 No, it's cool. It's Watch Me Work. I'm SLP. It's whatever day it is, whatever day it is. No, it's I think it's Tuesday and I think it's the 28th of July. Okay. It's been a show for 11 years in all kinds of various places. And we thank the public theater for supporting us and helping us get this together. And we thank HowlRound for coming on board to help us live stream initially in the lobby of the public theater and then coming on to help us do this, like this. But we haven't changed. We're like, I'd say we're like Shakespeare in the park, but we're not Shakespeare, we're not in the park, but we are free. And we're going to work for 20 minutes together. And then I'm going to take questions from y'all about your work and your creative process. That's why it's called Watch Me Work, because it's about you. Yeah. So, and if you have a question, Audrey will tell us how to, what button to press. Thanks, Sophie. So if you're inside of the Zoom and you have a question you want to ask you can click on the participant tab. It's likely at the bottom of your screen if you're on a laptop or the top of your own ipod or a tablet. And inside of the participant tab, there's a little raise your hand button. Click on that. A little blue handle pop up and we'll call on you if we've got time. So if you're watching on HowlRound.tv, or actually anywhere where we're live streaming, you can tweet at us at Watch Me Work SLP with the hashtag HowlRound, H-O-W-L-R-O-U-N-D. Or you can tweet at the public theater at public theater NY or write to the public theater's Instagram. And that's it. Okay, that's everything. Okay, so here we go for 20 minutes. All right, all right. It's time for the chatty part. We don't have any questions quite yet. You know what I'm going to do? Oh, we got a question from Crystal, but also practice in the meantime. Yeah, how's it going, Crystal? Hi, I'm struggling. I'm really struggling. Yeah, I've been, so I've been working on this for hours. I've spent the whole day trying to work on this. And so what I decided to do was try to work on a new outline, not necessarily start completely over. But I guess what I recognize the flaw in this draft is not, is that it's not active enough. And so I'm trying to figure out how can I make it more active while addressing the questions at the same time? Because while there are parts where people are standing and talking to the audience, there are also scenes. But I'm struggling with finding ways to make it active and how do I find that? I feel like you've answered this question many times before. I don't know why. Okay, that's okay. We can still talk about it because, I mean, it's sometimes it's, you know, I know you're listening and I know you take in everything that everybody says here. And at the same time, sometimes it only is going to make an impact on you when you're right in it, you know? So we can talk about similar things over and over. How to make it active. So you've got a character. Let's just take one character at a time. Your main character. She wants, what does she want? She wants to protect children from a group of people. Okay, okay. So from scene to scene, has she achieved that at the end of the play? She does. Okay, okay. So from scene to any given scene, what is she doing to achieve that? Well, the objective shifts because in the beginning, I don't think I have it clear enough in my mind yet what to do with her just yet. She kind of has, she discovers that this is her calling even though it impedes on other people. Okay, okay. So in the beginning she is just sort of minding her own business and discovers that this is sort of her reason to be. Right. Right. Okay, but from after that moment, then what does she actively do? What is she actively doing to achieve her goal? She speaks to people like she tries to rally people. Okay. What is it called? Like a campaign. Okay. She tries to like in her own way convert one of her, the cousin, to try to convert him. I think that's all I, I don't, I don't think I have another answer. Okay. Well, I'm just saying you said it's because you're saying it's not active enough. So I'm just trying to find the things that she is doing. Yeah. You think would it be helpful if she had more things to do? It'd be at least worth a try. Okay. Does she do anything dishonest? In her eyes? No. Does she do anything? Okay. So, I mean, does she do anything that's like pits one group of people against another group of people or one person against another one? Yes. Okay. Is that together with her husband to do that. Okay. Okay. So is that separate from these other two things you mentioned? That can be. Can be right. Yeah. Okay. She can make that a more, she can make the conversion. What do you say, a conversion of somebody, a conversion of a. The cousin. Okay, conversion of a cousin. Okay. So, and you say her cousin, I remember from earlier times her cousin is, you know, kind of looking up to her and in the end sort of doesn't. Yeah. So much. Right. Okay. So how old is her cousin much younger than she is? No, they grew up together. So she, she's like 1920 and then they, they end up growing about the same age. Right, right, right. Does her, does her cousin have to quit a job to work for her? What I'm saying is, you need to find things that this, your main character is doing. You know, it sounds like it from what you say, right. She's not active enough. So we need to find things for her to do. So for example, if her cousin we're working a day job, and she's like, come work for me. You know, that's, you know, and she could talk her into doing, I mean, we need to see things happening. It sounds like it's hard because I'm not, you know, I am not looking at your pages. Right. So we need to see her kind of doing things. You can also just make a list of things that your main character could do or people in the play could do to achieve their goals. Yeah. Okay. Yeah, yeah, yeah. You know what I mean? Like, I mean, it has to be, remember, Crystal, we always say it has to be a list of stupid things. Like, she steals a car. She robs a bank. Right. She buys a pair of shoes that don't fit, but they look good. You know what I'm saying? You know, buys a dress and she buys an outfit that she cannot afford. Bill comes new and she doesn't pay it. You know what I mean? I mean, things, just, just activities, you could just make lists and lists of fun things to watch your characters do in pursuit of their goals. Okay. And then choose some things. I think it's great that you're making a new outline or a beat see, you know, you're not starting from scratch. You just, you're just we be considering you're just pulling way back and see your story more clearly. A lot of the dialogue will still be useful. A lot of the basic structure, the scenes will still be useful. Okay. Okay. Yeah. So make yourself some lists of fun activities, actions, things that they can do that your characters can do. Okay. Yeah. So let's say your, your, your, your character wanted to be, you know, whatever, president of the United States, right? That was her goal. What would she have to do to do to achieve that? Sooner or same. Yeah. Okay. So you think you'd be able to see scenes of what she would be doing. Yes. Okay. Yeah. Okay. Okay. Okay. We'll be here. Okay. Hello. Thanks, Crystal. Thanks. All right. Up next we've got Nick. Go ahead, Nick. Hi, SLP. Hey, how's it going, man? Not too bad. All things considered. So first, I just wanted to thank you for your responses last week. Like the last one that you gave me had me reflect and consider what I was doing with my writing a lot. And I went back to, I took that play back to an outline because I'm like, I'm like, I don't know what I was writing this play for. And I have to figure that out from like some building blocks. And that was really helpful. So the weakness that I have today to ask help on is organizing is a really big problem when I'm writing. So yeah, for this outline, for instance, you know, I've got some note cards and I've got like four different documents with little notes and like threads all in those but I have a hard time just getting everything together at one piece of place that I can open and say, Oh, okay, this is where I have everything. I wonder if you have any tips about, like if there's anything that works for you for people. I'm looking at Laura, she's smiling. She showed us that recipe box. You know, I love index cards. That's my, yeah, see Laura, I love index cards. I love them. I have lots of notebooks and everything, which at a certain point can be really overwhelming. So it sounds, yeah, I've been, I've been where you've been, Nick, I've been where you are right now. I get my index cards, and I write the scenes in abbreviated fashion a beat sheet on index cards. And I love it because then you can write a new scene and just kind of stick it in the order can change right then I get myself I don't have one right hours. I don't have one of my fingertips, a clip, you know, a binder clip. One of those, you know, one of those clips I where is it. Oh, shit. Oh, hold on, hold on a minute. Excuse me. Because I love them so much I have so many of them. You know, yeah, I like silver. Right. And then you see and they can hold like a lot of pay a lot of things right they can hold a lot of cards. And if you go if you have too many you get two clips you know I'm saying. But so I love that because then you can like carry it around in your bag or your whatever you call those things your slash thing you know those things you have when you go on your socially distance outings. You know where you go protest, right, you can carry it with you and you can like be marching and thinking about it and it's on your back or you know it's on your person. That's a good. I love those cards. So that's fun. That's really I love the paper clip idea I hadn't thought of that that's awesome. I mean rubber bands also work but you know, I get nervous with rubber bands. There you go look and look at look at Julia she's got she's got a rubber band on her she don't get nervous but. And I like like her and the teeth of it. You'd like that. Yeah. So, yeah, thank you. Sure. Thanks Nick. I should get a cut from staples. Yeah really. We're going to go to Emma next. Hi there Emma. Hi SLP. Hey Emma. Hi. Are you this is such an honor to be talking to you. Hey, thanks for visiting. Thank you. I started coming in here in March, and it's just been wonderful I have more of a background in academic writing. I did a VA and then finish my master's this year in May so. Thank you. And I've written some poetry kind of. Yeah. I've written poetry, just kind of for myself while I was finishing my degree, but always really wanted to try creative writing. I'm doing that now, and I, I love it. I'm working on a play right now. And it's, it's really fun. I've started outlining and I'm about halfway through my outline. I've realized this is probably like a play writing 101 question, but I don't know like what constitutes a scene, and I have like all these scenes on my note cards but I don't really know if they are scenes or not. Well, okay, that's a great question, Emma and my disclaimer I should say this at the beginning of all these. I didn't go to school for writing so. I'm just making shit up. Well, so I think it's a it's a unit of action. You know, like, I'm trying to think it's a unit of action so just and I always go back to you know the classics, you know, the standard boring, sometimes classics, because it's something that we might have as a group of folks in this part of the community and exposed to more often than not so like Hamlet, you know, they're the dudes are hanging out on the castle walls and they were talking about oh shit, the ghost man I'm scared of the ghost I'm scared of the ghost you two you two. Yeah, what are we gonna do about it. I don't know. There goes. Oh shit. We better call Hamlet. See, you know, I don't know I haven't read the plane years but you know, okay. It's a unit of action. If you want the best way to get the definition, because it varies from writer to writer is to take a look at some plays that you like, or even plays that you love, you know, not just to see like how does this writer handle a unit of action. Okay, a unit of action could be a song. You know I've written plays where the unit of action is just a song character comes on stage and goes. Do you have I so I just read raising the sun I feel like I'm kind of like starting my like education all over again, but from like a play writing perspective. I ordered. I mean, so these are wide ranging, you know, it's a young gaze for colored girls, you know, because her scene is like, you know, Lady and green saying somebody just walked out with all my stuff and Lady and green goes on and on and on and then she done. And that's a scene, you know, so you can read everything from into the gaze for color girls you can read the glass menagerie. You know what I mean, I mean, it's there's so much good stuff out there. Yeah, this, you know, great place. Yeah, that's really helpful. Right now, like my scenes are kind of like moods, which I've been thinking about it. But I think like that'll be a useful thing to do because I know like a lot of times a scene has multiple moods and right now in my head like I've just going from like mood to mood to mood of like the overall play. But what I said, but I suggest before you put down your note cards and start reading plays, because you want to get it right. Yeah, finish your outline, finish your outline and dare to write what you're feeling. Right. Get to the end. Okay, and then go and read, you know, even if you don't feel like reading Shakespeare. There's a reason why we still perform Shakespeare and watch Shakespeare and talk about Shakespeare because he's good. I know I know we'll let you in on something that's not a secret he's a DWM a dead white male. I okay we got that over with, but honestly, for my money, he's really good. Okay, and I would go and see him in the park or his plays in the park even if they weren't free, you know, they're really good. And they're easily accessible, you can probably get access them online. Look at some of those scenes just pick at random a scene. Google great scenes from Shakespeare, you know, they might have them available for actors actors might enjoy those kinds and read you know just read them just read them. Okay, you don't have to read the whole play if you're not into it. Okay, and then some of these other plays that I mentioned. But finish your outline first. Yeah. Yeah, I'll do that. I'll do that. That's really helpful. Thank you so much. You're welcome. I realize the door is open in my house. Yeah, I'm in my mom's house. This is, this is, yeah, okay. Larry, Larry, Larry, Larry. Hi, how are you doing man. I'm good. I'm like, the 20 minutes wasn't enough. I was like, I'm on a roll. I'm on a roll. So it was good. Good. Good. So I am trying to actually write a character. I'm interested in kind of creating a code for that character and like not. I think I guess a version that I associate with the way that you make up your own spelling and your you put a character name and then there's no dialogue and the placement on the page. And like using, you know, other nonverbal cues to give the actor something nonverbal to work with or I guess a code something that I don't know what it is yet. As you can see, I'm sort of like I'm just, it's in my head. So I guess I was curious to know like how, like, when do you, how did you create your code and what made you what inspired you to make your own code and how does that, how does that come out of you? How do you, particularly since you write for TV and also plays and things like that. Do the things you write for film and TV also have, you know, you're on the page in unusual ways and things like that. Yeah, yeah. Yeah, that's a great question, Larry. No, I save all that good, delicious stuff for theater. You know, in film, because the image is so large or even TV where, you know, even if you're just watching on your laptop, if the image feels very big and up close kind of thing, you know, like we're doing that a lot in film or in a teleplay. So I don't feel the need to write in the way that I write for theater, you know, and I write for theater because I just didn't know how else to do it. Like I was saying, I didn't go to school for it. So I grew up in the wild or on the Lower East Side. I mean, not, I didn't grow up there, but I grew up there as a writer. So, you know, we were trying shit and trying to put on the page what I was feeling. I mean, you know, I came out of the tradition of, you know, what is it? Gee, I can't remember. The Near Recompose Cafe, you know, and people like Intazaki, Sronge, and Lori Carlos and, you know, the people who were making, you know, like way back in the day, you know, Sam Shepard and Patti Smith were doing that kind of thing. So there was a whole generation of people who were poets and theater writers. So I was just trying to figure out how to put on the page what I was feeling. And a long stage direction doesn't cut it for me all the time. You know what I'm saying? Although like Tennessee Williams can write a whole page of stage direction or Eugene O'Neill whole page of stage direction. That wasn't cutting it for me. Also, I was looking at Shakespeare again. He don't got a lot of stage directions. Interesting, right? But he conveys a lot of power in the language. So sort of at the crossroads of all that, I just started making up shit. And a lot of people didn't like it. But I wasn't trying to be inventive. I guess I just want to explain that. I wasn't like trying to be interesting. I was just getting it down so it could be understood by strangers. Who I wouldn't meet because that was like, oh, you know, get strangers to do a play in the town I've never been to. You know, so I would just say let it come out of a feeling that you're feeling. You know, let it come out, let it be organic to what you're experiencing. And you'll be on the right track. And then the, you know, when, when you, I guess, went beyond, I guess, traditional play structure, grammar, whatever. Did that come out of a feeling in you or like as a character related or is it you related? What's the difference really? What's the difference there between me and a character? I go back to like one of the early questions I answered you, because if it's me, then all my characters sound like me. Oh, well see that's the difference between us. If it's me, I don't know what's going to come out. Because I, because I asked that question. See, you know who you are. I'm not really sure who I am. We're still asking that question. I've not decided, you know, Jim's laughing. Jim knows what I'm talking about. I mean, you look in the mirror, Larry, really look in the mirror, right? Like, you know, later today, take off your glasses and look in the mirror and say, who are you really? Oh, shit. Right. There's the you that you decide upon being in front of people. Right. And that you changes depending on who you're in front of. And then there's the you who is like, when you're not around people and you're somebody when nobody's looking, who is that? We don't know. I don't know. All right, you're right. Well, you know, you know what I'm talking about. Okay, no, that's a great answers. Thank you so much. Thanks Larry. All right, we're going to go to Bob. Hey Bob. Hello. I'm hanging in. How are you. I have a question. I'm also a musician. And so it's something I've never really asked about, but I figured you'd be one of a person to ask about song lyrics, writing songs. And, you know, for me, it's, I kind of know what I'm going for in a story, characters, give or take certain act structures, satisfying ending and, and with the song, I never really know how to what I'm looking for. There's certainly moments and lyrics and things that come together, but none of them have ever really coalesced in a way that it just has that click that I think great literature great songs, you know, and, and so I'm just wondering for you as someone who, you know, what your experience is and not even how it differs from more traditional narrative writing but this your process, how you go looking, how you coalesce how you build your songwriting. That's great. That's something I never get to talk about enough and rarely ever talk about because no one ever asks. That's a great question. What instrument do you play an instrument. I play guitar piano. You know, okay. Yeah, that what what I do is I work from groove. It's the same way that I write a play or a novel or whatever or screenplay or whatever. It's just, it's more obvious with the with the an instrument. I pick up the instrument and like, basically that's the version I don't know who I am. I don't know who I am. And I play around until I find a groove that I like. And the groove it's like a riverbed, and I sort of just like run around back and forth in that groove. And see what comes. Very weird. It's it's it's much, you know, I am or my or I might have a title that I really like. You know, I'm gonna and so but I still find, but surround and try to find a groove. Meaning a chord progression, or a lick, you know, that I like that I like doing dilly dilly dilly dilly dilly dilly dilly dilly, you put me on top of that dilly dilly right so you can play those against each other. You just play that back and forth. some words might start coming. I don't know what they are, right? Remember, you know the story of Paul McCartney writing yesterday, it started, he would just say scrambled eggs. Do you have a son, a child, Bob? Or have you grown? It's interesting. I don't know if all kids are like this. My son, baby, when he was a baby or, you know, one years or whatever, when they start to talk, start talking, he'd be like this. Blah, blah, blah, blah, blah, blah, blah, blah. Blah, blah, blah, blah, blah, blah, blah, blah, blah. I was fascinated. I'm like, that's exactly how I write, man. You just go blah, blah, blah, blah, blah, blah. And draft after draft, you make it more coherent, actually. So when you got your groove, Bob, you know, on your guitar, whether you're playing the piano, right? You got your lick that you like, right? You got a rhythm to it that you're enjoying. Just start saying shit. Even if it's blah, blah, blah, blah, blah, blah, blah, blah, blah. Yeah, ah, ta, ta, ta, ta. I also use my phone. I record, I use the voice member thing. Yeah, me too. On my phone. Yeah, cause if I'm walking around and I think of a lick or a two, like a little riff thing that I like, I record it and I come home and I try to play it, you know. So it's much more, you know, like a real bronze star for Father comes home from the wars. I started out with the E minor chord, upstroke. I was like, I know that chords in there. I don't know anything else. And I just kept playing that fucking chord. It's an easy chord to play, but you know, just that. Like, I don't know what this song is, but it's an E minor upstroke on the guitar. And I just kept listening until the song started appearing. Do you rewrite and work and work? I mean, I mean, even the lyrics, the one you do still kind of try and bring them together. Sure, sure, sure. Lots of rewriting. I've been playing a song that I wrote called Your Love to Love Me for years that I wrote. And I just started playing it the other day. It's like a rock song. And I started playing it the other day finger picking. And I'm like, oh, shit. My husband's like, oh, now you're playing it the way it should be played. And I was like, oh, no. But years, years, years. Playing it one way. And I love it one way, but then you finger pick it. It's like, oh, it's a totally different song. And theme-wise, I'm just curious. Do you, I know you once said you don't go theme hunting. And I was, I always remembered that, you know, in your plays, but in your songs, do they have themes? Do you want themes or do you just want to feel pretty much? I mean, they have stories or things that they want to say. Sure, sure, sure. I don't know, I mean, they have, you know, I wrote a song photograph of a brother. It's about a photograph of a man on the cover of the, on the front page of the newspaper, you know, you know. Yeah, yeah. I don't go hunting for that though. I just let it come, show up, let it come, play your instrument, find a groove, allow yourself to say gobbledygook until the words come, rewrite a lot. Yeah, cool. Thanks, Cub. All right, we've got about eight minutes left. We're gonna go to Vernita. Vernita, hey sis, how you doing? Where are you? Can you see me? Hi, SLP. Hi, how you doing? You're inside today? I am. It's a little bit rainy, so what else I know? But grateful to be here. Hi, Audrey, hi everyone. So a couple of things have come up. One, I'm almost done with my tree piece that I was talking about yesterday. And I think that brings up for me something I talked about before the break is this experience of sometimes it's hot, it's hot and it just comes out. And then there's other pieces that is like this, the process can be like molasses. And what I'm noticing, and something that you just touched on about kind of this, I do recognize I usually start my articles with this stream of consciousness, the gobbledygook of this, but sometimes it's almost like I do it to the point of, it's like I've gone out too far and lost my way and I have a hard time reining it back in so that it can become this coherent final piece. I'm wondering if you have any thoughts about maintaining some, I feel like the word is sense of control with the stream of consciousness and not going so far that like now I'm just lost in my own thoughts. Do you usually when you're writing all this sort of free writing, free form stuff, do you have a title in mind? Sometimes I do, sometimes I don't. I think I go into it having at least a premise of what it is that I want to write about or what impact that I'm hoping to make with the piece. And what your writing sessions, are they an hour long, 20 minutes long? How do you go about? They vary by day. I was gonna share that I'm excited that I have done at minimum 20 minutes a day, every day since the beginning of July, including my birthday. Congratulations. Yeah, great. Thank you. But then on some days, it goes longer. So I've committed to the minimum of 20 minutes, but one day might be two hours, one day is 45 minutes, maybe one day is six hours, just depending on what happens. I usually use kind of a timer to break it up in increments. That's great, that's great. I mean, there's some things you can do. You can make yourself a little sign on an index card or bigger that says like the title of your piece. You know what I mean? It's like, if you were, you're living in New York, you live in New York. I do, Brooklyn. Yeah, so if you said, I'm gonna drive to California and you got in the car and you just started driving, right? After you'd wanna check the GPS, right? Remember, Vernita, we're going to California. Oh, right, right, right. So that can help you sort of stay on a road. You should still be open to whatever comes. But if you're concerned about maintaining control, you might wanna just remind yourself of the title or theme or message or point of your article, you know? What am I trying to say? I'm trying to say that why am I writing this? The reason why you're writing it, you might put those things on some note cards around you during your writing period and just glance at them every once in a while when your mind is wandering, you know? You might wanna do that. Yeah, I love that. Cause yeah, that's what I feel like. Sometimes I lose control or lose a handle on what is my point. And there's just a lot of things on the page. Uh-huh, uh-huh. And you can say, if you get law, you can even say, oh, your point, you know, to remind kids to, you know, whatever, like Black Lives Matter begins at home or something. So you have that and you go, and you can just say, remember, Renita, I'm trying to remind kids that Black Lives Matter begins at home, you know, like that. So you can just write, you can copy the point of your article, write in the manuscript as you're writing, just to try to bring your mind back. Okay, I like that. Mm-hmm. That's helpful. And then my second question is, so I have an update. I talked about the magazine that I consulted for, for events. They have a disparity between what they promote, support of racial equity, but they don't practice it in the actual day-to-day. No diversity on their team, et cetera. And so I, with the help of getting help from other people, you know, first I drafted a letter and turned into a strategic email to the editor-in-chief and who responded to me in less than an hour. As I talked about the article, the point of the article, speaking to the challenges of reconciliation, of like, what makes this so hard for these historically white organizations who say they want to do better, to actually do better. And, you know, they've agreed to participate in me interviewing them. And so my two things come up. One, and I appreciate you mentioning, you know, that you had not to school for writing. I think I'm feeling a little bit hostile. So I am approaching, I'm pushing myself out of my comfort zone that it's like I've done several interviews before, but they've always been like nice interviews. This, I'm stepping into a space of the interview subject has agreed to participate, but the subject is one that could easily result in the person becoming defensive or just kind of placating, thinking what they, you know, you want to hear. And I am pushing myself to be taken seriously as a writer. That's not something I do as a gig on the side. So just any thoughts around, one, maintaining that confidence as, you know, particularly as someone who like didn't go to school to be, I always did well in writing, got all A's in my writing classes at Cornell, but, you know, my major was not this. And they, you know, the last time I worked with this group of people, I was, you know, working on producing an event. So there's, they're aware of my writing. They've seen some of my previous circles, but now I'm going into the lion's den. What's your goal, Bernadette? Twofold. Well, at the end of the day, my goal is that I want to see sustained genuine change so that the Black and Brown perspectives, consultants, employees that come behind me will have a different, a different experience with this organization that I have, that persons like myself have the opportunity to step into roles that have historically been excluded from and that the, in this case, the company being truly self-examining in closing the gaps between their outward appearance and promoted message and their actual practices. Right. I hear you. I mean, I, you know, it's a tricky thing to answer. In a way, I mean, you know, we're trying to, if you're trying to encourage people to change in ways that they don't want to change or that they might not want to change, ask the questions that you need to ask as a person, as a POC, as a Black woman, sister person, right? Ask the questions that you need to ask, let them answer in ways that they need to and leave it at that. I mean, you know, it's like, it's like dating, Bernadette. If you've ever dated somebody, you go, I wish they were different. They should know that they should, you know, do their laundry every week, whatever. The thing is that you want someone to do that you're dating and you're trying to get them to change. There's only so much changing of others that we can accomplish in a limited interactive space, you know what I'm saying? So this is like a long-term project that you're going to be engaging in. And this is the first step. So maybe the first step is just to simply ask your question and let them answer in the way they want. And let that be, sorry, that's my kid. He's like, it's six o'clock mom, get off the Zoom. But you know what I mean? Do you understand? Ask the questions that you need to because they're probably sitting there going, oh, geez, she's going to ask really hard questions and I'm not going to be able, you know, they have their own thing. Ask the questions you need to ask, let them answer in the way that they need to answer. And that's step one. And then you're going to recalculate after that experience. And my phone is, I'm supposed to be in another call. Oh my gosh, SLP, thank you for being with us always. It's ringing, okay. We love you guys. Thank you, thank you, you're the best. Okay, see you tomorrow. Bye, SLP. I'm sorry about that. Hey, that's okay. You all know the 3 p.m. spiel, sign up by 3 p.m. Eastern every single day. And I'll send you a link between 3 p.m. and 4 3 p.m. Eastern. See you tomorrow at five. Bye.