 It's important to encourage, it's important to work, do our work, whether it's out in the streets, protesting, and also at our desks. Whatever kind of work you do, it's not just writing work, whatever kind of work you do, we're here to support you. And if you have questions about your work, your creative process, you ask a question and get in touch, and Audrey's going to show you how to do it. Thanks, SLP. Yes, so if you are inside of the Zoom and you want to ask a question, all you need to do is click on the raise your hand button, which is in a participant tab, likely at the bottom of your screen on a laptop or the top, if you're on an iPad or a tablet. And if you're watching the livestream on HowlRound.tv, you can actually tweet at us at, at, watch me work SLP with the hashtag HowlRound, H-O-W-L-R-O-U-N-D. And you can also tweet at Public Theater and why, and why, and send us a message on our Instagram. And those are the ways to get in touch. You, you froze like several times during that talk, so. SLP might be frozen. Uh-oh, I am frozen too. Oh, there she is. She's back. You froze. I was saying you froze while you were talking. I'm frozen? No, no, you were frozen. Oh, no. When you were saying about the HowlRound and the tab and the. Do you need me to repeat the question asking abilities? I know how to get in touch. I think everybody's okay. I think we're just going to go. It's Monday. There's a quote. What is that quote, honey? I'm asking my husband from Zizek, the famous philosopher, present day philosopher. He says, you don't hate Mondays. You just hate capitalism. Yeah. So, yeah. We love working, though. And here we are. Here we go. Ready? And here we go. All right. We've got some questions. Oh, goody. Yes. All right. Melania. Hey. Hey. Are you there? Did you get the, are you able to unmute? Yes. There you go. Yeah. Hi. Thank you. Hi. Hey, happy Monday. Happy Monday to you, too. Okay. I just want to tell you that you remember that we were talking about this workshop that I am taking with the theater play for children. Well, I finished my short play for children. Yes. I am very happy. And one thing that I did after talking to you and listening to everybody was that when I received the last notes, I saw them and you know that I was very confused about the notes. So all this, all this time, my process was reading the notes and trying to do what the teacher was saying. But this last time, that I was very tired and with this confusion, as I read, there were some notes that I liked and I said, okay, I can do this. But there were another ones that I didn't like that they didn't, they weren't very helpful for me. So I said to the teacher, okay, I read I'm going to take this, but I'm not going to take these ones because I believe that what you are asking me to do, I already did it. It's here and I explained the situation. So I did my work. I finished, I received the, she said, okay, we are done. I have more notes for you, some details. So I said, okay, thank you very much. And what I'm going to do is I'm going to let it rest the work to have some, some kind of perspective. I'm going to read your notes and what is helpful to me, I'm going to use and the other things now. Thank you very much. So what I'm going to do is to print the video and everybody in our so, so, so great. Three great things. I mean, I asked where a teacher gave great feedback, which is a blessing. And you finished your work, which is great. And you also are learning now how to navigate this whole notes thing, which is really, really cool. I'm very proud of you. That is awesome. Yeah, that's a skill that you can take, you know, into any aspect of your life. I am so thankful to you because you were a blessing to me. Thank you. Thanks, Melania. Yay. Looking excited for you to start the next one. Thanks, Melania. So good to see you. All right. Next we've got Bob. Bob, are you there? I'm here. Can you hear me? Yeah. Hello. Hello. How are you? Good. Good to see you. I like that Zizia quote. Changes everything. Thank you. I have a question. I started working on something I really like. And it's sort of about, it's about a family. And there are two kids, like a 16-year-old and a 10-year-old kid. And I don't have kids, I have nephews, but, you know, and the 10-year-old sort of, and I'm just wondering, when you write about kids, do you approach it differently to try and kind of get them and understand them and get the, I mean, it's the same kind of process for you or I've never really done it or really kind of tried to go deep where they really were sort of central characters and something. And they are for the first time. And I'm excited about it, but I'm kind of curious. I've never done it. So before I jump in, I'm wondering if you have any thoughts about that. I mean, different people think different things about children or their children or other people's children. I have, you know, I never spoke, we never spoke to our son in baby talk, you know. I believe, I have the thing where children are people and what's great about them, in my experience anyway, is they're much more open, you know, less hardened, you know, much more open. So I would just think of it as a children or people and they have a beautiful ability to really take things in and understand things in a way that is always surprising to me. And they often, I mean, in my child, you know, they always say what they're thinking. You know, they're not as censored and, you know, there's not so much gamesmanship going on, which is really beautiful and refreshing. So what I would just say is think of them as their great wise people instead of, you know, I don't know anything, you know, like that. Think of them as, you know, more like an Obi-Wan or a Yoda than someone who doesn't know anything. You know, I would try that. Try that and see and maybe read some children's books. That might be fun. You mean like, I mean, because this is like a 10-year-old and a 16-year-old today in Florida. Like they're not, you know, they're very, as you said, wise and probably super savvy and mature. Yeah, but you said kids books. You mean about them? I don't know. I mean, or easier. How about even easier? Movies like Paper Moon, you know, is a really beautiful. Moonlight is beautiful. It has a beautiful child character in it. I watched Stand By Me the other day. Stand By Me. There you go. So you get the, you know, and that's really, and watch your nephews. You know, I mean, you have nephews, you said, right? Yeah. Or, you know, I don't know where they live. Face-time them and maybe ask them. You know, interview them. Remember how you interviewed people, you know, hey, I'm writing to something about kids. What do you think is important for me to know about kids? Ask them. Interview. You got great subjects, you know, that you could, I mean, family members. I'm sure they'd love to tell you so much. You know, if they're talking about my kid, it'll never stop talking. Yeah. Okay. Cool. Thank you. Hey, cool, Bob. Thank you. Good question. All right, so we don't have any questions at the moment. Let's see if maybe we've got something coming in on social media. One second. I'm dancing to the music. Can you hear it? It's beautiful. What's very beautiful is that the uprising is organized, which is really impressive. Really impressive. There, it's not like every day a gaggle of people are disorganized. They are timed. There's a group that comes early in the day. There's a group that comes midday. There's a group that comes a little later. There are the who is speaking. It's very organized. There's someone who might hold forth for a minute or two telling a personal story. Then there's someone who gets on the mic and they like a drum major, they wrap people up, then someone might come again and share personal stories. Very beautiful to see it so organized. It conveys to me a kind of dedication, which makes me very proud. It's right outside my window every day, so I get to participate. It really is. I just walk past it and start singing. It's really nice. That's so cool. We got a couple of questions. There you go. I'll just ramp a little bit. I love Bruno, but thank you for sharing that. That's really cool. All right, Jasmine. I clicked ask to mute. Are you there? Hi. Can you hear me? I don't know if it's you. Yes, I can hear you. Wait, let me try to start my video. Hi. I'm new here, so I don't really know a lot. I'm trying to write a play over the summer. I've never done that before. I've written a lot of poems and short stories and that sort of thing. My question is how do you know a story or an idea you come up with as you're able to turn into a play versus a different art form? Yeah, that's a great question, Jasmine. We're all beginning. Even after, hopefully, I hope for you, that after you've written 10 plays, you still sit down to write that play number 11 and you scratch your head and you go, I don't know how to do this. Because then you're in beginner's mind and your opportunities are many. So it's a good place to be not knowing how to do it. Suggestions, what I can tell is if I can see it in my mind's eye on the stage, then I figure it's a play. Got it. If I can see it in my mind's eye on the screen, then I figure it's a movie or a teleplay. So if it's rolling out or it's rolling around in my mind and it's looking like a play, then it probably is a play. These days, the best way to learn how to write plays in this kind of environment in a way is, one, establish a writing practice. Sounds like you already got one, right? Because you write other things, right? And the other thing is, if you can get your hands on some plays, read some plays. I've read a lot. I was, I didn't hear of your high school slash college. But the trick, but since now saying I want to write plays, right, your reading might be differently intentioned. Because now you're reading as a writer. You see what I mean? It might be a little different. So as you go forward and might read some plays, you're reading as a writer now. How did she do that architecture? How did she set up that story? Right? And you can read contemporary plays and classic plays, plays were written a long time ago with the eye of a writer, with the ear and mind of a playwright in mind, which is a little bit, little bit different. It's like, if you go to the club looking to have a good time, right? That's different. If you go to the club looking for the love of your life, you're going to be differently intentioned. And so as you read, as you continue to read plays, it might be, but that might be a really fun thing to do. And you can also like read them and write down, take notes, you know? Yeah, that's good. You know, that kind of thing. That's a really awesome way to learn. And then think I like to start with character. I like to start with character. What does my character want more than anything? You know, what does she want and how's she going to get it? Or what does she want and what's she going to do to get it? You know, that kind of thing. And I like to outline, but not everybody does. I like outlining. I do. I do. I like it. You know, a little beat sheet, little points, doesn't have to be a big deal. You know, is that helpful? Yeah, very helpful. Thank you. Okay. Thanks, Jasmine. Great question. Thanks, Jasmine. Thanks for coming. All right. Carla, you're up next. Hello. Hi, SOP. Hey, everybody else. Hi. I don't know if I have a question. I think it's what I was going to say is I feel like I've fallen off the riding bandwagon. Yeah, like I haven't even, and I tried to lower my time. Last time I asked, I tried to lower from 20 minutes to like 10 minutes and not trying not to put too much pressure on it being good or whatever, just letting it all vomit out. But I feel like I've fallen off. Like I gave myself so I was like, okay, I'm not going to write today. Maybe I'll journal instead to try and keep it. But I don't know what to do now. I'm like, I feel like today I've been like, okay, maybe I'll write after watch me work. And then I'll maybe and I'm like, I feel like I keep pushing it back. And so I don't know how to bring it back in. Yeah, I don't know. It could be a lot of things. I'm going through a lot. Personally, I'm overwhelmed by a lot of things. So I'm like, don't know what to do. I'm like, I need to bring it back. Right, right, right. That's that's great. Just know that the wagon, the, the, the writing wagon, whatever wagon you want, right? It moves in a circle. It's not moving a straight line. So if you feel ever that you have fallen off the wagon, know that it moves in a circle and it's coming around. Okay, it's coming around. Don't worry, not to worry. You can always, it comes around, it probably comes around once every like, you know, two minutes. It's amazing. You know, you always have an, you always have an opportunity to, to begin again. That's true. Okay. You said a lot's going on in your personal, you know, my guess would be that's probably why it's difficult to write, right? Yeah. Okay. Okay. Are you okay? I'm okay. I'm, I'm, I just, I might be getting surgery very soon and I have to kind of make the decision of like, I'm going to be doing a surgery in the middle of a pandemic. And so I'm like, and so it's kind of scaring me a little bit. But I feel like I have to do it. It's, it's like, if I leave it, even though it's not an emergency, it might get worse in the future and it might turn into something else. So I have to have it. And so, yeah. And so I'm like, I feel like I, like I even tried to write a monologue because there was this competition that I saw for 90 second monologues. And I was like, let me try and write something. But like, I wrote it in hand and I just didn't feel us, I don't know, in tune with it, I guess, that's the word. Yeah. And that's so, no, so I, you know, I'm in your permission. It's okay. Yeah. Really? Okay. You're going through some stuff that's overwhelming. Is it possible for you to keep your journal practice going? I'm trying. I'm trying. I wrote those two monologues and I feel very okay about them. And today, even though I've been joining sort of other sessions like this one, the other one I had today was about work. I found myself writing and they, they kind of asked us, so what do you want in a job? What are you? Because obviously we're all unemployed during this pandemic, but they were asking us, you know, what is meaningful to you in your thing? And I was like, I want to be a writer. So what is meaningful to me about storytelling? And I found myself writing about that earlier today. There you go. Yeah. And so I feel like that's, I'm trying to, like you say, give myself permission to be like, that's still me writing and me putting down, I don't know, something for myself. But I don't know. Yeah. And it is. Yeah. I mean, just like we have to give ourselves permission to say be a writer, you know, we have to give ourselves or permission to write a play, right? Yeah. We also have to give ourselves permission to step back a little bit and take a breath and maybe focus on some other things. Okay. I would suggest though that you keep your journaling, not writing a 90 second monologue for a festival or whatever. That's, whoa, that's a lot. Yeah. So if you just journal, you're just going to be writing in your notebook for, so let's just say 10 minutes a day. This is also lowering the bar. You lower the expectations of your output, right? That's also lowering the bar. Let's make it manageable. Hmm. Right? Yeah. And again, let's have a practice that's grounding. Because when we get overwhelmed, you're in a tornado, you know, you're in a tornado and it's very unsettling. And certain things can help you stay grounded. A journaling practice can help you stay grounded. Meditation practice is also helpful. Hmm. You know, yeah, actually that you remind me because I even like, because I had like, I tried to keep a schedule because of the pandemic. And I actually, I used to exercise every other day and then meditate after. Okay. And I blew it off the entire weekend because I was like, there's so much going on and I haven't gone back to it and just sort of do something with my body physically. Yeah. But also in terms of exercise and meditation, you can totally scale it back. If you used to run, let's say 10 miles a day, right? You can put on your favorite song in your apartment and just walk in place. Yeah. For the length of your favorite song. You really can meditate for two minutes. You really can. Yeah. Believe me. That's it. It really is good. Yeah. It really, really is we get, we get confused. You know, part of the unrest comes from a confusion. The, I should be doing more. I should be, I shouldn't, I'm not up to speed. I'm not up to the level. I'm not, I'm not, I'm not, I'm not. Well, you are, guess what you are. You are. And so if you can just walk in place to your favorite song or do jumping jacks, your favorite song, whatever, you know, the thing is you like to do and then meditate for two minutes or three minutes or, and then journal for 10 minutes. That would be called exercising, meditation and writing. And anyone who comes and goes, Carla, what, you didn't run 10 miles a day, you didn't meditate for an hour, you didn't write a whole full length play so you could submit a week, you know, say, here, you're an asshole, right? And if you're saying that to yourself, stop being an asshole to yourself. Yeah. But don't be mean to yourself. Yeah. Pretend like when you say that kind of stuff, you're talking to me and I'd say, don't be mean to me. Right. Yeah. Be kind to me. Yeah. And I'm trying really hard. You know, so you're trying really hard. So be kind to be a little kinder to yourself it and give yourself a little, you know, a little, a little space and allow yourself to, to do a little bit of exercise, a little bit of writing, a little bit of meditation, you know, it's going to make a huge difference. Right. Give yourself a pat on the back. That's huge. Yeah. You know, okay. Yeah. Thank you so much. I know. Thank you so much. No. You know, you do know. Okay. Thank you. Thank you. All right. Jacob, you are up next. Hey. Hey. I have like a, like, just, I'm sort of curious if you would be willing to talk about sort of like how you, you've talked, you were talking about like how you come to a play or how you like find the play. And I'm curious about the play White Noise, right? Which is, I think your most recent play, at least as far as I know, was I missed one. And how you like came to that play and that story. But it's supposed to be about you, Jacob. Haven't you heard enough of my stories? You who I've known for so many years? About your stories. And if I've learned anything from your stories, it's that the stories that are about you always end up being the stories that are my guideposts. So I figured I would. Oh gee. How did I come to White Noise? Gee, I wish I could remember. It was really hard to write. That's true that I remember. It's funny. What's going on now in the streets is White Noise. I mean, it is the play. It is the stuff of the play. People are dealing with their shit. And a lot of it has to do with race and privilege and class and everything. That's the play out there, which is kind of cool. Because I'm like, yeah, it's a relief that it's also going on in the street because when I wrote White Noise, it was going on in my head. I could just hear these four voices talking and it was very agitating. And so I found it very calming to just write them down. And they were friends and they wanted to stay friends. So that was what they wanted more than anything. I don't think it worked out for them. But at least they got to unpack their shit, yo, which is their gift to us that we may be moved also. But it's a play about right now. It's kind of a blur, though. All my plays are blurs. I can't remember them to like how they came. I just remember it was really hard because it was really, it forced me to look at shit. And it's like, it's very, very difficult. It was very difficult to write. Is that helpful? So if you're having difficulty, Jacob, and if you hear a lot of bleh in your head, you know, very different from my other plays. Yeah. I guess that's part of why I was so curious about it is because it's so distinct from the other plays. And I was curious, which I mean, I feel like all your plays are distinct from your other plays, which is sort of part of the point. So I was saying to Jasmine, so if you sit there at your desk and you go, I don't know how to write this. You're on to something because you're not simply repeating a style that you've done before. And I don't, I just go like, well, what is this going to take? Do I have it? I'll sit there and I'll see. Well, it was hard. It was like, just, it's a very, not angry play, but a very intense play. It doesn't let anyone off the hook. Even if it's about two white people and two black people who are friends and they come into some, you know, they, their friendship is really tested. And even if you're neither white nor black or, you know, or identify as male or female, two men, two women, you still get caught up in the, in the conversation because that's the way the play is designed to ensnare everybody or liberate everybody. I'm not sure. I think it's the liberation. Yeah. Cleanse, run the energy. The other week, right? Theme and all that. See, I don't think they, oh, no, I don't know. Right? See, theme is not, it's not, I'm sure it could talk about theme. Yeah, it's funny because that's a play that has an incredibly vivid, or not an incredible, but like that engages deeply, deeply with theme. And yet, even still, you don't approach it that way. No, no, I approach it from characters, characters, they want to be friends. They're going through shit. They're going through some shit, real shit. Just like, just like we're going through now, just the same thing. I mean, COVID isn't part of it, but who am I to you? And why do you think that about me and all that stuff? Yeah. Very much an alpler. Anyway, that's all I have to say. Thanks, Jacob. Good to see you. Thank you. Thank you. All right, we've got about 12 minutes left, and we're going to go to Kendall. Kendall. Hello. Hello. So, okay. So I wrote a play. Like the first draft is like, thank you so much. The first draft is like, I threw it up. She's there. And then I got like notes and like, I know I need to do rewrites. Like, here's the problem. It's like, for me, it is so like, physically and emotionally overwhelming to do rewrites, because I just like, not that what I had is like, able to like be put up immediately or anything, but it's just like, I already have like stuff there and I have ideas of like, oh yeah, like they were right. I should fix this. I can throw that out. I can add this. And it's getting to the point where it's like, I don't like want to throw my laptop out the window. But if someone did, I would be like, yes, I can't finish the play. You know what I mean? So like, are rewrites challenging for you? And is there any like, is there a specific way that you approach it? Or like, is, does my question make sense? You know, like, I love the, I love the, the laptop out the window. I'm not saying I want it to happen. But right. You told me, I'd be like, I mean, Susan Murray Park said, throw my laptop out the window. Susan Murray Parks, when she was in college, used to, and there were manual typewriters a long time ago. Yes, Susan Murray Park used to have a room that was, that had like some depth to it. And I would regularly throw my typewriter down the hallway. My God. Yeah. Not out the window. I could have hit the wall and I'd go and retrieve it and get it fixed. Yeah, but you got your ring. You got it out. I got it. I got the workout. That's, yeah, you did. Yeah. It's not something I recommend that you all do. Don't be throwing your shit. You know, there are other tools, which is why we're here now. But no, Kendall, there are two kinds of courage in writing. There's writing and there's rewriting. My guess is that because you finished your play, yay, writing might be easier for you. Okay. Usually it's one of the other. So, but, but that's okay. So you've got good, you know, whatever biceps. Now you're going to work on your triceps, right? You don't have flabby triceps, do you? Of course not. But it's hard. It takes work. It maybe isn't easy. Yeah. It isn't easy. And this is where the work begins. Right? I know. So take one note. Yeah. Like Clara needs to, you know, talk about whatever, music more throughout the play. Say that's it. One note. Go through the play, track Clara, see if there are opportunities where she can speak more about music. First, you see, take one note at a time. You can take one note a day. As long as you'd like to notice, remember we're talking to Melania, you know, as long as you'd like the notes and they're good notes and you feel like they resonate with your play, take one note a day and just track it through the play. See if you can apply it in some fashion. Okay. I think we're ready to just kind of overwhelm because like a lot of notes. Oh, shit. What do I do now? You know what I mean? Yeah. Sure. Okay. I'll try that. Makes sense. Makes sense. Oh, so more sense than I could ever make. Better than throwing your laptop down the hallway. I haven't seen a week, but like. We'll check in. Thank you. Thanks Kendall. Oh, all right. Ryan, you are next. What's good? What's good? You're good. Hey, Ryan, how you doing? I'm like terrified that this question will like echo like the years of the same question I've asked you. Oh, yeah. Go ahead. If I'm like, as I really do identify with like choreo poems as like a as I feel like it's, I mean, I think everyone is choreo palming as they move through the world, but I feel like, and I really, and it's easy to in this isolation to exist in a free space of like, of just like, I mean, I could sit in my room for hours just like moving and talking to myself and but I am, I just, and I, it's almost interesting like with Jacobs and the idea of theme and like, as I'm like moving them from my notebook to the computer, and it's like starting to pick out like if it's like, if working towards a theme, if that, I mean, if that's what speaks to me, I should, I should follow that. But I guess I'm also just interested in, and just working in this like a free space of just like, I'm just like going and writing with your words and not I guess, it's like a little without structure or can feel a little without structure like what if you're really hanging out in that space, what any, any more tricks or tools that you would suggest not throwing not throwing your computer, but I would say if you're if you're looking for a theme, maybe let the theme emerge. Right. So go ahead and hang out in the space, enjoy your words and all that. Again, get to the end. Are you at what you can call an end? Um, like, I would, I don't see, I don't believe to be. Okay, so how many of these choreo poem things are there? Do you think how many are you gonna have? I guess I haven't even, no, I haven't even broke it down to how many. Okay, pick a number. Okay, just for kicks. Just for kicks, I think 27. 27, great. So, so how many do you have now? I probably have much more than 27. Okay, okay, great. Okay, great. So maybe by the end of this week, you will reach the end of the writing. Okay, then you can go back, typing it up, right? Then you can go back and you can read through and see what commonalities emerge instead of using the word theme. Okay, I'm not really sure what it means. Let's use commonalities. Like, do they all take place in New York? You know what I mean? So maybe they're New York, maybe maybe life in New York is the thing. Are they all about, you know, people who are breaking up or finding new love? Maybe love is the thing. You know, the commonality. You know, what's the common ground that they share? Do they share a common ground? Or do they share a couple of different common grounds? Do you see what I mean? So that is a way of, if you're looking for a themey thing, might that be helpful? But you want to get to the end first. You don't want to go theme hunting when you're in the middle of it. Okay, get to the end. Like finish it, you know, at the end of this week and stop. Stop typing. Okay, cool. Okay. And then leisurely read through, print it out if you have a printer, you know, and circle like, oh, this one's about New York too. Oh my God, so is this one. You know, maybe it's love in New York. This was about falling in love. This one's about breaking up and it's in New York. How cool. Okay. Right? Yeah, yeah. Okay. Thank you. Your question was very different, Ryan, just so you know. Okay. Yeah, Ryan usually always asks the same question. He's been asking the same question for like eight years. I bust him on it, but that was different, man. Cool. Thank you. And I wanted, I know I did this before, but I feel everyone's pretty hyped up right now. And like if you're not, it's hard to contain that energy to be a part of it. But I wanted to put in the chat, I'm going to put the Attorney General of Kentucky's phone number, his name is Daniel Cameron. And if you have a minute, just to give a call to put some more energy towards Breonna Taylor, I just think if you have, if you want to take a break from writing and like just, it's like, it's pretty simple. And he seems like a nice young man. So I think, I think we can trust he's going to help help us get through this. So like, yeah, I'll put the number in the chat if anyone. Thank you, Ryan. That's really great. Thank you. All right. So we do have a question at the moment. Yeah, we've got three minutes left. We'll just sit here. We'll just sit here. Kelsey, you are the last question of the day. Go for it, Kelsey. Hey, hold on. Let me put my video. Thank you. First of all, thank you for showing me how to raise my hand because I had a zoom where I didn't know. I'm new to this. I, God, excuse me for my price. I saw you speak at UMass like so long ago when I was a student there and floored me like I was crying in the bathroom floor. So thank you. All right. I'm in LA now. So I'm so excited that I can join this virtually. All those questions really resonated. I already was having a hard time writing during a whole quarantine, but right now I'm just like, what the fuck do I have to say that is relevant? I mean, I have that question every time and I work my way through it and I'm trying to use all the tools I have. I just wonder if now is not a time for me to just listen, but I'm also learning how to be a writer. I'm a performer more than a writer. So I'm really in this weird bind and I feel it loosening a little bit and not having a job. I've thrown all my energy into being an activist suddenly for two weeks, which is hard for me just in terms of the way I am in exist in the world. So that's been really great, but now I'm like, okay, Kelsey, like you have to be in this fight for the long run. And then also you really want to write. So how are you going to do this? So I guess my question is, do I focus on rewriting or do I keep, you know, I have like two projects I have to rewrite or do I just take a pause? Honestly, like I'm like, should I just be okay with that for a bit and put my energy into something else? Like I feel really irrelevant as an artist right now. And I, and that's okay, but I just like maybe I don't need to do anything. I don't even know what I'm asking, but I feel like I had to ask you this. No, I'm so glad you did. I mean, you have options. Yeah, maybe you're, I mean, you've been out there, you've been an activist. That's really awesome. Thank you. And thank everybody who's been out there. And even if you can't be out there, thank you. Anyway, because I know you're doing some serious reflecting and that's what we need. But you, you don't have to do anything. You can do some rewriting, or you can address the question that you seem to be asking yourself, what the fuck do I have to say and what the fuck do I do right now? And you can free write on that topic for 10 minutes, 20 minutes a day. And that's writing. Because maybe you can use your writing as a tool to help your reflection. Writing is a form of listening. At least in my case, all my writing comes from listening, I would say. When people say, I have something to say, I have something to show you that I hear, right? So when I my writing is a form of listening. And, and so maybe that's a wonderful way to listen for you to an act, you know, another way of listening, you know what I mean? Say you've been working, you know, with the movement and joining the uprising, which is awesome. And maybe in 20 minutes a day, you can spend time just listening to the voices in your head. You know, especially since even in COVID time when COVID was like even larger specter or even before that, your question was, what do I have to say? The work begins here. This is exact. So I'm not going to give you a pass. I'm actually, no, you don't, you don't get to just go, I'm going to stop now. No, you sit down 20 minutes a day and address that anxiety, that feeling in yourself that you don't have anything to say. Right? Yes, thank you. I mean, I've been sitting in this discomfort because I know it's important. But I'm like, how do I write about it? And that's, that's exactly like the writing. Thank you. That's, that's extremely helpful. And I've, I'm going to got to find a typewriter to throw down the hall. But just write the word typewriter on a piece of paper and ball it up and throw it down the hall. Don't throw a poor typewriter. Someone's like, buy an old typewriter. I'm like, hi. Thank you. Thank you. Thank you. Thank you. It's 602. 602. All right. Here we are. So we will not be here tomorrow, but we'll be back on Wednesday. We'll be back on Wednesday. I'm drive tomorrow. I'm driving up to my mom's house to help her out. We're going to be in quarantine and we're going to anyway, long story. We'll see you on Wednesday. And we have a special guest.