 When I win, I will share. So, if I hit big tomorrow, everybody here, everybody here wants to work with getting cut. Yeah, so we can put our feet up and go like, yeah! And take a day off, right? We won't take a day off. We don't want to keep it harder. Right? Fuck this word, like. Any place to get done? So many words, so long time. So many words. So, has anybody happened to you? Aside from winning the regular millions? Don't win this thing really well, I'm sorry. What? Is that, is that, is that alright to ask you? Yeah, sure, it's fine. How's it going? Uh, it's frustrating. Yeah. Join the club. You're not alone. Or you do have like an old mark on your forehead where you bang your head against the wall? Is that why you have your hair down like this? You can't sit. Anybody else? Yes. Good. So, it's not a big deal, right? It's a big deal, right? Right. But if there's somebody who's maybe more important, what sort of... Talking about asking a question about what, what are the ethics of writing about a historical person. Um, and they're certainly, you know, it's not a known person. It's not someone who's known by all. It's maybe a, a character who's not as well known. And what are the ethics of that? I would say, um, because you see there's the person. Like they say about, you know, Jesus is Jesus and then there's the historical Jesus, you know. So there's, there's, but there's the person and then there's the character. So, try to be, you know, try to take what you know of the person. Do your research. Do as much research as you think you need to do. Okay. And not every single thing that you don't feel like you need to do some research, right? Do something. Okay. And then the character, which is different from the person, is going to have their own thing that they want. And you're going to have to listen to that. You know. So, it's rare that you can show, like, just do your own thing with these characters. You know. Because they're going to grab you like, you know, if ever it's characters. Grab you by the neck, you know. Make it difficult. You know. And they will do that. So you have to be respectful about these characters. And I would say just try to listen more than you talk. Ask them. So why are you here? Why am I playing? What do you want? What can I do for you? What can I do for you? That's a good thing to ask a character. You know, I was looking at one of these books, you know, of these helpful writing books. I'm sure it's a great book and everything. But I was reading that and going, they were telling me to ask your character certain questions. Like, the last time I ever, just the man was, you know, these questions. I'm thinking, okay, interesting, interesting. But it's also really helpful to just ask your characters even more personally. Yeah, what can I do for you? Just ask the math questions. What can I do? How can I help you? Why are you here? What do you want to tell me? Why are you talking? Why aren't you talking? What have I done wrong? Where have I gone? You know. What's getting in the way of me and your story that you want to tell? You showed up for a reason. Why? Okay? So it's kind of the same as with any character. But you need to do the research. Some. And you don't need to stick so closely to the already exact information. I don't think so. It sounds like it's people. Exciting. Anybody else? I know exactly, I'm looking at her. I know exactly that feeling. There's a wall behind you. Is there blood on the wall? Have you been pounding your head against that wall? In your body, you know. Yeah, right. For years. What's your name in my name? Crystal. Crystal. So Crystal, is your first time here? Oh. Well, I spoke to Rick. I was like, wow, you're saying I don't know you. Great, Crystal. Great question. That's a really great question. So Crystal has the beginning of her play. She's got three scenes. And then she knows the end. And you'd think you could just kind of stream a little bit long. But something is going, I mean, I don't know, I'm guessing. I'm guessing. I'm not going to do this too. But, well, let's just do it. I'm going to put my hand in. You're trying to walk forward. And it's probably not on your knee. It's probably on your face. So you're trying to walk forward. And it has its hand in your face. And it's pushing you. And what is that? I don't know what it is. But I know that we all, I mean it's resistance. That's what it is, right? What do we do about it? And there's so many theories and so many books. I love reading books about what to do about this. Because it happens to me all the time. I love reading. So what do we do about this? And you've been working on it for years. And what do you do? You have some choices. Let's see. You could, yeah, turn off the lights and take a nap. That's a real choice. I've done that many times. You could quit. So we're taking your temperature. You could quit. What do you think, Crystal? You want to quit? You're gut says. Your gut says no, I don't want to quit. Okay. You could like... I didn't do something else. You could? Okay. Possible? Possible? What do you think? It's not like, right, right. Because often I experience writing as people think, oh, it's a blissful thing. I experience it like that. The flu. It's like, oh. You know what I mean? And so it's better when it's on the page and it doesn't feel like the flu anymore. You know? So right. It's been nine for years. You could write. And sometimes I think that's what's in the way. It's like your ability as a writer... Have you written things before? Okay. So your ability as a writer, right, is better than your ability to write this piece. So you're like, you know, big. You're like, at us wondering. You're like, shit, that's not what she said. But in my version, Alison Harlow. Shit. That's what she said, right? So this is just like... And you don't want it. Because it feels like shitty writing. And you know what? It probably is. It's shitty writing. So you have to sort of go, I'm going to be a really shitty writer for the next, whatever, 50 pages. I'm going to be really shitty. And that's hard. When you're good. You know what you know? And maybe you're good and maybe you can't tolerate shitty writers. It's hard. And maybe you're the kind of writer... Because some writers don't know when they're writing poorly. And if you're the kind of writer who does know, it's really hard. It's like, fuck this shit, man. This dialogue is lame. The plot is lame. I was telling a friend. I was hanging out with him for the other night. I was saying I'm writing. I'm working on something. I said, man, it feels like I'm just clawing away at the side of my face. But that's what it feels like sometimes. So I would say maybe if you just allow yourself to be a really shitty writer. Yeah. For like, how many pages do you think it's going to be when it's done? For 87? Okay, great. Okay. And you know, can you figure out how many things like you have, the end you have. What's in the middle? Do you kind of know? What happens, this happens, this happens, this happens, and they end. Right? Can you write it out on cards? Index cards? You have your magic book. Okay, but can you, can you write, can you, so how many, so you have like maybe 10 C's? Great. So you're going to have 10 index cards, 3 by 5. You hold them in your hand. Right? So you're going to write just this happens, next card. This happens, and this happens, and then the end this happens. And you're going to have 10 index cards, and you're going to put them in your magic book, and you're just going to write those things, and they're going to be shitty, and you're going to get to the end. And then you're going to put it away, and it's going to magically rewrite itself. And next time you pick it up, you're going to read it and go, oh, I know how to fix this. You know, I think that's what we have to, a lot of times, that's the resistance. The resistance is you don't want to be shitty. You know what I mean? It pushes, it pushes against you because you know that it can be what it can be. And sometimes knowing that something can be gets in the way of just having it be anything. We learn that lesson by being you. You know? So maybe you can try to do that. Take 10 cards, put them in your magic book. So get out of, you know, so use your book, but get out of it. I'm just loosening it up a little bit. You know, get it on a card. If it's more than 10 scenes, if it's more than 10 cards, I'd say use 10 cards. You know what I mean? If it's 15 scenes, get 15 cards, whatever it is. Walk around with it. Talk to yourself as you're walking around. This is the story. This is the story. And set a time every day and write for maybe an hour a day. And just write those scenes. And get to the end. Just do it. And if it's all yours, you know, you're not alone. I'm here. Everett's here. See? Everett's struggling. I'm struggling. You know, get lit. See? See? It's like part of the... It is. It's a hard thing. It's a cold, dark, windy, winter night. It's hard. Yes, Carol. I'm pages. Pages. I have to do it. You know, I read some more in some book that it's like you're in a... you're in a... there's some... some bed. There's... it's a crazy war, right? There's an insane asylum. I mean, your bed's on both sides through the middle. And when you step it... you're standing at the door and there's beds on this side and beds on this side. You stand at the door and all of a sudden, all the people in the bed start yelling things at you. Like Harvill's like, You know. Oh my God. All right? But there's an aisle through... and your job is right. It's just to walk through the aisle. Sometimes you run to get to the door on the other side. And they're screaming constantly. They're all... they're chaining their beds, so they can't get up and jump over it. That's it. That's actually it. Yeah. You know, I mean, I'm a kind of like... you know what I mean? I mean, that's kind of like... some writers are like... you know, it's a different writer. It's very different. But thanks for saying that. As a writer, how do you know how do you know that you don't suck? I mean, too early. So, how do you know that you don't suck? Feel. And this is in my experience, which might be different. And I don't know what you know about this. I feel that with each work, there is a... and forgive me because I didn't go to writing school, right? There's a river. There's a flow. There's a road. And you know, when you're driving a car, right, when you're on the road and when you're getting into the shoulder, when you're going off into the field, right? It feels like that, right? But when you're on the road, you're on the road. You can feel it. It's a visceral thing, right? When you're in the river, you're in the river. We're hitting the money spots and stuff. You know, you're, you know, okay? So it's a feel thing. And I believe that for me, every work I write has a flow. It has an underground river to it. And my job is to dig down, find the river, go along the river. So it's not a question of good or bad. It's just getting to the thing, getting to the source. For me, that's what I look for. Different people, so people have an idea. It's a dramaturgical thing. And they have an idea and they need to solve a problem or something. For me, it's really a gut. It's a very much of a dog it was a. It's a gut thing. My novel, my first novel I wrote, I had to find the river. Find that thing. Got it. I kept locking it and just I'm buzzing on it. Yeah. And the hard part for me is often finding the river. Exactly. I was telling a friend, a different friend, I feel like I'm walking through the thing. I'm riding right now. I feel like I'm walking through the woods. Not on the path. And the bushes and all the trees and the branches are just in the face. But I know that there's a road somewhere. I think it's over there somewhere. It's close by. I'm not on it. And yet I'm just walking. Because I don't think I'm going to find it if I just sit down. So I'm just walking along. At some point you find it or I find the time and maybe I go forward. But you learn if you find it by working you know, so sucking and not sucking or being good or being bad or being a good writer, bad writer, I don't know because there's so many different ways to be good. And maybe there's only one way to be bad. I don't know. Maybe there's so many different ways to be bad. I think there's so many different ways to be bad too. There's so many different ways to be. I think I have to find it. It's kind of like I start I turn off my head and just get into and ask my characters what can I do for you? Not, what can I say about the world? Who give a fuck? I mean, really. What I have to say about the world you know blah blah blah me me me I don't care. I'm really interested in how can I serve the story because the story is much bigger than me. It's huge and if I can just serve the story then I can be effective. What can I do for you? What can I do for you? Yeah because here I am at your service. Oh, definitely. Yeah. They are not at my service. I'm very clear in my care because they are not at my service. I am at their service. I am doing I am bringing them to the world. So it's a different relationship, you know I mean, but that's just my experience. That's my experience. Different writers have a different experience. Something like that just like online. So then as like getting writers together and watching them write great experience like this. There's a lot of time where I'm sitting around people writing towards me writing writing writing and just we can sit together for those to get dropped just sitting ready to know those signs. Um to perfectly honest I've been staffed on scene you were talking about a shooting her as an individual. I've written a like a section which I'm sort of in a big scene right now. Yeah. Well, maybe this is the line that takes a long time. Maybe. I mean it all seems like the scene is definitely the most reciprocated on scene and I think I don't think I've seen the actress and they're just I last line I mean I lead a good one And that one, and I'm really panicked. And I'll have this one. It's because of the way it's a green state, like it just wants to be panicked. But because it is the way, it's the setting of the way that the difference in some problems is not that much. It's not very much different. It's not very much different. So it's kind of like that. I don't see how it's going to be. I like it when I sit up in the space. These white characters, no, they're all in the same room. We're going to have one more, we're going to have one more watcher work on the 19th, one more paper name of the year. And there are actually two on the 19th. One is going to be at one p.m. There's some school, I don't want to call it a school, but there should be young people. Do you get like middle school? Oh, middle school. We're going to do a watcher with middle school people. And you want to cut a wand. And then we're going to have a regular time. We're going to have double trouble. Next time we're going to do double trouble.