 I'm just mad, I'm just like cool, I'm just very cool. Yeah, no, let's just say you're, you're extra cool. But I'm always, I'm always, I'm always cool. I'm always cool. I brought my mom today because it's almost lunch, baby. Oh, yay! Branson! Yay! Like, I can't be, I'll be rainin' in. You can have it, just come over here. I got my pillow on Sunday. Okay, go cry on the phone. Okay. Cry me over her. I will. She won't let me cry on the phone with her. So I'm tellin' him you got to get my life together. Okay, that's kind of tough. So what I'm gonna talk to her today, mommy's sick and she's like, do you want to cry? And I'm like, that's it. Not right now. At a meeting. Thanks for asking. Do you want to cry? So if anybody has any questions about important things, like, what you're working on? Hi. Hi. Thank you. Is that anyone? I have a question. Stacy has a question. Yes. Okay, so this is kind of about the pre-writing stage. And when you know you have a large idea to conquer something, when something strikes you, and it's actually for my thesis plan that I'm gonna write this thing, but it kind of wants me to write it now. If that makes any sense, it's like I wake up, I think about it. No, but I'm just, it's the plan I know I want to write to work on for my thesis plan. It's supposed to happen over the course of this next year. But it kind of wants to be written now. And I'm afraid of, I'm doing things to save that desire to write it and doing research for it and reading things and it's only making me want to write it even more, even though it's giving me information that I kind of need for it. So it's like... You know what I'm gonna ask? Go ahead, go ahead. No, I guess what I want to know is when it feels like a big idea, how do you temper that and not let the fact, like, not let everything come in and just keep it about the story you want to tell instead of all the ideas that you have in there. So let it keep writing time for you. So Stacey has a play that you should be, okay, you should be starting out in the fall. That's not how I am. Correct? Okay. She says it must be written now and there are two questions actually. So what do you do about that? I shouldn't start it in September when it wants to be written now and there are a lot of big ideas how do I start this kind of play in the story, right? So my question is, do I need to write the play now? Do you know what those things you should be working on now? Everything's kind of wrapping itself up, so I can read draft stuff. Do you have something you're supposed to be working on now? No, actually, everything's kind of... Oh, yes. So it took me 29 to see the problem. Yeah. That's my advice for all jobs. Okay, so it's not like... it wants to be written now, so... That's not an issue. Okay, so that's going to help that. Okay. Just because you're a professor and I say start in September, that's... So this is September 9. So how do you keep it just in time to what it's about and not the big ideas? Yeah. What do you need to... Is there a way to... Oh, I'm going to talk about it. Like, sometimes I'll come at a play first, like I'll note phonetically what I want to write about, and the things will kind of... either it'll come up in the film, it'll just be topic. The subject matter will find me before anything. And then once I sit down, what'll usually happen is that I'll just have a... I'll have a bullskin on the train and then I'll just start writing stuff and then I'll just try to become a theme to character. I know there are several through lines together, and I know like this one through line is three characters. I know them, but I've written them actually already, so they're going to be surprising. And then... I know those three posts. I actually know their story arc. Like, I know their story arc. And so the stories are going to be in... I have general ideas of who are... It's satire, so it's not like these really rich, rich characters more than they're kind of... What about the other ones? Just because it's satire, doesn't mean they can't read. Right, rich characters. Yeah, so just... I'll play with them, maybe. I'm Julia. Julia? Yes. I'm actually having a similar problem. And I was wondering if you had any, like, exercises to help keep you focused on the characters that you particularly liked. So, Julia's writing implies she has some more thing going on with Stacy. And do I have any exercises to keep focused on? On the character? Like, to, you know, to kind of help you stay focused on the character? Right, right. Just... Do you do those character bio things? I haven't. Character biography? I mean, I'm slow to sort of suggest a character biography. A class or whatever. And I'm like, it isn't here. Yeah. Between getting the character biography and getting the biography in play. Um... But, uh... At the same time, if you do a biography and see that helps, you stay focused on the character. That's, you know, and it's up to you to figure out, you know, I want to connect these things I'm discovering to the action of the play. You know, because people do a whole lot of this. They have a character. You know, the plot, you know, what happens to them. What is something they want. How they go about getting it. Things like that, too. That's what they try. So it's not so much about, you know, what's their favorite color. And are they a Scorpio? Or do they not? Yeah, I know. Right. And people think, like, they write 20 pages of... He's a Scorpio. Whatever. Right. Blah, blah, blah. When you put him in a situation, like, you just, even if it's not in your play, give him a situation. And that helps me when I work on character stuff that way. Okay. Two different things. But I'm a little bit afraid that most of them are going to feel kind of a big switch in the beginning when everything's all general and common, though, and that it's really dark and depressing at the end. Right. So how make those two give some genres a bit more than this is? I say, I don't see it as a problem. You know what I mean? I think that's just a story of a really good job. You know what I'm thinking? I mean, that's, of course, if he writes a z-story, you know, there's two guys up the bench and I was, however, going to play those in the fun stage. You know, so, you know, so I think that if you do write, you're going to write. And if people really get angry and start throwing things because they feel like they can write to you, they're just comedy and then sad, you know, the sadness and... I mean, hopefully they're sort of, you know, you'll feel the clouds gathering on your landscape, you know what I mean? And you're going to write your sadness just for two of us, like sadness, you know? So hopefully you'll see the clouds approaching in, you know, one way or another. They always do. So look in the sky, like, you know, have your characters look up and see, oh, there's a cloud. Maybe I haven't talked about that yet. There's a moment of sort of quite full shadow, you know, kind of cheesy, but the idea that, you know, darkness might be up ahead. A blue, but, you know, the possibility of light. You got the experience? Oh, yeah. Yeah, so look in the sky. I love and see it. You can see it even. You might have missed, you know, you sort of give us a little bit of a lesson. Some of the income, you're like, oh, wow. Yeah, I got it. That's cool. Weird. Can I say it? I have a question, too. And that's my way, too. Yeah. You could not have a way to cool. Right? She would have got half a dozen short pieces. There you have it. Is it me or is it you? Yeah. Oh, yeah. So, so when we're all playing and then she takes it away to cool. And then she takes it out to look at it because she says she doesn't like it. And that happens sometimes, right? You read it and you go, I don't like it. As much as I fear it, as much as I hope that it will. It looks very weird. Right, right, right. It's sometimes part of the process. Sometimes the opposite thing happens. You read it and you look really like it. You know? Yeah. And then you need to re-write it. You can see all the the, all the colors. You can see everything that you want to look at. And sometimes that's a lot. What you could do is write a, like get some index cards. Touch them all. You have to get half by five. And write out the story on index cards. You know what I mean? This is what happens. And then this happens. And then this happens. And then this happens. And then this happens. And she does that. And we end that now. Like that. So you can sort of get away from her and have her pay. You try to see that one. You can also just put away and write something new also. You know, I see you the index cards first. You know? Just to get something back into the story. And then, and that's still, I just don't hate on it. Put away and write something new. Um, you know, maybe it's like candy because you don't like it. You don't like that. You don't even worry about it too much. It's okay. You know, I know, I know, I'm tired of it. But, you know, it's just, it's a practice. You know, it's okay not to like it. I don't know why it's specific. So, you know, what it is. What it's probably just like, you don't do much with that. Maybe I'll do nothing with that with this. Or I'll do nothing with that on my next one. You know? But, you know, the goal is to keep and then maybe after you finish the other one, you go back. You know? I don't know. I didn't make the next one. You know what I'm saying? You found a story and you were able to finish it after having started it. I mean, several years ago. You write songs and it sounds like you see them as a problem. Or a restlessness. Or, what it is. Yeah, probably, it's not a problem. I think it's just something you're doing between something you're doing. Yeah. Yeah. Yeah, I'm pretty sure it's something you're doing. Let me try something. No worries. Yeah. Thank you. Thank you. Thank you. Thank you. You go get it. Okay. We're done. Yay! Okay, see you next time. Oh, God, I'm so sorry. Don't worry, they're so inexpensive. I mean...