 it hits the fan, bro. You're gonna be calling you. Are we ready? I'm sorry. Off on a tangent. Here we go. Ready? We are ready. All right. Hey, Amber, here we go. Here we go. It's, it's Monday. It's Monday and we're, I think this is going to be, this is week four of of, watch me work five days in a row because, you know, we got shit to do. And yeah, so I'm SLP and I usually do this in the lobby of the public theater. I've been doing this for 11 years in the lobby. Big thanks to the public theater for helping it happen, how all around has recently come on in the past couple of years to help us live stream. And, you know, we live stream it from the lobby of the public theater and now how sort of, you know, put your fears to rest. It's not about me. It's about you. We make, we work together. We work together for 20 minutes. And then we talk about your work and your creative process. Okay. It's that, it's just that simple. So what we have time for is a lot of conversation about your work and your creative process. What we don't have time for is to critique specific works that you're, that you're working on. We don't have time for that, but we're going to have conversations that can involve everybody and be helpful to everybody. So we'll talk about your work and your creative process, not so much the product. And yeah, you can ask me any questions that you think you need answering. And Amber's going to tell you how to get in touch. Amber. Hello, everyone. Yes. If you would like to ask a question during the questions portion and you are inside the zoom, please click the raise your hand button. It should be in a participant tab more than likely at the bottom of your screen. If you're on a computer or laptop, if you're on iPad, it's more than likely on the top of your screen. If you are watching the stream on how around dot TV, you can also ask questions via the public theater's Instagram or Twitter. You can also ask questions via the watch and work Twitter, which is at watch me work SLP and be sure to use the hashtag how around that's H O W L R O U N D. And that's it. Shout out to everybody who who holds this day sacred. It's 420. So big up for 420. I know Willie Nelson is having an event that started at 420. And I think it's going to be four hours and 20 minutes long. And so that's cool. And also, what else? Nothing. I have nothing else to say. Let's do the timer. Ready, Amber? Here we go. All right. Here we are. Here we are. That was 20 minutes of working together, creating some action. Now we're going to do the dialogue part of our show. Does anybody have a question? Let's give a few seconds for the questions to come in. Oh, all right. We have a question from Vernita. All right, Vernita. Hi, good afternoon. Hey, Vernita. Hi, SLP. It's really exciting to be here. My first time chiming in. Oh, right. Yeah. But I've been tuning in for the last couple of weeks. And I guess part of my question is just from the experience that I just had, that I want to come to this opportunity, focus, work on my writing for 20 minutes, absorb all of the amazing energy that's been happening with everyone. And I'm just curious what your experience might have been over the last couple of weeks. The entire world has moved to online. And I am consumed and bombarded with webinars. And I'm a small business owner. And I'm trying to get these grants and all of these things. So I just feel like my attention is pulled in a million different directions. And I literally just logged off of one Zoom to get on this Zoom. And it just was really hard to focus. So I'm just curious, is it like, hey, we're just ignoring everything that's happening on the world and just write or just really accept it might just be this five minutes a day or 20 minutes a day. Because I feel like I'm not getting anything done. I'm working on an article now on gratitude in the midst of this crisis that I honestly wanted to submit a week and a half ago. And it is overwhelming. Right. Great question, Vanita. And I think a lot of us are dealing with that. I mean, it's kind of the same as it ever was, like the talking heads would say. It's the same. It's always the challenge is always to pace yourself, right? And to manage your time appropriately, right? Now, when circumstances are more or those that we're more accustomed to, it might be easier to pace yourself, you know? I mean, for me, I have an eight year old, you know, I know when the, you know, so in the olden days when the kid was in school from 730 to and then aftercare, you know, till six, basically, I had a whole big chunk of the day where I could do what I needed to do. And now that the kid is we're homeschooling right at the other end of this table, which is my desk, you know, we have a small apartment, it's tricky. So it's always about pacing yourself. It's tricky to pace yourself like if you're running a marathon, right? It's easy. It's it's one thing you can pace yourself because you know how long the races, right? So you want to run X, but you want to run say you want to run eight minute miles, right? And you have the all that worked out. It's really hard to pace yourself when you don't know how long the races, right? You don't know how we don't know how long this is going to go on, right? So it's difficult. So I would say, as much as you can get focused within yourself, I don't think we should like just ignore what's going on in the world. I mean, we can't ignore what's going on in the world because we want to be responsible. We want to be compassionate. We want to be awake and aware and all those things, right? And we're part of the world. You can't ignore it. I would just say, but as much as you can create a schedule for yourself and be gentle with yourself. So it's a combination of being rigorous and compassionate with yourself. So you create a schedule. You have an article that you want to write. Great. You wanted to turn it in last week. Great. You didn't make the deadline. Don't worry about it. It's okay. Okay. That's okay. There's a lot of shit going on, you know? And so just that's okay. What about getting it done by next week? Gratitude next week will still be in fashion and will still be interesting to read about. I hope, you know? That's okay. So we have to be rigorous and diligent and get our plans together and also be compassionate about not everything working out like we expected to. Does that make sense, Renita? Unmute yourself, hon. Okay. Yes. That definitely makes sense. And I particularly appreciate the rigorous and compassion. I've been having a challenge setting a schedule for myself. So I'm going to go back and take a look at that a little more closely in a gentle way. Just be, again, in a gentle way. I think that's key, you know? I think that's really key. You got a lot going on. You got a lot going on. So a lot of Zoom meetings coming at you, that's a lot. That's difficult. But you can do it. You can totally do it. And if it's just 20 minutes a day, five days a week with us, that'll do it. That'll work. You'll get the work done. Okay. Thank you. This is amazing. I'm the new writer, so I appreciate it. Yay. Go, Renita. Thanks, Renita. All right. Next we have Sahar. Hey, Sahar. Hey, hi. I feel so lucky every time I get called on. You got the best backdrop. Well, you and Julian had the coolest backdrop. And Jesse, Jesse's got the Parthenon in the background. This is like, you guys are like, you're bringing it, you know? I mean, I'm really in Washington Heights. Can I ask two questions? Go ahead. So one question is in a play I'm working on, there's a lot of Arabic poetry. And it's really important for me that somebody recites it in Arabic. And I was wondering how important it is, because people ask me like, what does that mean? And I was like, oh, maybe I should include a translation. One, how important it is to include that translation. And two, should it be in the text or like in, I don't know, like an appendix or like something like at the end? And then the second question is, if somebody wants to do a reading of your work, what are the questions that you as a writer should ask them? Because like my inclination is like, yeah, sure, I'll share. But I know like, I probably should ask questions. But I don't know what questions. Right, right, right. Great, great, great. So you have some, you want to include some, some text in Arabic, and you want it to be understood by folks like people like me who don't speak or understand Arabic. Do you want it to be or does it not really matter? Is it just going to be a beautiful moment in the play where some folks understand it and some folks don't? Does it matter? I think like to hear it is the more like, yeah, even if people don't understand, like for me, the important thing is to hear the language. Right, how it sounds. Right. Is it, is it a dream? If it could be part of the drama, part of the story of the play to talk about the poem. Yeah, it's really, it's very much a part of the play. So then you can unpack the poem, the meaning of the poem in the pages of the play, right? Yeah. Okay, and that would be helpful to people like me who are, wow, that sounds great. I wonder what it means. Sure, you can include it in the appendix. You can include a translation in the appendix. Also, the characters in the play might talk about the meaning of the poem. You know, maybe not break it down every single line but talk about what it, you know, generally means to include, you know, folks who don't speak Arabic. That could be helpful if that's interesting to you. And the second question, people want to do a reading of your play and you're like, yeah, what do you feel about them? We want to do a reading of your play. What do you, what does your gut say? I mean. Right, now I'm hungry. Okay. Well, my first, okay, so my gut first said, yeah, sure, because he seems, he seemed cool when I met him outside of quarantine and like, seemed like a nice person. And I mean, I've seen him work a little bit. But then after I said, yeah, sure. Now I'm like, oh, but I do that a lot. So that now I'm like, oh, maybe I should have asked questions before I said, yeah. Well, well, do you know their work? The person who I'm assuming is a director who wants to, right? Okay, do you know their, you know their work? Just like one of the, like I worked on, I worked on something with him. So just like, I watched him work. I watched. Okay. So maybe, maybe give him a part of it. Okay. Maybe show him like, hey, here's a scene. Should we have a reading, a virtual reading, like online, like on zoom, you know, that would be fun. You can give him a little bit of it. But not the whole thing. Well, I just, I just, I don't know. It's you have your little, you're pulling back a little bit. So I would say slowly, like dating, you don't have to jump in and you know, over commit, you know, you can go slowly if you give him one scene to work on. Hey, that was fun. Let's try another scene. Let's try and then, hey, that was fun. Let's try act one. Hey, that was fun. Do you see what I mean? Yeah. Because you can always say, I'm still working on it, you know. And, and if he's in a hurry that, hey, why don't you send me the whole thing? What's the matter? You know, that kind of thing, then, you know, it's, I think it would be okay if you'd slowly gave someone that you didn't know very well, some new pages of a new play to work on. Okay. That make sense? Yeah, that makes total sense. Copyright everything, copyright everything, you know. Yeah. Don't just send it out there. Yeah. Okay. Okay. Thank you. Thank you. Sahar, thanks. Thanks Sahar. All right, next we have Anna. Hey, Anna. Hi, I'm going to jump on video because I work better. That's right. That's right. That's cool. No sweat. All right. So thanks so much for this. I am in the middle of the big, long outline from all the stuff that I piece together over these few weeks with you, which is super awesome. Now I'm wondering about kind of a lot of Sahar's things, like the collaboration aspect of the work. I'm at the point where normally I would jump into the studio with dancers and try out phrases on them and I'm having to write them out on cards, but I'm feeling like maybe I shouldn't get them into a Zoom type thing and explain what the work is going to be because there's words, but there's also a lot of choreo that's happening in between and working out the choreography will determine whether or not the draft of the words is hanging together for me or not. So I'm wondering for you, because I know you work with music that you write yourself and the music sometimes is in the show, sometimes it precedes the show, when do you pull people in other artists into the process to get a read on yourself, but also read on what the work is wanting to become? Right. Great question, Anna. I pull other artists in late. So that's, you know, if I were halfway through, sorry, I have, it's weird. Every time, every day of five, the sun sets in the west and creates this crazy sun ball on my screen. There, that's better. I pull other artists in relatively late. So if I were in the middle of an outline for a piece, I wouldn't be inviting other writers or other, I'm sorry, other collaborators in, but that's me and we're talking about you. So you say you're at the place where you normally would invite in other artists. If that is the case, then it's time to invite another artist, you know what I mean? But I think, but for me, I like to have an idea of where I'm going and then invite other people in to talk to me. So that's just a preference thing. If you feel, I mean, you can try something and just write to the end of the outline, you know, just get to the end. And then you're at the end and then you have ideas to bounce off them. It's still collaborative. It's still very collaborative, but you will have taken the first pass at it, you know, and I do that with, whether it's a musical or a play or, you know, but that's, that's me. But if this is the time when you normally would invite other people in, then I think it's time to invite people in, you know, sounds like fun. Probably the most choreo I've ever put into a piece. So I have finished all the way to the end, like I know where the end is. And now it's going back, filling in the pieces. I guess I'm just concerned that if I fill in too much, it will not be interesting for the necessary collaborators. That's my concern. Yeah. So if that's your concern, then I would say invite them in. You know, I don't have that concern. I'm like, this is what I'm doing, yo. If they don't like it, you know, hey, this is what I want to do. You know, so I wrote it and this is, and then they go, well, how about, you know, instead of stopping at the, I don't know what the McDonald's on the side of the road, why don't we stop at the water burger? You know, so there's sure there's lots of room for collaborators, but I do have a strong take about what I want to do. And if people don't find that interesting, then maybe they're not the right people for the project in my experience. But everybody works differently. And if you're feeling like I really want to, I mean, it sounds like what I'm getting from you, it sounds like you want to work with other people right now. Go for it. So go for it. Work with other people right now. Yeah. See, I'm different. I like to work with people later. Okay. All right. Thanks, Anna. We are going to go to Rob. Rob, are you there? Yes. Hi. Thank you very much. This is kind of exciting. This question might be a little playwriting 101 for most folks. I didn't study theater in college. I went to business school. But I attempted three different plays and I have like circumstances and characters and I've been, you know, people have praised me for the dialogue and things. But I really struck a struggle with plot. And I was wondering if maybe you could just kind of help me understand like ways to kind of think about plot and the action, which is what theater is all about to drive things forward. Thank you. Great question. And it's a, it's a, it's a basic question, but it's also we always talk about the basics because, you know, they're important. So thanks for asking this question. I, if you, if people, if you really like your characters and people think they're interesting and you really like your dialogue and people think your dialogue is interesting, that's really great. The plot is just what your characters are doing. You know, so you got to say, like, say you got a character named Jane, what does Jane want more than anything? Right. So it's the plot is sort of a function of desire. Like, you know, I know I didn't go to theater school either. So we're in this, although I did not go to business school, maybe I wish I had, but like Hamlet, right? The guy, the Dane, Hamlet, what does he want more than anything? You know, so it's not just what he says and who he is, but he's a young man who comes home and finds for his father's funeral and thinks, gee, I think my uncle murdered my father. I have to get revenge. You see what I mean? So it's the story plot is the story of your characters. Okay. Think of, and a wonderful way to get into plot is, and it's just cool because you didn't go to theater school or whatever, but you can maybe pick two or three of your favorite plays or maybe I mean, you're in, you're in lockdown, I'm guessing. So maybe five of your favorite plays, you know, and read them. You know, you can have a theater in the venue of your mind and read them and write in your notebook, what is the story? What is the plot of this play? Who is the main character? What is she going through? What are they doing? What do they want? How do they actively go for it in each scene? And in the end, do they get it or do they don't? Do they not get it? You know, and that's, that's the plot and you will see patterns unfolding, whether it's Shakespeare or Tennessee Williams or Intzazaki Shange or August Wilson or whomever, you know what I'm saying? Characters are going after things. Does that make sense? Yes, it does. Thank you very much. We can learn a lot from just reading great works, you know, the writers who have come before us are very helpful in that respect, especially since we can't go out and see plays right now. You can also watch movies because it's the same kind of idea, you know. Okay. Thank you. Thank you. Thanks Rob. Next we have Sherry. Hi. I'm writing a play and I'm not very musical and it's a play with a little music with some songs in it. I'm not very musical and I want the song to be raunchy and I'm not very raunchy either. My mind just doesn't work like that. So I was going to ask someone, my husband actually, who's a little bit more musical and a little bit more raunchy than I am to write this play for me or write this little piece of the song for me. I mean, is that, is that okay as far as like having someone come in and just kind of like literally sit down and write that whole thing and I can plug it in or, I don't know, is that like, is that okay? Is that something to say, no, I, you know, this is not my strength. This is your strength. You go ahead and you do it. I mean, yeah, I mean, I have an opinion about SO, Significant Others. Hey, fair game, you know, they're on board, they're on the team, you know. I mean, if they have ideas, you can also credit your husband. Yeah. Song written by, you know, that's a nice way to, I mean, I would, if they write the song for you, then that would be a great way to sort of just acknowledge that they did help. It's totally fair and okay. I would say acknowledge them. Yes. Yeah. Yeah. For some reason, in my mind, I thought of it as, as cheating, you know, write this part, but yeah, yeah, yeah. Well, I mean, if you think of a musical, you know, they have the book, the lyrics, and the music are by different people. So, and they're all acknowledged, you know, so, so if you think of it like that, then it's, it's, it's a version of that. You're just keeping it in house. Yeah. And you're having your spouse help you. Yeah. Nice. Thank you. Yeah. Have fun. Thanks, Sherry. Next, we have Mack. I'm here. Hi. Hi. I was, I was wanting to comment on what someone said earlier about using poetry or poetry to music in your play. I am kind of in a similar thing. I have a play about Ireland and I'm working in written a lot of poetry for it that is going to be sung. And we're doing some traditional stuff too that is in Gaelic. But most of the singing parts, I'm doing in English because they're actually the characters either talking about their feelings or talking about why they want to do something or what they're going to do. So I guess that's my take on, on, on what you should do. But if you're having, I guess if a character is reciting a song or a poem that's in, in that language, then I would do that because I think the audience is going to fill in the blanks listening to the, to the cadence of the language, no matter what language it's in. Does that make sense? Yeah, it does. And your project sounds great, Mac. Everybody's writing cool shit. It sounds beautiful. Well, it's, it's turning into a small opera. So it's, it's a bit more daunting than I, than I started out. But that's just where it's taking me. So since I'm here, I might as well finish it, you know, so we'll go from there. Yeah. And I'm actually taking Irish and I thought I don't think I would ask anyone to try to sing in this language unless they really knew it because it's, it's a difficult language to pronounce. So, but yeah. So I mean, I would love to hear your play. And I think the way you're using the Arabic being read as a poem is perfect. But you might want to think of, if any of your characters want to sing or recite something, they could do it in English because they're telling the audience things that might be moving your play forward instead of just an interlude. So that's, that's all I had to say. That's a great, does that make sense, Sahar? To what, does that kind of, yeah, it's kind of along the lines of what we're talking about, right? Okay, great. I think it's great. Awesome. Thank you. Oh, and the other thing somebody else asked about, somebody else asked about readings and asking questions. I don't know who did that, but my play, before I started turning it into an opera, we did have a staged reading of it. But it was, it was facilitated by a director. And I was not allowed to ask questions of the audience. The audience asked questions of me if they wanted to or made comments and I took notes. That was it. So I guess it depends on, on your director or whoever's producing your reading. Yeah, to that point, I would be bold and say it depends on what you want. So if you were comfortable to sit, to have a reading, and then to sit and have the audience ask questions of you and you not being allowed to say anything, if you're comfortable with that, that's fine. I would not, I would not like that to be told that I can't talk after my play, you know what I mean? That I can't have a conversation with the audience. I would be sort of, you know, I'd want to engage with them like, did that make sense to you? Or what about that? You know, I would want the freedom of speech, actually. So, yeah, so that's, that is tricky. Well, I get to have that. Yeah, they could ask me questions and then I could give my take on it. And there were some questions about it. But I wasn't supposed to ask them right off the bat. Gee, what'd you think of it? You know, the director wanted to control that. So great. It's not like getting notes on a screenplay. You just have to read those notes and go, okay. Okay, thanks. Cool. Thank you. Thanks, Matt. Next, we have Eric. Eric, you there? Hi, how are you? Hi, Eric. So I have actually two hopefully quick questions. The first is I felt like I was in a really good space creatively. And then I started sitting down and doing a lot of reading of just things kind of backlog, like essays and plays that I had wanted to read and found myself obviously with a lot of time. And so I did. And I feel like it's stifled some of the creativity when you read really good work. Sometimes it makes you feel a little like, I don't know, maybe the imposter syndrome kind of sets in a little bit and you feel like you shouldn't be writing it or can't be writing things. I don't know if you also feel that way sometimes like when you read something really great and you're like, shoot, like not the I wish I would have written that, but there's that weird feeling. I don't know if anyone else has experienced that recently. Why is it called? I've heard of this many times. Why is it called the imposter syndrome, Eric? Do you know? I feel more or less that it's kind of an internal struggle where you feel that you're inside a body that's not yours. Maybe like you're kind of like, how did I get here? How did this person that I'm kind of controlling end up in this position is the way that I've kind of looked at it for a long time. You feel a little lost inside that person. So I think that just tends to happen sometimes. Right. But it's a phrase that people use. It's an interesting. So you feel like, I've heard writers and artists say, yeah, one day they'll find out that I'm just a fake. Yeah. What does that mean though? One day they'll find out that I'm not, you know, I mean, I'm just, I hear that and I go, I think the best antidote to that. Okay, well, we, because we can't answer what that actually means now, but we do have an antidote. Yay. It's just sitting down and doing the work. Yeah, totally. And being okay with what comes. Yeah, you know, because you know what they'll find out what that you're not like that everything that comes off your pen isn't perfect. Right when you write it, you know, well, that's a fantasy in their head. It's not in your head. Do you know what I mean? Totally. They're going to find out that what you have to rewrite things, you know, that you have to struggle, that you have to try hard. But sometimes you feel discouraged. That's not an, I mean, that's not an imposter. That's an artist, yo. Yeah, totally. I mean, here we are, we are, we struggle, we work hard, we, we wrestle, you know, we wrestle with it, we have to figure it out. And the imposter is like somebody who it's like, if you say, I'm perfect, everything that comes out of my lips is brilliant. You know, that's the real lie. Yeah, that's the real imposter. That's, that's, that's just some bullshit. Instead of like, it's like, if you're, if you're, you know, if you're dating long time ago, many hundreds of years ago, when I was dating a man who was not my husband, but I went out on several dates with this, this dude who's lovely, lovely person. And on the like the fourth date, he said, so when am I going to get to know the real you? And I thought, wow, I thought, what do you mean? He said, well, you know how the games go, there's a lot of front and going on. And then, you know, and I was like, wow, this is me. So, so when what we do is we show up when we show up to our writing, we remind the ourselves that we're for real. Real writers, right, you know, real artists work on it, you know? Yeah. Okay. Thank you so much. Okay. Yeah. Okay. So, so you're not an imposter, you're just a working artist that has trouble sometimes. Another question though, right? Yeah, just quickly. Sometimes, and especially in the process of writing, I, I think a lot of people, maybe a lot of other people do this too. Maybe it's just this small director hand trying to be raised within me, but it's like writing, focusing on plot so much, and then you kind of get stuck in the action. But I think sometimes it really helps to write down what these people are doing while they're saying what they're saying. And do you feel there's a, there's, you feel there's a place for that in the creative writing, but like, do other people do that where they're like, I, I need to direct this little piece of it in order for it to make sense? Because sometimes people are like, no, like, I don't know, it's just obviously different process. Some people are like, leave that that's for a director, but I'm always someone who kind of looks at my own work with the directors I first. Yeah, well, I mean, you want to think about what they're doing. I mean, going back to Hamlet, he's not just talking in the beginning, he's, he's, I mean, not at the top of the play that he's not even at the top of the play, you know, who's there, you know, he's not there. But once he gets there and shows up on the parapet, you know, he's doing things, he's walking around on the parapet. I mean, I don't think Shakespeare, I don't know, but my guess is that Shakespeare didn't just say, okay, so Hamlet's just talking to a couple of his friends and that, and waited for the director to say, hey, man, let's put this on a parapet and then they're going to see the ghost. No, I think he had that in mind. Yeah, for sure. So a part of the playwright's job, in my opinion, is to come up with the context of the scene and the actions of the scene. I don't wait around for a director to tell me what the characters are doing. What the characters are doing is woven into what they say. Yeah. Yeah. You know, like, sometimes I write a lot, and I have like two big pieces I'm focusing on now. And I find that sometimes I write very large sections of stage direction. And kind of scene setting. And I do see that in a few other writers, but sometimes I always wonder if it's like, yeah. You can try putting the action more in the line. True. True. That's a Shakespeare trick. Yeah. He doesn't have a lot of stage directions, but boy, you know what those characters are doing. Why? Because they're always like doing it in the language. He puts the action in the line. Makes it integral to the dialogue. It's part of the dialogue. Yeah. Okay. Cool. Yeah. Those are my questions. Okay. Thanks, Eric. Thanks. Thanks, Eric. We have about four minutes left, and we have a question from Devon. Hey, Devon. I'm going to get super, super quick. How do you start? Like, I have an idea. I have, I don't want to say issue, but I have a topic I want to talk about with my play. And I'm starting to do the research, but I don't know how to necessarily start the business of writing the actual play. How does that, how do you do that? How does that become a thing? You got some, so you have the subject, if you will. You got some characters? I have a couple. Yeah. Okay. Do they have names? One does. Okay. So name the other ones. Because, you know, they will come if you call them by name, you know what I mean? Hey, you, that's not really going to work too much. That's not respectful. So name your characters, even if you change the names later, right? And then think of, okay, so what do my characters want? How am I, what are my characters doing to tell this story? Again, like we were talking to Rob, I think earlier, I can't remember. Look at a couple of, you know, a couple of plays, two or three or four or five plays, you know, classic plays, an August Wilson play, a Tennessee Williams play, an Intzazaki Shange play, you know, look at some writers and see how their characters develop, you know? So you got some characters, you've got the story, also ask yourself, what is the story that I'm telling? What's the story? Well, my character, Jane wants that. So then she does that and then she hangs out with George and then they do that and then they do that, you know? It's storytelling, very basic storytelling. Again, you will, it will help a lot if you look at some plays by anybody, really, but mostly plays that are more traditional, so that's a good place to start. Traditional classic plays, if you will. Medea by Euripides, the great one, you know, just look at how that kind of bounces out, you know, or whatever play catches your fancy, you know? Yeah. Okay. Thank you so much. You're welcome so much. It's 5.59. 5.59 on a Monday. It is. Tis the time. Tis the time. We can go away and come back tomorrow. We, that's exactly what we'll do. Love that. Just a reminder, everyone, you can sign up to be in each day's Zoom class at publictheater.org by 3 p.m. Eastern Standard Time each day. We will email the link out between 3 and 4.30 p.m. and we will see you tomorrow. Bye.