 If you're here to go watch me work, and even if you're not here to watch me work, Carol has told us that today is National Cookie Day, so she wanted some cookies. So we're going to pass it to the crowd. Don't feel obligated to not work. This is from Nash. Don't feel obligated out of cookies, but if you want a cookie, I know Jerry's here to watch you. We're going to start here. Are you here to watch me? Can you see why I started here with Jerry today? So we just passed him around, and you know, there are a lot of things that help you get your work done. Sugar is one of the great, you know, not so great secrets. Caffeine, every five, ten, probably should be caffeine, so caffeine is one of them. Oh, that's so much better. Chris Barlow's here. You still work at the back door, you know, uptown, on the west side? I keep saying I'm coming. I'm never going to go, but I just like to know that you're there. It makes me feel like someone else who's like, yeah. What if the geniuses know what they're doing? You're not a genius though, you're just a cool dude who walks the floor and goes, hi, can I help you with your... I don't know. Did it pay you? Did it pay you? I don't know. Probably got us a new timer, so we'll be like... We'll be like, what time? So does anybody not know... Anybody not know how Watch Me Work works is so... Is anybody, is anybody like, confused? Like, what is this? Oh, you're like, you're kind of... You're a newbie. You know who? What's your name? Elliot. Elliot, hey Elliot, welcome to Watch Me Work. So for the people who are like, Elliot or whoever, you want a refresher because it's really hard what we do here. No, I'm kidding. I'm totally kidding. So Watch Me Work, I know, you know it's easy. It's the easiest hour of your day, and hopefully the most pleasant. What we do is Watch Me Work is the title of the show. It's a show, it's a play, as evidenced by the bells of the snake. And it's also... This is good, this is better. This is pastoral. I know that Carol had a castle. They went all the way up to me. Oh, give them back to Chris Barlow. Chris, are you eating another cookie? No? Hey, Chris does. I know, I know that. There you go. It's national after all. So what we do, what we do is, it's called Watch Me Work, right? It's a play, it's also a creativity workshop. And it's free. It's like Shakespeare's apart. Except it's not Shakespeare and it's not apart, but that's okay. So what we do is Watch Me Work is about you. So the me and the title is you, right? So what we do is we spend 20 minutes working on our own individual work, right? Our own thing. And then we talk about our creative process for the remainder of the time. So that's when you, if you'd like, would ask me questions about your creative process, okay? And I would do my best to do some of the plausible answers. Okay? So basically if you have... These people, they're very good to work with. We have questions about like, how do I start something? How do I go when I'm finished? How do I keep going? Et cetera, et cetera, right? What do I do with a certain chapter? It can be anything you're working on. It doesn't have to be a play. It doesn't have to be a novel. It doesn't have to be a piece of writing. It can be anything you're working on. It can be speech or dissertation or whatever, okay? And so that's the first clue. Everybody, like... And I'm just going to tell us when... So some people are watching on HowlRound and I'm just going to tell us how them how to tweet in as they sometimes do. If you are watching at home and you have questions, you can tweet at us at adswatchfeworksle and be sure to hashtag HowlRound which is H-O-W-L-R-O-U-N-D. That's it. We'll answer questions in real time. Anything else that I'm remembering to forget? They're having like a party now. But it's really good. Oftentimes when there's like a lot of distraction... Okay, here we go. Let's try this again. Downstairs who are doing their work encouraged you. Forward. Does anybody have any questions and questions? Any answers? Any problems? This is the part where you... in case you're wondering, Elliot. The dialogue part of the book. This is the dialogue part. We did the action and now we're doing the dialogue. I know it works out very nicely. I like my cuticle. I wrote some real good stuff. Dynamite stuff. But I see now it doesn't work. I'm just having a hard time just tearing it up. Sorry, fill up with some dynamite stuff. Some really great stuff. But it doesn't work in the play. And you're going to tear it up? Well, I can't use it. In this play? In this play. Oh, but it could be it for something. So you don't have to tear it up? No, I'm not going to tear it up. I might have to put it to the side. I believe it doesn't work. But the rest of the idea is being involved. For the first time I sat down with it. Sure, sure, sure, sure. But I'm just having a hard time doing it. Putting it to the side. Right, right, right. So you've written some... People have been working on One Piece. And recently you've written some awesome stuff. You feel that it doesn't fit in the thing you're writing. And now you're having a hard time putting it off to the side. Because you feel like you want to... It could work somewhere else. But I just realized it doesn't work here. And I'm kind of stuck because I put a lot of energy into it. So now it's like I have to reboot the whole thing running again. Right, right, right. It's just that one part. And I'm trying to keep it. I'm trying to work around it. And I'm trying to fix this part. And make that part work to death. But it's just not working. It's just hard. It's very hard. So what is so... It's like you're in a like a thicket. I mean people... We're talking, people are laughing. I think because we've all been there. So you've written something really amazing. It doesn't quite fit in the thing that you're working on. And now it's almost like more painful than pleasurable interaction. So now what do you do? What do you do? And it's kind of... You're feeling kind of... It's gnarly. Or you're feeling like it's... You're in like a tangle. That's what I'm doing this. Because that's what I feel like. I'm like... Like that, right? And it's kind of physically uncomfortable. And what do you... What do you do? What do you... What helps? What we're trying to make it work. But it's not working. So what I'm going to do... Right. Is to take it out. Take it out. Right. And where are you going to put it, actually? Well, I could hold it for something else. You could. You could. But I know it doesn't work with what I have. Right. I was just saying it's just hard, you know, taking it out. Right. Right, right, right, right, right, right. So I'm trying to think of an analogy. Because a lot of times, you know, it's like... It's like... Well, I don't see a person... Have you ever been in a relationship that doesn't work? Yeah, maybe. We've been like... I don't care if we've been married for 5-9 years or something. You're amazing. But the rest of us. I mean, you know, you get in a relationship and it doesn't work. You know, it's good and it's lovely, but it doesn't work out. And you think, darn it, I put all that energy into this relationship. Right. And then turn out what I wanted. And now I do. And you feel like you've got me maybe ready. You can think like this... These pages that you wrote. Maybe not you to a level where you could see the next thing you're supposed to write. Do you see what I mean? So it's not wasted. So when I'm asking where you're going to put it, I think you might get a nice folder. Not expensive, but just a nice color that you like, you know? And like, if you like red, you look good in green, you can get green folder, you know what I mean? And write in nice letters the title of what this thing is. Right. And put it off to the side on your desk or even like, stay put and put it on a wall or something. And so this is going to be for that. And put it in a place of honor. Because it's a great thing that you wrote. It just doesn't fit in what you're working on. You know what I mean? So I think the way you feel about this piece that you've written is very, very important. If you see it as, you know what? You know what? You had to write that to be ready to write the next thing that's going to fit. You say, oh, because we've got to think of it that way. You know what I mean? And it's just like training. Like, you know, you've got to, I don't know, you've got to run that race to be able to run the next one. You know what I mean? You've got to do the prep work to be able to do that. And that's all that it is. So it's not all in vain, you know? It's just that kind of, the thing that you had to write in order to see, to get to the top of the mountain to see. It's like Moses or something like that. I'm just trying to think. I don't want to be wrong on Moses. But didn't Moses, like, he went to a certain level and they had to, he didn't make it all the way? Anyway, I don't want to get it wrong. But you know what I'm talking about, right? But what's really great is that a couple of weeks ago, if I remember correctly, you were like, do I wait until I have inspiration? Or to, you know, write? And I was like, just go for it. Lead into it, and you lead into it. And that's what you get, right? You're going something great. That's like, good for you. I'm patting myself. I'm patting you on the back by patents. You know, you really deserve some praise. And I'm very proud of you. So that's a really great thing that you did. So just put it in a place of honor, you know? And say, yeah. Because that's what, right? That's what creative people do. We're like, you know, take a step, you know? And now, like, now you can look around and say, okay, okay, you can call the piece by its name. Okay, work that I'm working on. As you can see, I'm ready to work. It's hard. I'm here. I'm here. You look handsome. You look very handsome the day that you came. You're going to tie it on. You're happy. So there you go. That's important, though, too, you know? Right? There you go. Yeah, thank you. Thanks for coming back. It was good to see you. Chris Barlow. You doing okay? Just saying hi. Yeah, so I do a lot of brain drain. Right. So just pre-writing. Pre-writing, right? I've been told at one point, like, you don't want to go back and read over your writing. Like, if it's just brain drain. Okay. So at what point do you maybe go back over it and say, I want to develop this or without judgment, I guess? Or, I mean, what's that fine line to go back over something that you maybe don't expect to go back over? Because you say, oh, it's just free flow. Right, right, right, right. That's a really good question. What's your name? Kizmet. Kizmet? Yes. K-I-S? Yes. That's a great question. Oh, that's such a pretty question. Thank you. That's my real name, too. What was your name? Even if it was. This is a Judy Garland call. Judy Garland is Judy Garland. She is not Francisco. Who does not exist. She's Judy Garland. So whatever you say you are, we take you. Awesome. Okay. So Kizmet, she says, so she does pre-writing. And like, we all do, right? And a lot of people say, if you pre-write and then you don't go back, you know, you just go forward and you never look back or you'll turn to a pillar of salt or something. I mean. But if you're writing in order to find something, right? So it's a tricky thing because you have to pre-write as if you're not going to look back at it. So you can be truly free. And then at some point, because you want to look at what you've been mining, you have to look back. So I would say set yourself a time or a space. So I would say if you have like a notebook, I'm going to fill this notebook with pre-writing and then when I'm done, I'm going to look back. Like that. Or I'm going to pre-write for two weeks and then I'm going to look back. Like that. And when you want to pre-write for two weeks you want to do it every day for a certain amount of time, you know, okay? So have it be a practice. And then after two weeks I will look back. After I finish this notebook, I will look back on it. Okay? So it's part of your plan so that your subconscious knows two things. One, it knows, I'm going to just pre-write. Just go, go, go, go, go, go, go. And way, way back your organizational mind is going in two weeks we're going to look at this. But not yet. In two weeks we're going to look at this. So your mind can help you, right? Yeah. You need to be writing well right now. That person, that voice is not in the front of your mind. She's in the way of that kind of mind. Right? Yes. Yeah. And when you go through you can take a different color of pen or I don't know if you're actually writing or typing or whatever. You can start circling stuff. You can pre-write on a computer, right? You can print it out and then just circle passages that are of interest. You can just sing to adhere to a common thing. You know? You know? And that's also a good thing. Then you can pre-write at any time. You can pre-write here in the beginning of a project or like Phillip, maybe you can pre-write, you know? Just like set a timer and just, I'm going to just write. I'm just, I don't know if you can write with a computer or my hand. I'm just going to write for 20 minutes. Just pre-write. Just whatever comes out of my head on this topic. I'm just seeing if there's anything there like that. You can do it in the middle of a project. You're awesome. Something I've found is, because I write linearly, in terms, like I don't jump around scenes, the ends of my plans are always better than the beginnings because I will have finally figured out the logic and what's happening by the time it's over. And I get really big block on then going back and transferring the project at the end to the beginning part and like sort of taking the strongest part and then making the rest of the play cohere to that. Right. I always get stuck on that process. Yeah. Wow. What is it? Did everybody hear Phillip? So he writes, he writes, he says he writes literally. So he writes, he starts at the beginning. He doesn't jump around in the scene. So he's writing a play right now. So he starts at the beginning. He writes through and what he discovers is by the time he gets to the end of his play, congratulations, it's a lot better than when he started because he's figured out the logic of the play. The story, the logic, what is of it, right? Okay. But which is great. And then you go, you got to go back and sort of apply the logic to the rest of the play and that's when you feel a block. So he feels a block. What actually does it feel like? I'm curious. Can you like... It's just overwhelming. I don't know what to do. Like, oh, you're in the water. Like that? Yeah, yeah. Like, yes. And then I always, I feel like I end up with this feeling of like, oh, by the end of the play, people will like the feel of it. Right, right, right. So I don't have to rewrite. Right. But I know that I do. But I know that I do. Or I should. So does it feel like you're like drowning? Does it feel like somebody, like have you ever seen a dog where somebody's walking the dog on the street and the dog is going, like, somebody's pulling you and you don't want to go? Does it feel like, what does it feel like? Like, scale the mountain, maybe. Like, scale it up so you're climbing. Like a sheer cliff face. Like rock climbing. And it's like, oh, like, I don't know how to get my pick in for the first, like, step up. You're right. Oh, your pick. I don't have any more. I know. But I've seen pictures on the Patability website. They're all like, ah! I'm like, yeah! That's me in my other life. So they have, it's the answer. You could fall. Because it's a long way down. Right. So there's a little bit of panic. I might ruin the whole thing. You might ruin the whole thing. Aha. Aha. Okay. So maybe what's good are a couple of affirmations. One, I got this. Right? If you've written all the way to the end and you say by the time we get to the end that the logic of the play has revealed itself to you then you could say with all certainty, I got this. Okay? So you could say, I got this. And of all you have to do, I got this. My play is about, you could say, just take yourself out of the swirl of the play because that is a liquid. It's like undertoe or the, ah! You know, it's all very, your heart, right? So take yourself out of that and just look at it as if somebody else moved it. I got this. My play, this is the story of my play. It's revealed itself to you by the end. My story is about whatever, this character and this character and blah blah blah blah and this happens and this happens and in the end this happens. So I know that you can take a step out of it. Do you understand what I'm saying? So you're not in the water trying to swim you're outside of the water looking into the body of water. Okay? That's the rewriting process. You take yourself out of it and look at it objectively as if somebody else voted and then you give that some notes. Okay? Also for us. This is what we're going to do. You just extract, take a step back. Look at it. Your main mantra is, I got this. Okay? And all you do is do a little synopsis of your last say to remind yourself of the story. If you feel like you're lost, repeat the story. This is the story about this. And I got this. I know I got this. And you feel overwhelmed, take a step back from it. If you're typing and writing and you feel overwhelmed, go for a walk and just picture yourself. I got this. I got this. I know this story. You see what I'm saying? So you don't have that feeling like I can't breathe and I want to quit and I don't want to do this because it's going to put me in physical danger. Right? Because that's what it feels like. It feels like there's physical danger. Right? Is that helpful? Is that helpful? And they make a chart. See my scene. Today I'll do the first page. Today I'll just write up the synopsis. And then I'll walk around with it in my hand. I got this. I got this. It's a play about this and this and this and this and this. I got this. You see what I mean? It might be helpful to give it a try. Is that okay? Can you hear that? Can anybody repeat a kind of paraphrase? It's not like what you said. A paraphrase and correct me if I'm wrong. So Anila says that she's writing a play and she has a hard time writing the play if she doesn't see it in her mind's eye first. And so do we work on hearing the play or seeing the play or... So you're sure it's a play? Okay. So what... Have you seen any of the play? Right. See him or her? See them? Can you see them? Walk it around? Great. So you have a little window, right? It's like you're on a construction site. You can look in the home. You can see a little tiny bit. Cool. Okay, great. So I want you in your mind's eye to just expand. Can you expand a whole more of it? Is it like great? And it might look like a film but since you know it's a play, it's a play. Right? Okay. So now you can run it. So now it's expanded. You can see more of the world. You can run it forwards. Can you see more of it? But keep going. Just pretend. Pretend you know something that happens next. Right? Okay. And then you can run it kind of backwards. What happened before that moment? Oh, I don't know. You see, you can kind of pretend, right? So we're pretending. That's what we're doing. Right? You can take that focus on the one moment that you can see and then try to see a little more each time. And then... Great. Can you hear her say anything? Is that her name? Is her name nameless? Great. It could be. Look. Ask her. She can have a conversation with you. She's doing two things. You're far away, right? Looking and expanding and trying to see more of the scenes. You're doing that. And then you get close to her like this. If she were a real person. You go, what's your name? I need to know who you are. And you need to know why you're here. And what's the story? And then you write down what she said. Like, hey, what's your story? And she'll say, I don't want to talk to you. You'll say, yes, you do. But you're here. Right? Sounds weird. Don't worry. You're not crazy. People who hear voices, that's a different thing. That's like people who have a mental problem. But we're artists. I mean, this is different. I'm not a health professional, but kind of. You know what I'm saying? So you can talk to her. What she says is dialogue. It might not all fit in your play. You can say, hey, what's your story? Hey, I see you in a scene doing, where were you before that scene? Where are you going? What do you want? What do you want more than anything? You know, we think of like, you know, and think of like Hamlet. What does he want? You know, and you can practice on characters that somebody else has already written. Like Hamlet. Hamlet, what do you want? You know, and Hamlet will say, shit. My dad's a multiple man. I got to deal with him. Okay, Hamlet. You see what I'm saying? And the dialogue starts. And that dialogue is at least part of what your character's going to say. You see, so talk to her as if she were a real person. And you can do this also, if we're totally like, confused. If we're halfway there, like you, right? If we're doing free writing, you might find a character. Oh wow, I really like that character. Talk to her. Talk to Hamlet. Talk to that person. What's your name? Tell me more about you. You see their name on the page. I want to know more about you. And they'll start, a conversation will start in your head. It's not like, crazy person. It's how artists work. Somebody? We've lost it. We found it. Oh, there it is. This person says, this year I practiced a 365 line poem. She learned of your 365 book today, about a third of the year. She wants to dramatize it. What does she do with the four days she missed the line? Oh, what does she do with the four days she missed the line? So someone wrote a 365 line play. Poem. Poem, sorry. Poem. And she wants to dramatize it. Yay! Because she's out there. Yes. Actually, Alyssa. Alyssa, and you want to dramatize it. Congratulations, first of all, for writing the long poem. You want to dramatize it. So I would say, start reading it aloud if you haven't started already, right? So we want to dramatize something we want to hear what it sounds like in the live space. So you can start reading it out loud. Maybe identify some characters if they're a character. Maybe it's a solo show. You never know. But you're going to get a feel of it by reading it out loud. And maybe even going to open mics. They still open mics. Like, run like, like, not like slams up. You can go or you can read new works and start reading it out loud and see if drama appears or originate. I don't know what it is that you've written about, but you can see if something kind of bubbles up in that. But definitely start reading it out loud. What do you do with the four days you missed? End. Who cares? I mean, it's not like a task or anything. I mean, you can say, I missed the day. That's dramatic in itself. You can go, shit, these are the four days I missed. What was happening on those four days? I can't even talk to them soon. But even the language was, hey, it was rough. It must have been, you must have been busy. So there you go. I was really busy today. That's okay. I mean, it's not like a thing. You know, I have to, you know, it's great that you did what you did. But definitely start reading it out loud. Go to some poetry, jams, slams. You know, identify characters. If you have some friends or actors, get some of them to read it with you. I think that could be fun. It's not that fun. Come to watch your work if you can. If you live nearby. Oh, congratulations. Give yourself a pat on the back. Yeah. Do a dance. I like that, but you know, you're all new. Anybody else? I'd like to see Jesus have the ancient. Oh, yeah. Which was wonderful. Right. And it made me come. But when I got home, like, oh my God, my play in comparison is so much dramatic. Oh, right. When you compare your work to somebody else and somebody else is busy. Right? Right. And then you want to, and then you try to get back in your own play. Right. Sometimes it's a little resistance. Right, right, right. Yeah, Carol says, it's hard sometimes when you go to see somebody else's work. And you go, shit. You know, you come and get home. You get back to your own work. And you go, my work is as good as this. Or it's not here as good as this yet. Or darn darn. Damn. What do I do? It's hard. And no matter what you do, just that you can walk outside thinking, I'm trying. I'm looking good. And then you see somebody home. You know, so there's a little bit of this sort of like open to the world and you have a blinder's eye. And you have your mantra to say, like, I'm doing my work. You know what I mean? Otherwise, no, we never get anything done. I know that probably, I don't know, thinking, like, if we look, because she's from, oh, it's even not that good. You know? Or I'm not as good as someone else. You know? It's tricky. It's very tricky because you want to support other people's work. You want to have their work inspire you. But at the same time, you want to encourage you and motivate you and not discourage you and make you feel like it wants to use. And I had a friend once who said she was writing something she wants to use, but not Tolstoy. And I was like, yeah. Wow, that's heavy. You know what I mean? I'm not Tolstoy. I'm like, yeah. Yeah, well, that's a big, you know? So you just have to... I guess it's dramatic because you have to play or play. Well, sure. How dramatic does a play have to be? Yeah. Well, listen. No, no. I mean, there are plenty of... There are plenty of... You know theater well enough to go. There are still many different styles of plays. Lots of plays are like, everything is in Lidia. You know what I'm saying? Oh, I used to play there. I mean, every place sure is in Lidia. I used to be there once. I used to be like this. But actually, no. It can be very beautiful. I mean, I'm a fan of... Let's talk Richard Nelson. Can anybody know Richard Nelson's work? It's very like, you know, it's very kind of low-key and intense but on a very different level. A very different intensity. It's a very different kind of intensity. So, all drama doesn't have to be, you know, agonist on something, right? Yeah, there's... There's range. You don't have to worry about that. You just have to do your thing. Sometimes it's hard. Youngers grow. How's your writing going? It's okay. Okay? How was the year? The year? Yeah. Like, did you get some writing done that you wanted to get re... Good. I was just checking it, you know. It wasn't? No. It's hard to, like, focus on anything good and bad time, you know. It's hard to focus on anything good and bad time. Right. So, how do you do it? Not well sometimes. Right. Right. Exactly. It's not well sometimes. But you might know that that's what's going to pull you here. You know? Yeah. And knowing that there are places where you can go and be like, hey, I gotta... I gotta shake the world that's happening. And sometimes it sucks. Yeah. And I have to continue. You know? It's very difficult. There's a lot of times when I think there what's good about this is that it really tests our mental. You know, our... our resolve. To be the kind of person that we know that we need to be. It's just shit. Wondering. Wondering. I'll take, I'll take, like, acceptable. Okay. There's a lot to talk about in the end. You get it in the end of your day, too. I mean, when you get into your day, you go back to the life of your shit. You know? It's like a record. There is shit. You go back to the life of your shit. And you really have to remember how hard you get from the dead. And that's what's going to set your lead. We have to share, we share. And the way to share, we promise. You know, in other countries, you don't even show us how old you are. You see the picture of other news, and their whole cities are like, don't exist anymore, you know? Because there's been bombs dropping for years. We've got to kind of get to it. But at the same time, our feelings are valid, and it's hard. And things we've worked for, and our parents have worked for, you know, seem to be tossed to the wayside. So we do have to develop other skills that we didn't think we had. Thinking of it as a, really, thinking of it as like, you know, you're on the hero's journey. You know, or the hero's journey, right? Hey, this is it, right? This is it. This is like, you know, think of it as a movie, it's an action adventure movie, and they're like, what? And they're like, who could be here? You know? Right? Shit! I don't want to, I'm gonna drink! You're not drinking like that. What are you saying? You know, it's calling, it's calling you to be better than you thought you needed to be. And kinder than you thought you needed to be. That's the harder part, actually. To still be loving and kind. But it doesn't seem to matter anymore. And when people seem to be getting a lot and being asked holes about it, you're like, well, why do I have to do that? What do I do mean to be an evil person? Because they seem to be doing well. And that's the moment when you go wake up, you know? Right? And you do things like, you come here, and you hang out, and you go, yeah, let's all take another step together in the right direction. You know? Let's eat a cookie. Let's have a cookie. Let's just continue, you know? Let's be discerning, you know? Let's not, you know, I know. You turn to me and you're like, here's a key card. You can keep the cookie. Okay. But anyway, so yeah, you gotta continue to do your work, right? You gotta continue to do your work. Because it matters. I wrote what I did earlier this year. I'm gonna talk about my work, and last, watch me look at it later. So what I did earlier this year is there was the inauguration. I thought, oh, what the fuck? You know, I'm gonna slap somebody. No, I don't think I'll slap somebody. I think I'll write a play a day. This is my obsessive thing. I write a play a day for the first 100 days. Because I didn't know what else to do. So I wrote it, I woke up every day, and I wrote a play. It was really hard. And at the end, which was really cool, the 30th of April, and then fortunately, the 102nd day, I think it was the 100th day, it was the 29th day, but anyway, the 102nd day was the 1st of May. So I got to write a play called May Day, which was really cool. And that was the last play I wrote in a cycle. And I realized that stars, what we do now, could like to make other people in the future. Right? The stars are what lights up the darkness, right? So what we do now, what you do now, is probably because I've known this for a long time. Can light the way for people to know the future. Or not. Anybody have a question? Do you have a question? Do you know? Yeah. How do you, or what advice do you have on getting past the block of sharing your work? Right. Because I complete things and I do it for my own enjoyment. I'll do it because I just want to do it. And then I never share it. Wow. Great. That's a great question, Kismet. So Kismet says, what do you do if you want to get beyond the block of sharing your work? So Kismet writes a lot, she finishes her work, and then you know you're slow to share it. Start small. So share it with a few people. Maybe share it with one person. Choose that these people are mindful, okay? You want people who love you and who love you more than they want to see their notes in your work. Yeah. Right? So they want to see you succeed. They don't want to see you adopt their ideas. Kismet. So they'll go, yeah, go, girl, go. You want cheerleaders. You're running the marathon. You want cheerleaders. You don't want people, you know, you want people to cheer you on. Okay? Start small. Start with a couple of people. If it's a play, you can get a couple of friends around. Or get one friend. Right? To read it with you, baby. Or you can sit in your apartment and read it to one person. Maybe one scene. You see what I'm saying? You can branch out that way. Take small steps. Baby steps. Baby steps, right? That's how we all work. I mean, I don't know. I don't know, but I think we all start walking with baby steps. I mean, by your skin. Like five seconds. Six o'clock? Two minutes to watch the movie. January 29th. It seems like a long way away. But they're going to have under the radar that's going to be in the building until then. So we're going to have the fabulous under the radar. First one here. And we'll be back on January 29th. Check the website. Yes, check the website and we'll send out the email. If you want to add your name to the email, add your name to the email list. This is great. It's been a difficult year, but we're we're making it. We're making it. Ha ha. Thanks for coming even behind the camera. I'm going to appear again. You guys are great.