 It is that time. Hello. We're back. We never left. My computer wants to do something. Hold on. Get me along there. Okay. We're here. It's what we can I guess start calling like the classic edition, which means it's just me hanging out with y'all. Just you, the best. Hanging out with y'all. And tomorrow we will have another special guest, but we won't tell them unless we already have. I think we did, but we'll tell them again later. Special guests are fun, but I feel like you all are so special. And so we have a good time. So if nobody knows what washroom work is, this is something, this is an event where we get to talk about your writing, your work actually doesn't have to be writing. It's your work and your creative process. We've been doing this, what I call this show for 11 years out of the public theater, not the public theater in the lobby of the public theater for 11 years. Thank you for the public theater for supporting this endeavor. And thank you also to howl round who came on a few years ago to help us live stream and has just totally supported this effort during these, these crazy wild abundant times. You hear a crying in the background, my son is crying because I asked him to read. So anyway, what we do is we work for 20 minutes together. And then we talk for the remaining time about your work and your creative process. And just so you know, if you ask me a question about my work, I'm going to turn it around and make it about your work, because that's what it's going to be super helpful. And it doesn't have to be writing. It can be any kind of work you want. So if you want to get in touch with us and ask a question, Audrey's going to tell us how to get in touch. Thank you, Audrey. Thanks, SLP. So if you're inside of the Zoom, all you need to do is click on the raise your hand button, which is likely in a participant tab, likely at the bottom of your screen on the laptop top if you're on an iPad or a tablet. And if you are watching the stream on howlround.tv, you can tweet at us at at watch me work SLP, a hashtag howlround h o w l r o u n d. And you can also tweet at at public theater and why or you can message public theater and why is Instagram and we will get those questions as well. That's it. Awesome sauce. Okay, we're going to start working for 20 minutes and we'll see you on the other side. Thanks. Hey, we're back. We're back. We're here. We never left. I actually did get up. I think that's the first time in all the 11 years of watching work that I actually got up. Someone's having a tear from it. I just had to go watch. I just had to go watch. Oh, you're so big. Yeah, you have no idea. Anyway, yeah. So, but hey, here we are. I'm writing down with a good book and good. We don't have a question quite yet. I actually saw something come in on social media that I am now trying to find. Maybe we have all the answers. Forget the questions. We just had a question come in. Oh, darn. I was going to take a poll and see if anybody was taking hydro, what's it called? Hydro, but that thing, that medicine. Oh, I just want to take a poll like. Oh, yeah, I don't know. Maybe we could find out. Let's go to Eric for now. We can take the poll later. Let's take the poll later. We can pull the group at a separate time for sure. Big, big amounts of no over here, though, I think. Yeah. Um, Young Jean Lee was so fun yesterday and interesting and I'm so happy. I found that writing class that she did. I mean, granted, it's like three hours and she's like at the beginning in the first three minutes, she's like, this is going to be really intense, just so you know. So pause me whenever you feel like it. So great to do that. But I was just like thinking about, I don't know if anyone else can feel free to everyone to chat about this, but like, there are things I feel that we, you hear at a certain place in time and all of a sudden in your brain, you're like, Oh, well, that's fact. That's absolute fact. And like, there's no other way around that. Like someone said something at some point and now your mind has like completely ingrained it as like this ultimate truth. And one of those things was that like it's very, it's like not proper for a writer to ever direct their own work. I must have been in this weird, I don't know where my brain ever like solidified this as fact, but so it was just like, maybe an actor said it in like some sort of talkback space that was like, Oh, I usually don't like usually writers don't direct their own work and like blah, blah, blah. And, and since young Dean Lee was talking yesterday, I was like, wait, I've like believed this whole lot this whole time and felt like, because I feel like the first question I asked on here when I was first started coming was like, Oh, I feel like I direct my work too much in my brain while I'm writing it. Therefore, I need to separate those things. And I was like, do you feel like you sometimes want to direct your work? Or have you always? I do. Yeah, I do direct my own work. But I don't know, I just writing, but there's there's directing. I mean, there's there's there's in the writing on the page. I mean, I mean, you think I mean, I think I think Shakespeare directed his own work on the page, you know, there's all kinds of directing. I mean, I think young Jean Lee was talking about actually, I mean, directing it as she's writing it. But also when she's she's actually in the theater doing that, I've done that too. Done it in film and a lot of filmmakers, of course, do it. You know, Irene Fromnes used to be there, lots of writers who have directed their own work. I don't know where it became like one of those rules that people listen to. I think it's just preference, like what you like to spend your time doing, you know, and I think that's what it comes down to. If we're lucky, we get to spend our time doing things that we like and get to have choices. And so if you enjoy, you know, being in the theater and being the one with the, you know, vision, you know, and then bringing in the collaborators and all that, that's really cool. I mean, for example, I like I love show running, you know, and I love directing, would I do it all the time? I like to mix it up, you know, sometimes I like being in the band, sometimes I like being on the dance floor, you know what I'm saying? It depends. But what I was saying, I think to you, Eric, if I can remember correctly, remember I was saying, like, do you have a desire to be in the show? I mean, I didn't mean to push you, but I was kind of hearing that you had some interests that maybe we could encourage if that were appropriate. And I think it's, yeah, I think it's drawn from a lot of my writing comes from I see it first, usually. And I see the movement first, usually. So I think I've always kind of had this weird directorial part of my brain. It's always been there and it kind of comes first. So just to hear her say that was very interesting and conflicted with something that I don't know right. Right. So I thought it was back for so long, which is so strange. It's also, I mean, for example, I like hanging, I mean, this shelter in space is kind of interesting because I like hanging out at home. But for me, directing is actually hours spent, not at home. I like hanging at home. I like sitting at my desk, you know, going blue playing my guitar or whatever. So it's like where you like to spend your time for me, it comes out because I always see my stuff when I write it, you know, I just wrote a scene for this new TV show I'm doing, you know, I saw it, I can see it. And I like talking to actors and I like working with designers and all that stuff. Do I want to sit at home? You know, but if you, you know, but maybe, you know, so definitely, I mean, we should, like I said, we make ourselves permission slips or, you know, and if I think if you feel the desire, then it's something that you should at least give yourself an opportunity to explore, you know. Yeah, definitely, definitely. Thanks. Thanks, Eric. All right, we got some more questions. All right. Zara, are you with us? Hey. Hi. Hi, Zara. Hi. I'm so grateful to be here. I have a question that I think you basically just answered with Eric, but I've had this idea for a conversation between a character that is in the public domain and one that is not. And so I've been sort of afraid to even get started writing it because I don't know what even the processes they go about getting permission from an estate or a character that is not in public domain. So I think that I'm not sure what the question is. I guess I've been just sort of afraid to even know how to get started on it in case, okay, I write it and then I can't even do anything with it because I don't have permission. So yeah, I guess that's my question. A character in the public domain maybe historical or from your imagination? So it's a character, it's like a Shakespearean character. Okay, you don't have to tell us any names or anything. You don't have to be specific. Okay, just be private. And then in conversation with a character that is not in public domain. And so I've had this idea for a long time, but I have like no, I'm not like writing it because of the fear of if I write it, can I do anything with it beyond that if I can't then design like a permission from the estate or whoever owns that character. So, right, right. Well, there are a couple of things there. It goes to the core of why we write anyway. I'm echoing, I hope nobody minds. It goes to the core of why we write anyway, right? Zara, so you ask yourself the question of why am I writing this? And if you're writing this for the joy of writing with the hopes that one day it'll be produced, which is I think wonderful reasons to write something, then I would say let yourself write it for the joy of writing. You might discover halfway through or a quarter of the way through or after the first page, you know what? I don't need this character, this historical, this character who I have to get rights for from their state. I can just make it an imaginary character or a character a lot like them, but not them specifically. You know what I'm saying? You can borrow maybe pieces from their life, not steal and, you know, manipulate, but you can maybe you know, call them a different name and have the, if it's a, like if it's a famous, I don't know what, worse woman, I'm just making it up, you know, pilots, a famous pilot, you know. You want to talk about Bessie Coleman, but no, no, you can't get the rights of their state. So you just make up some, maybe, maybe, or you can write it and then go about trying to get the rights to it. I always try to, in my practice, err on the side of do it, err on the side of instead of articulating the obstacles, you know, let us recognize the obstacles, right? But then go, you know, I bet you if it weren't the fact of getting the rights from the estate and all that, then you would find another reason to get in your way. That's my, always my go-to, like, feeling, you know. So why don't we just leap over that and write it and give yourself the pleasure of writing it. You say you've had this idea for a long time, it seems to be with you, it seems to be very exciting to you, write it, and then figure out what you're going to do with it. Thank you so much. Thank you so much. All right. Next, let's go to Roxanne. Roxanne, can you hear us? Yes, I can. Thank you for doing this, as always. I have a question about building yourself up to receive feedback or criticism. You know, I can do the writing process thing. I've developed a whole thing, a procedure to write, so that's not my problem anymore. But like, how do you get yourself to just accept feedback and not take it personally? Very good. Yes, stage two of the, of the, or stage five, I don't know what stage it is, from Phupanda or Zinx, warrior, sister, martial art, practice. I think you've got to practice. If you are at the point in your writing, or your artistic practice, where you're, getting the work done isn't the problem anymore. You know what I mean? You can find ways, you see obstacles and you find ways around them, you get work done. You're in that zone, in that, on that level, if you will, of your creative process, which is great, which means that you've done a lot of work and you've been lucky, you know, and I think you've, the more, the harder you've worked, the luckier you've gotten, right? So, good on you, okay? And now you come to this other aspect of it, which is a little different, which is you have to show your work to people and you're doing that, and now you want to learn or become better at taking feedback. Yeah, and I would say they're different, you know, I mean, one could say, and it depends, one could say that good feedback and positive feedback and negative feedback are equally difficult. You know, some people don't do well when they hear encouraging words. Just know that. Some people, oh, no, I'll never live up to it. The next draft will never live up to it. Oh, no, kind of thing. And some people crumble when they hear negative comments. I'll tell you something that I did yesterday on a Zoom meeting with some very high-powerful people. Some of them were saying positive things, some of them were saying very negative things, and very loud voices with very animated gestures. You have to hold on to your faith and know that you will continue to work. And so what I did, knowing that my face was large, on there probably large screens, larger than mine, I have a very small computer in a very small apartment, figuring my face was, you know, I wanted to present a picture to them. So I held my pen in a visible place and my notebook where I was writing notes, and I did this. Right? Right? Because what I wanted to do was say things like, fuck you, you stupid bitch, how dare you talk to me like that? Right? Right. Because I had worked very hard on this piece, and I at least deserved some, you know, respect or consideration, you know, respect on it. But you know, you know, just like, hey, you worked hard, you know. I wanted to invite her to my classes at NYU and ask her to give feedback to my students like that. She could maybe somehow learn that that is not the way you talk to people in a professional situation or in the grocery store, but she probably talks to people like that in the grocery store too when they bag her groceries incorrectly. So I didn't feel personal, right? I felt like on my side was my face and my strength to continue writing, and I was displaying that, right? And on my face, I wore a smile and Zora Niel Hurston says, what did she say? And I'm spacing on her quotation right now, but she says, I smile, especially when I'm feeling the spirit and kind of angry. I show my teeth. Yeah, I'm here. I'm doing my job and ain't nobody going to turn me around, right? So when they throw shit at you, you shit for fuel. Shit is combustible. Use it for fuel. They will not turn you around. If those mantras worked for the civil rights movement and for other movements and other peoples all around the world in the universe, they will work for you in that moment when you're getting some feedback that's less than helpful or that doesn't feel good. You never know if it's helpful or not. You're just writing it down. You'll look at it later, you know? But no matter what level you get on, oh well, let me just say, from my experience when I was starting out or now when I've been so many years since I started out, people always say stupid shit to me. People think that it's their job to say some really stupid shit to me. And the kinder, more generous and open I am, the more they have to take me down a notch because it's okay. You know what I'm saying? So know that you have a squad here. We're your tribe and we're the people who can show up for you and all the people who don't have the means or the time to show up for you. Know that you're not alone in getting mean sayings perhaps. I hope that you never get them. But if you do get them, know that they're going to just keep you going. Okay. Okay. Yeah. Ain't nobody going to turn me around. Shift for fuel. That's right. You shift for fuel. Yeah, it is combustible. You know what I'm saying? And just, hey, keep it coming. Thank you so much. You know, who's going to turn you around? Nobody. You know, I mean, there's one person who can turn you around. You. You can stop. And you know, we all know if we stop, they win whoever they are. That changes every day. That's true. So keep coming to this and the other groups that you're part of, you know, we're here for you. We're, you're there for you. You're here for you. And we're here for you and each other. Okay. Thank you so much. Thank you, Roxanne. Great question. Thank you. All right. I've got Russell. Go for it, Russell. Russell. I mean, first and foremost, this is amazing. I was super nervous to be a part of this today. You just radiate more. I guess the past couple of months have been hard for everybody. I'm sure we all know why. I was just wondering what like techniques or exercises keep you inspired and keep you writing every day? That's, that's a great question. It's a simple, it's a very straightforward question. I have a little schedule. I don't know if you're a schedule kind of person, you know, I got a schedule. I get up in the morning, I meditate, you know, I do my little yoga practice and I sit at my notebook and write a little bit. And then I find other pockets of the day in which I can get a little more writing done. I kind of plan it. Yeah, sounds kind of dorky, but I budget it in, you know, at 11, I'll write a little bit. You know, after I do the dishes, I'll write a little bit. I'll, I'll finally clean under the couch and I'll write a little bit. I'll take the kid and run him around outside in circles, then I'll write a little bit. You know what I mean? I budget it in. I make a little list every day. Do I have it with me? Let's see. What do I got here? Oh, here it is. See, it's called, it's called, it says hoita at the top because that's German and I speak German and my husband's German. So it kind of makes it kind of fun. Hoita. Hoita. Yeah, and so it has all my little things on there, you know, and I make a new one every day. This is old paper, you know, scrap paper, you know, torn in half, right? I make a little list for myself. I put little marker colors on it to make it fun, you know, those meetings I circle with pink to make them fun because I want to slap somebody. So, you know, I just, I just, often trying to put myself in the good frame of mind, the loving frame of mind, you know, as much as I can. So I would suggest, do you have a schedule, a little schedule that you have? You know, I'm normally very bad at it. I've been keeping one recently just, you know, to keep myself sane. But I typically just block out like an hour to write. I really like writing a little between activities each day. Fantastic. An hour is great. An hour is great. Some of us, like, you know, if I said go for a running for an hour, some of us would get tired, you know? So the 20 minutes kind of allows me to not freak out and think, okay, I'll get some, you know, something else done. So an hour is a great thing. You can maybe do an hour and then maybe later in the day, another little pocket of time. And know that that's enough to get your work done. You know, two hours a day is enough to get a good chunk of work done in one month. Today is the 20th, you know, if we went from today to June 20th, two hours a day is good. If you can't do two hours, because it's a lot. An hour a day, you know, three 20 minute segments. Those of you like Melania and me and others who are homeschooling, right? Small chunks, right? Even if you're not homeschooling, it's okay. It's a lot to do with small chunks. Maybe you've got a parent to care for or, you know, something, some situation. Small chunks. You can completely get your work done. And I hear people go, well Shakespeare, King Lear doing the plague or whatever. Fuck that. He wouldn't want you to think. Maybe he would want you to think that he's up on his high horse. I don't think so. You're going to write or do whatever. This is a time when we're saying like, do your thing, man. You know what I mean? It just has to be something that keeps you feeling awake and alive and look at the leaves. They're green out here. Beautiful. I sat the other day yesterday on the couch and my husband said, are you watching the TV? It's covered. And I said, actually I'm watching. Look, there's a flock of birds and they fly past one window and look, then they fly past another one. It's kind of cool. I was sitting there for like 20 minutes. He was like, okay. I'm like, yeah. Well, that's my other problem. I'll just spend like an hour or so on the fire escape every day. Good. Guess what? That's good. An hour or so on the fire escape. What Wilbur says in Charlotte's Web, right? Wilbur, you know, the pig, he makes a list of things he wants to do and he puts on his list spending time in the yard standing completely still and I want to feel what it's like to be alive. And I said, that's so great. You know, so Wilbur can do it and make time for it. You know, okay. So make yourself a little list and then check it off if you like doing that. I really like doing that. You like the check? Actually the line through it, yeah. Ooh, nice. Okay. Thanks. The check mark is my favorite part. Well, someone reminded me that check off is a playwright. Next, we've got Cornelius. All right. Cornelius, go for it. Good afternoon. Good evening. Hey, Cornelius. This is my first time here. So this is pretty awesome. All right. I won class for myself as a writer as of yet, even though I've written one particular script. But my question is this, right? Just give a little back context. Some of my favorite writers is Maya Angelou and Octavia Butler. And, you know, I looked up some interviews with them just to see how, you know, they get into the space of writing, especially when creating from the depths of the characters that they present. And Maya Angelou kind of gave an example of how she kind of channels the energy of this character from the universe and then she becomes this character and then she writes from that space. Now, for me, the first script that I wrote, I was inspired by a traumatic event. So that traumatic event allowed me to go and create from that space. Now, I, from the moment that event happened to where I shot and produced this monologue was three and a half weeks, four weeks. So it was great. It was awesome. I had it and it was tangible. But as going through, as I was going through the editing process, it was like, you know, I started to leave that space. So ultimately, because, you know, life goes on and everything else changes. So it's like, my question is, if you are inspired by a strong event that made you create and then now that moment or that energy is not how you feel anymore, but the essence of the project is still relevant to society, to the beneficial of like all of us. How do you get back into that space? Or do you even go back to that space? I love what a beautiful question. What a beautiful question. My husband and I were talking about what it must be like for a singer to sing one of her or his hit songs, you know, say Bob Dylan wrote Blowing in the Wind when he was, I don't know how, right? And now maybe people expect him to sing it or Bob Dylan going to do what he want to do. But you know, there's an expectation. How does he go back to that place? How do you, how do we go back to that place of maybe initial inspiration or where we were at when we wrote the thing? If we have to actually perform the monologue or the song, we're not necessarily having to go back to the place where we were when we wrote it, but we go back to, we connect with where we are right now and feel the time moving through us. It's a great gift to write something that over time still resonates with people. You know, like you, you know, you given, you know, you give given society a great gift, but that doesn't, you don't have to be tied to that place. I mean, I wrote Top Dog, Gunner Dog almost, you know, 1999. You know, I'm not there anymore. You know what I mean? And I'm glad. I'm glad I'm not there, but I'm glad it still speaks to people. You know, so our work can continue to speak to people. You're tricky. You're writing something. You tape, you filmed a monologue. It's you. You're editing it. You're already changing, but no with certainty, Cornelius, that when you finish it, it will be what it should be. Know that. Don't, don't, don't be bumped by the, oh, shit, I'm not in that moment anymore. You know what I mean? I can't feel that, that thing. That's okay. Because you need perhaps some distance to create what the world needs to see. Okay. So just know, again, like we hold on to the spirit, you're going to hold on to the spirit and know that you're in the place you need to be to create this beautiful thing that will speak to people over time, if that's what should happen with it. Thank you so much. That was, spot on. And you know we want to see it. You know we want to see it be done. You better do it. I made the first cut and I'm, and I'm putting, and I'm just putting together some more, some more b-roll to go over the top of it. But basically it's just a monologue of one actor inside of a room and it's shot to replicate the way the mind thinks. It's just thoughts, you know what I mean? And it's not with like structure and anything like, no, our mind doesn't think in structure. Our mind just thinks and it just does. So, yeah. Oh, sounds beautiful. Congratulations. Thank you. Thank you. Thank you. All right. We got about 10 minutes left. We're going to go to Rebecca. Go for it, Rebecca. Hey, SLP. It's me again. How you doing? I'm good. I'm good. I want to thank Zara for her question because it has finally given me the context for the question I've been wanting to explore. So, I did an interview in 2007 with a county historian who has turned out to be just an exquisitely unreliable narrator, which actually is an important part of what's happening in the manuscript. He's the county historian. He's also the historian for the county chapter of the Sons of Confederate Veterans. And so, he was just doing what he does. I don't use his name because he kept saying I'm a historian. I only deal in facts. I just call him the historian. My issue is I had his permission to record him, but I don't have it and I have the audio tape on my computer. I have the audio file. It just occurred to me recently and I think this is what's been nagging at me about him. I don't have anything written and I don't know if I need anything in writing that gives me permission to quote him. There was three of us on the little tour he gave us. And I just don't know how that's supposed to work when I have an interview and, you know, he knew he was being recorded. He was gleefully engaging with the recording. And now, with any luck, this will get published. And it is really clear who it is, even though I don't use his name. What I feel like you might be telling me, Rebecca, is that you have decided to fabricate and create a character, a whole new character that is not that is based on this historian and other historians that you have spoken with and other historians that you have read about over time in various locations, countries, cities and universes. And you have threaded through all that the concept of history and how it is, how we rely on it and how it is by definition unreliable to create this character, who while it may resemble people living or dead, is not really based on any one person because of the scope of your manuscript. That's what I feel like you, that's where I feel like you're going with this. In a meta sort of way. Yes, I guess I am going there. I try not to do research because otherwise I will never finish this. And I found a testimony to the Senate where a general was lying to the Senate about the same events. I was like, oh, lying is just what these people do. I would suggest that you fabricate, that you grow, that you listen back to what I just said. That you grow your, that you use the spirit to grow your imagination and that this character is not the one person who remembers you speaking to them, but it is a conglomeration and an amalgamation of many, many, many, many, many historians and historical events. You need to be free. And that is a, the things that I just said are a way to be free. It is not about this one person. It is not. And you will find if, if lying is just something they do, you will find many other examples to, from different time zones and different historical periods to pull from, so that it's very clear beyond a doubt that this is not this one person who remembers being interviewed. Do you hear what I'm saying? I hear what you're saying. Okay. Yes, yes. I think that, that character exists. Oh, definitely. I, you know, I, or her, them, you know them, you know them. I know them. I know them and I can feel them and they're very eager to, to be part of your beautiful manuscript. Yeah. All right. Thank you. You're welcome. Thanks, Rebecca. All right. We got about four minutes left and we're going to go to Melania as I think Carlos question. Hey Melania. I wanted to say that I am so thankful to you that I am listening to what you say and I am writing and it's a difficult time with the homeschooling you mentioned with three and it's so crazy and so uncertain everything that is happening outside, but thanks to this space and your words and your warmth. I am finding this inner space in me to sit and write and I wanted to say thank you. That was my thing. Where I get the warmth from, it's a circle. It's a circuit here. You know what I mean? We together, all of us are creating this circuit, this, this energetic field, you know, whether you're new and it's your first time or it's your first time talking for the first time or it's your, your 10th time like Melania or Rebecca or you know what I mean? We, you know, we've had these long conversations over many years or if you're new to it or you've always got a great background like Julian, you know, we, we're creating this circuit. Yeah. And that's, that is what we're doing and it is a beautiful, even my dear child in the background. You know, but we're creating the circuit we all are. So we're all making it together and it's a great joy and like a huge thing but it's a cool thing. It is and thanks to your child, I am reading Charlotte's web. When you get to the part about Wilbur standing in the yard, ma'am, I'm dead. I am loving it. I am loving it. It's, it's, it's like intense. It is a beautiful beauty. Yes, it is. I love it. Thank you. Yeah, yeah, yeah. All right. Thank you Melania. All right, we've got about a minute left. Anybody have a really quick question? I'll give a really quick answer. Yes, no. Gerald, go for it. Oh wow, thank you. Okay. Hi, I just want to say hello. I just want to second the gratitude. But I do have a quick question and I love Charlotte's web too. My question is to dovetail on the feedback question. I feel ready. I think to, to send out my novella to some trusted friends. Yeah, not, not people who are judging it like in a work situation, but for feedback. What I found in the past is when I send out my pieces and I get feedback, I get so many disparate pieces of information. I don't know how to process it. So what would you recommend if that's too hard to answer in the minute? And it's easy. Go ahead, keep going, keep going. Oh, and, and do you write a list of questions that I just want to be better at asking for feedback. And it could be, I mean, it's great. Congratulations on finishing something and ready to send it out. And I just, sorry, if Roxanne, if I painted too bleak a picture about getting shit, you know, it's just because I went through yesterday and had to deal with it. But, but a lot of times people who read our work, they give a lot of great notes. I have a rule that says, even if it hurts hearing it, all notes make the project better. So that's just to kind of do like the, you know, jujitsu or whatever, flip it over, right? All notes are going to make it better. Even if you don't like the notes, even if the notes don't fit in the project, all notes are going to make it better. Number one, you can, Gerald asked for specific questions like, can you follow the story? You know, does the, do I earn the ending? You know, do you understand that moment on page, blah, blah, blah? You can ask specific questions if you want. And if you get like, oh, she thought it was too sad. He thought it was too funny. They didn't understand it. They totally got it. You know, there might be many differing opinions, but I would tend to look for ones that are the same. Like if everybody totally, you know, love the middle thing that happened in the middle, you know, that's a common, look for the point, the common, the commonality points. That's helpful. And also as much as you can listen in, feel how they res, the notes resonate with you. Okay. And this is again, sometimes, you know, the note is good, but the way it's given is, is, is stupid. You know, so you got to kind of sift through that. But the most, the biggest thing to feel is proud of yourself that you've brought something to a stage where you're ready to share it with some, some trusted friends. That's a huge step forward in the artistic process. So congratulations. Thank you. My heart goes out to you yesterday. Thank you. Oh, thanks. We're good. Thank you, though. Thank you. Thanks, Terrell. All right, it's 601. It's 601. Crazy, crazy. I know, crazy, crazy. We have a special guest. Tell them who the special guest is tomorrow. Tomorrow we're going to have Tim Blake Nelson on the show. So come on. Famous. He's famous. He's famous. He's famous. He's famous. He's lovely. And he's, and he's so lovely. So yeah, so he'll come talk to us. And as a reminder, you can sign up for the show every day by 3 p.m. Eastern time. And I'll send you the link between 3 p.m. and 4 30 p.m. Eastern. And you can also always watch on howround.tv. We'll see you tomorrow. Cool. Cool. All right. Love you guys. Thank you, SLP. Bye. Thanks.