. You know, I mean, I mean, people. I mean, for everybody on this on the zoom call right now, we started having a conversation. Say those of us from a similar ethnic group. Who might use the same words. Would have a different way of expressing ourselves. Some of us speak more with our body. I'm more like I do this a lot. You know, maybe some of us don't. You know what I mean? Maybe some of us have a more. More speaking the style of. Traditional oratory. Because they, you know, so they're, they're differences. Maybe you have to look, I mean, your first draft, you do it one way, then. As you're looking at your characters in your second draft, take a closer look at them. See their differences. Might that be helpful? Yeah, that is. And I definitely know who they are. I'm just trying. I'm just trying to make sure. I guess I just have to, I don't know. But, but. I'll just have to keep playing with it. But my second question. That I find is happening. Is that the more I'm writing. The more other stories are hitting me. And I'm like, should I. I'm like my, my, my creativity of other. Those characters are just. Like when I'm sleeping, they're rolling. Should I can go ahead and start writing in that? Or just go ahead and finish what I'm doing. What do you think I'm going to say? I don't, I think that's a dumb. That's a stupid way to answer that question, I apologize. You're a flower. Kareem. You're a flower. Here come the butterflies. They're like, ooh, she's awesome. Let's see, here come the butterflies. They visit you even in your sleep. How great that you were in full flower, and the butterflies are visiting, and the hummingbirds too, and the bees, you know, with their knees, and it's beautiful. And finish what you're writing. Okay. Finish what you're writing. Get yourself some post-its. I don't have any post-its right here, but you know what I'm talking about, right? Some post-its, you know those little things. Okay, I got post-its, I got some. Yeah, you go, all right. And even, or a notebook that's gonna say, notebook for new ideas. Put new ideas on it, you know? And just keep it by your bedside, by your writing desk, and when those ideas come, jot them down. You know? Okay. So you're respecting the spirit in that you are listening and saying thank you for the new idea. Okay. And you're writing it down, but you're not allowing it to monopolize your attention because then you're not respecting the idea that he's graciously, you know, being served up to you right in that moment. Okay, okay. And that's good because one of my goals has been to fit, because I'll come up with stuff like this. Great. I've got to finish. That's my weakness. Completing it all the way, you know? I mean, I have done here and there, but I mean being consistent and completing, you know? Okay, but thank you. You're welcome, Karima. Thanks, good questions. Thanks, Karima. All right, we've got about five minutes left and we're gonna go to Emily. Hey, Emily. Hey, how's it going? It's funny everyone's talking about finishing and I have a weird question about finishing, which is about a bridging. So I finished a story and it's kind of locked down and different things have changed the shape of where it's gonna live. It was gonna be in a community newspaper and now it's gonna be in a kind of like slightly more free form digital zine kind of thing. It's a really lovely project and I kind of explored the story. It became like a retelling of Noah's Ark set in the docklands of Belfast and I'm totally in love with it. And it's like 6,000 words long. And I was like, okay, didn't quite expect that. And now it's gotta be 2,000 words long for the zine version. So I'm like, I'm done. I gotta cut it by two thirds. So I was just curious. Do you have experience of making something whole like a smaller version? There's a chance we might make like an audio version that's the big thing later. So I don't feel like I'm gonna lose anything. I'm just kind of like this moment of like going from 6,000 to 2,000 is an interesting one. I know it's tricky and congratulations. Your project sounds great. It sounds really nice. Beautiful. I mean, I wonder, is this a one-off thing? The zine version, do they only want you for one thing? It's like, I was just doing sort of a mini residency as part of a big kind of three-year project that's happening in this neighborhood. And it was just supposed to be like a one-off story that I wondered about and kind of gathered and found. And the zine version, yeah, it's, I think it might have a chance to live in a larger version. And they've kind of done this lovely thing like they had me writing live and like writing in Google Docs and saving my notebooks and they're gonna use some of those visually too. But yeah, it's kind of multi-faceted. I don't feel too precious about like it having to be an absolute thing, this one smaller version. Well, I mean, it's, I mean, it's you could, you can do a couple of things. One, I was thinking you could serialize it. You could, you could find yourself a really lovely place, a third of the way in to be a tidy and really hot and exciting cliffhanger. And say, if you wanna hear more, if you wanna hear what happens next, come to my website. You know what I'm saying? There's that. It's gonna be serialized of the newspaper actually. Okay, okay, well, there you go. So you can do that. Nice. If you wanna, you know, cut out, you know, some less, you know, the non-bearing walls, you know what I mean? You can cut out those two. But I don't know, I just find yourself a cliffhanger and just say, come to my website or come to my, you know, come to Insta and you can give them, you know, you can give folks like, I don't know how many words a day you can, or on Facebook, you know, you can share it in many different ways. There are many different platforms. That's what I say to you. Or you can just trim it, just look at the things that are not bearing walls, you know, look at the core pillars of the plot and hit those points. And don't sweat the rest of it and let it, if you wanna do it like that, you can get it, you can trim it down. Completely. Yeah. That's lovely. Thank you. Okay, thank you. Thanks Emily. All right, we've got a little less than a minute left so we can go for one more question. Let's do it. Pamela. Are you there? Hi. Hi. I am, yeah, I can just get hopefully right to it. How does the arc of a story come to you? I mean, I have different ways that I go about things as a poet and I don't know if you can hear me. Is it good? Okay. Sometimes people approach books like thinking about architectures for theater, yes, beats, but I also made sure that I'm not gonna get overwhelmed by looking into how other people have done things so many, you know, I'm trying to leave myself open to like the particular way that an arc is coming to me. And so I'm curious to see how you kind of get yourself open to like what's gonna visit you. I'm glad other people ask these questions that are kind of like feeding this on. No, how a story comes to me. Any, I mean, any way you can, you know, any way you can imagine. Sometimes just, go ahead, you mean the arc? Acts, sometimes it would be like sections, but also I'm trying to get at, well, I wanna hit this kind of like high point here, climax here, but going things in a non-linear way is kind of just like how I do things anyway. But I know when reading or following along, that's a different journey they go on than when I like originally created it in a non-linear way. Right, but it's tricky Pamela, because if you're talking about climax and act breaks and things like that, that suggests an architecture that is agreed upon. So, you know what I mean? If you're, and when I say story, when a story comes to me, I just follow the story, I follow the characters and see where it goes. And if it's, if I'm talking about arcs and act breaks and things like that, it would behoove you to lean into the architecture of people who have come before. So, you can combine your very beautiful and individual way of creating with folks who have already made beautiful wheels. Do you know what I mean? You're not gonna lose anything from studying the structure of some plays or some novels or some short stories that you love. Do you know what I mean? And that's, I mean, I get a lot of my ideas from things that have come before, you know? And that doesn't take away anything that I'm doing. It actually, you know, standing on the shoulders of giants kind of idea. Does that make sense? Yeah. So, don't think you're gonna lose anything by studying others. Oh yeah. Okay. I said much if that could be the thing. I'm sorry to say it again. Thank you much. And then it's just like, oh man, that's amazing. That's amazing. That's great. That's great. Do you mind? You know, then it's like, no, I don't wanna get overwhelmed. I understand. I understand. But I think if you just, if you read across, you know, if you read many different kinds, if you read a Shakespeare and an August Wilson and an Intazaki Shange and a Nilo Cruz and you know, you kind of doing a lot of different kinds of writers in different kinds of time periods, then you can see sort of the beauty of the, the entirety of different kinds of literature written by different kinds of folks. And hopefully you'll be swept up by the wave of the spirit, you know, cause that's what we're all listening to, right? Thank you so much. Thanks. Thank you. Thanks. All right. It's 6.03. Okay. Okay. We'll be back tomorrow. We'll be back tomorrow. As a reminder, please sign up on HowlRound of Public Theater's website by 3 p.m. Eastern every single day. Today and tomorrow, that is. Today is already over. You get it. But I will send you the link between 3 and 4.30 p.m. tomorrow, Eastern time, and we'll see you then. Okay. Thank you guys. Have a beautiful rest of your day. Thanks, SLP. You're the bomb. Thanks, Audrey. I'll knock over my lamp. Bye. Bye.