 Hi, everyone. Welcome. We're just waiting for SLP to log on and then we'll get started. Hi, for those of you who just logged on, we're going to get started momentarily. Hey, that little technical drama. Are we all ready? It's five zero three. Welcome to Watch Me Work. Happy 2023. It's a Watch Me Work. We've been doing the show since like 2009. So we're in our, what is it, huh? 14, about 14 years, we're rolling into that. So that's something. Basically Watch Me Work is a show where the me and the title is you and it's all about your work and your creative process and helping you keep that going. When it was during lockdown, when we were doing lockdown we did the show five days a week. Now we're back to one day a week on Mondays every Monday at five, almost every Monday. And national holidays, I think we take off. We thank the public theater and we thank HowlRound. We thank Lolly for pulling us all together. We love doing this on Zoom. It's easier than meeting in the lobby of the public theater like we used to. But basically the format is the same. We work for 20 minutes. That's the sound of my timer. We work for 20 minutes. And then for the rest of the hour or so I take your questions about your work and your creative process. So if you wanna get in touch with me and ask me questions about your work and your creative process, Lolly's gonna tell you how to do it, go Lolly. Yes, so if you are in Zoom with us you can ask a question by clicking the raise your hand button which is likely in the reactions tab at the bottom of your screen. If you have any trouble finding it you can just message me in the chat and I can help you out. If you're watching the stream on HowlRound feel free to send us your questions via the public theaters Instagram or Twitter account or via Watch Me Works Twitter account which is at Watch Me Work SLP with the hashtag HowlRound that's hashtag H-O-W-L-R-O-U-N-D. All right, thanks Lolly. We're gonna start our 20 minutes now. So we'll get to work and here we go. Right, all right, all right. We are back. We are back, that's 20 minutes. Feel free to raise your hand if you have a question. Or we can sit. It looks like Jillian has a question. You can unmute. Hello, hi, can you hear me? Yes. Okay, great. Hi, so one of my questions I have is what is your daily like writing process? Right, so yeah, so this is how this show works. What's your daily writing process? Oh, I can stay unmuted. All right, got it. So what's your, because what we do in this Watch Me Work is we ask you about your creative process. So as much as we can, we try to, because my daily writing process, yeah, I get up at three in the morning and blah, blah, blah, then feed the chickens, who cares, right? So I wanna know what you do and then we'll work with where you are. You know what I'm saying? Got it, yeah. So I guess my process right now isn't much of one. I'm trying to find a process. So right now what I think I struggle with is this idea of sitting down to write, getting in the flow on a more constant and consistent basis versus just these fits and spurts. Right, so what have you done that works? I think what I've done that works and I find helpful is when I kind of vomited all out and it all just kind of ends up on the page. But it's, I can say there've been a few times in my life where that's happened, but I have to write outside of those times as well. So I think what's worked the best is when I've sat down and just everything's come out and it's on the page. Right, right. So let's get even more specific. Do you use a pen or a pencil or a computer? Got it. Yeah, I typically use a pen and a pen and paper, I think helps me a lot is very helpful. Okay, a notebook or just random pieces of paper? A notebook, definitely. Okay, the same notebook like from, like you have one notebook or you have like a hundred notebooks around your... They have a hundred notebooks everywhere. Great, so do you use one? If you're like, you stick with one per week do you change notebooks up every day? It really, I've been kind of into the legal pads recently, but it tends to just be whatever is near me at the time. And then it'll end up usually near my computer and then I'll end up putting it into the computer and then I'll end up finding a different notebook. And you switch notebooks because you like to? Not really, just because the moment to write when it hits me, I'm just grabbing whatever's around, so. Great, okay, so, okay. So maybe, and I don't know, I don't know, but maybe some organization would help. Okay. Maybe it might not, but like, you know, in my experience, the creative process isn't, you know, you don't just like wait till it rains and run around outside, hoping you're gonna get struck by lightning, right? I mean, that's, you think about it. That's a lot of work. Yeah, a lot of what I call unnecessary drama. Yeah. I love drama. I don't love unnecessary drama. Yeah. Is that it? So we keep our drama on the stage. Yeah. Both things we can do to stay organized might be helpful. You know, some people don't like organization. I think it fences them in, you know. Some people, it helps them. The Mississippi or the Nile, depending on what you like, is a great river. Part of the reason is because it has banks. When you drive, stay on the road, unless you wanna go off-road, and that's also a thing, right? You don't go off-road unless you have an off-road vehicle and even then it's dicey. But do you see what I'm saying? There's structures. You walk around, I think for the most part, in a body, it helps you get to where you need to go, right? If you walk around like in all your multitudinous selves, it would be kinda complicated to get to where, you know, to go to class or your job or whatever, right? Or even show up for this, right? Yeah. We choose one thing to be, like right now, I'm choosing to be SLP, and that's how I'm communicating to you. You understand? Yeah. Even though like Walt Whitman said, I contain multitudes and I do believe that. Okay, so I would say, so how long, when you write, Jillian, how long do you like to write? You vomit it out, but what is that like? Is that like a day's worth of writing? Yeah. What do you feel like? What does it look like? Yeah, I feel like I create in the pauses. So I say it like the end of a sentence, the end of a period I'm creating after that. So it's either at the end of the day or at the end of, you know, a long stretch of work. So I'm finding that it comes and I do write and sit down to write. I don't wanna say as an afterthought, but after I've done a lot of non-creative things. Do you enjoy that? It's just been my way of life. So I don't know if I necessarily even enjoy it. So I'm trying to train myself to do my creative work first and to not just create in the pauses. Great, great. So what is first move? Do you have a day job? Sounds like no, yes? No, not anymore. I got laid off, so that's part of it too. Okay, so are you a morning person, an afternoon person or a night person? Yeah, so I wake up usually in the morning, but I find I'm more creative in like the evenings, so. Okay, well, let's pick your favorite time, which is the evening, right? I mean, it's tricky because if you wanna do your creative work first, but you're more creative in the evening. So pick a time right now when you'd like to do your creative work. Okay, I think I'll do it, yeah, maybe in the afternoon versus the afternoon. Okay, so great. So you're gonna have to, so that's not first and you're okay with that? Well, actually I could do it first. I could do my work, my walk, and then I just switch it and just do that early at like morning. You could try it. I mean, I'm saying try it for a week. This isn't like, you're not gonna get, you're not gonna try it forever, you're gonna try it see if it works and then you're gonna change up. So you're gonna try doing your creative thing early in the day. You said you'd like to do it first, so we're gonna pick close to first, right? Yeah. So you go up, you do whatever you're, and then you do your creative thing. Yeah. How long, what do you think? 30 minutes is that, how long did, how did this 20 minute stretch feel? It didn't feel like enough time. I typically write for, or I'm in the process of writing for like hours at a time. So maybe doing more consistent shorter would be a good thing to try to. Yeah, so let's do 30 minutes. Try 30, okay. Because again, you know, if you do like an hour, it's like dating, right? So you're dating somebody, right? So like every three years you have an amazing date. Oh my God, it's like the best date ever, every like three years. You know, what kind of relationship is that? I don't know what your attachment styles are, but I would need something a little more consistent, right? Yeah. So we're gonna go for maybe lower key, right? Displays of affection that are more consistent. Do you see what I'm saying? Yeah. So if you can do every day for 30 minutes, it's also like exercise if that offends anybody talking about romance. You know, exercise, you wanna do a consistent exercise, right? You wanna go to the gym or do your yoga practice consistently, not like run the marathon like once a year and then the rest of the year you're eating fast food, right? Yeah. Okay, so we're gonna go 30 minutes every morning for the next week, right? That's doable, right? Yeah, I think so. You just do your vomit method, right? And you're gonna do, if you want an illegal pad, that's fine, set up your workspace the night before if you can, right? So have your legal pad there, have your pen there, have your area, whatever desk, kitchen table, whatever you work on, have it all tidy and ready to go. So you don't have to like look for your legal pad and you don't wanna be doing that. That's unnecessary drama, right? That's avoidable, right? Yeah. And then set your timer for 30 minutes and right, do your vomit, right? And then get on with the rest of your day. Okay, yeah, no, I think that's great. Yeah, let me see how it works. And then you check in with yourself and go, okay, you know, I'm gonna see how it works, okay? Okay, thank you. See how it works. Thanks, great question. Great question for the top of the year, definitely. Okay. Looks like we have Emanuel. Hey, Emanuel, how are you? Hi, I'm good, thank you. How are you? Hi, did we meet outside the Pollux Theatre? Yes, we did. I thought that, great. I thought that was my imagination, but it was, in fact, you in real time in the flash. How you doing, girl? I'm doing good. Thank you very much. How are you? I'm well, I'm well. Yeah, no, it was great, it was great. Everyone should go see the show. It's coming back, right? It's coming back in April, place for the plagiar, that is right. We were down with COVID, but they're bringing us back. So thank you, thanks for coming, Emanuel. Really appreciate you being there. Sure, it was awesome. Yeah, yeah. What's your question? My question is, so I've been trying to fill the well a little bit by reading a bunch of plays. And so my question would be, because there are so many things that you can take notes on, I guess, or consider. And I tend to go a little bit too detail-oriented, so I could spend hours on one play going, oh, okay, so what about this? And I should note that, and then rather than just kind of reading a reading. So my question would be, just different ways, I guess, of like extracting, of filling the well, I guess, of what do you extract? And even same with like seeing plays. So I feel a bit guilty if I don't take notes on every single aspect of every single thing that I've seen, but then it gets exhausting rather than just kind of absorbing things. Yeah, great question. Yeah, we don't, I feel like if it feels exhausting, then it's probably not the right move, right? If it feels like overwhelming and exhausting and the real, you didn't say this, but you know, pain in the butt, you know, it's probably not the right way to go. And you might be doing what you should think, you should, you know, I think I should be doing it like this, but it may be not, might not be the best way for you. Now someone who loves to take details and you know, they're taking notes on their phone during a show or whatever, you know, I mean, and they love it. Oh my God, they feel so happy about it. Okay, that works for them. But you can just read a play. If you're reading a play, read the play. I mean, try this out. Let's see how this feels. You read the play and then you go, yeah, that was, the story of that play was da-da-da-da-da-da-da. Yeah, cool. That's it. Oh my goodness. You're not gonna write a dissertation on it. Oh my goodness. You're not gonna break down the plot in intricate detail. Nah, nah, you're just gonna fill the well, right? So it's very, it's important work, but it's not like you're preparing for a test, right? There might be something you read that you might go, I wanna read that again and really write down, you know, note down the structure of it or something like that. There's might be something, but it sounds like not everything is gonna feed you that way, right? You know, you wanna, sometimes you wanna just go out and have a nice meal with a friend. You don't wanna like take notes of what the chef did. Oh, they use that sauce. Hey, right. And then they cook it for 12 minutes on each side. Oh, okay. It might, if that doesn't feel like, if it sounds like it's gonna get in the way you enjoying yourself. So, you know? Yeah, yeah. I'm sure you won't. I mean, that's what I do. Same, yeah. What you said? I think that's great. It's kind of, it's what I do a lot of the time, but I feel guilty because when I do take the time to take these notes, I'm like, oh, I'm getting so much out of, you know, like I'm learning a lot and, you know, I'm gonna remember this now. So it's just, I guess the guilt is like most of the time I don't. So like before I left France, I got rid of all of my play builds and like, cause I had piles and bags and bags of them cause I was like, I'm gonna go back. I'm gonna remember these plays and I'm gonna take notes of them. And then I was just like, I can't. And I just kind of got rid of them. But now, but I know that doing that helps solidify things. So I guess it's the balance of like, it feeling like a burden, like I know I could get a lot out of this by taking the time to, you know, dissect it. And then not doing it. I know the words, no, I was, I don't know what I was reading at some point, dissecting things. Yeah. I love these words. I mean, and I've used plenty of them before. That's why I'm sort of on, I sort of listened to myself to dissecting a play. I heard people who come out of a certain writing program used to be the language. I'm gonna break the back of my play, you know. I'm gonna crack it, you know. Words like this, but dissecting a play, you're gonna kill it, cut it open, and you're gonna figure out how it works. I play will not deliver its mysteries to you. If you kill it, cut it open and see how it works. No, I'm just saying, I'm saying this for everybody. This is just for you, you know what I mean? But we use that language because that's the language we're taught to use, right? So I would suggest that just as an experiment, right? You just read some plays and go, huh, yeah. I mean, how about this? When you read a play, because reading a play, you can like pick it up and read it and then put it down. It's not gonna cost you much money or, you know, oh my God, I spent $80 going to such and such play, blah, blah, blah, right? It's a low, you know, it's just your time, right? How about what the plays you read? Just read them, just as an experiment. Read them and go, yeah, and see if you can tell yourself the story of the play and then go on to the next one. You might, oh, if you wanna write down the story of the play just from your memory and then go on to the next one. Be gentle with yourself. And maybe when you go to a play, you might wanna be a little more detailed because it's cost you some coin, you know what I mean? And some time, but just as an experiment, be, trust your process more. How about that? As an experiment, be more trustful of your creative process. Yeah, sometimes, I mean, and that's not just you, Manuel, sometimes we all clench, right? I had to figure this out, it's good, it's good. You know, that's, you know, I mean, if I were the muse, I'd be like, I'm sorry, I gotta go somewhere else. I don't wanna be dissected, you know what I'm saying? This is what makes it, so just as an experiment, put more trust in your creative process and know that the stories will come. You do the work, but you don't have to do the work like this. You can do the work like this, you know? I know none of us are gonna think you're lazy and the muse will not think you're, you know, you're slacking. You know, you're not slacking, you're trusting. You know, it's, again, it's like dating, sorry. I mean, if people are like, dang, she's not dating, but you know, again, your interrelationship, you cling to that person, you know what I mean? That's, you know, you're not trusting love. You gotta trust, you gotta be like, it feels good. Yeah, right, you know what I mean? I do. See, as an experiment, just to see, just for the next two plays you read, and maybe you wanna read them twice. Maybe you wanna underline a little bit in the margin. I like underlining shit and going, wow. I was just reading checkup. I was like, wow, in the margin. Like, wow. Like, oh boy, that's a great comment, wow. Okay? Okay, yes. That's great. Okay, great question. Oh, there's such good questions today. Thank you. Thank you very much. Great, thank you. So glad you're here in New York. Thank you. Thank you. I hope we don't ruin it. America, come on, America. We should say our ABCs together. Like how Team Jeffries did. Yeah. Thank you so much. Thank you. Thank you. Thank you. Jonathan, you can unmute. Hi, Jonathan. Good to see you, bro. How you doing? It's good to see you again. Yeah, likewise. Happy to be here. Let me make sure my volume. I can hear you. Okay, great. So here's the question that I have. Much of my work, I love to take moments in history, kind of excavate and dig and create stories based on historical events. And often in that, I love to research and dig and find information and books and weird scholarly academic articles that somehow help. But I'm actually posed or challenged right now with the play that I'm currently working on, where it's like, I know that the thing that happens in the play is a thing that happened and work has happened. But now I'm stumped with actually being able to figure out how to research and find, which is how to go on the process of researching it because it's a history that it's just not really written about very much. And so I don't know. And there's a part of me too that's like, well, fix that, just like write and have fun and see where that goes. But I think I'm also just struggling with the fact that it bothers me that there's not anything there already. So it's kind of what I've been struggling with lately. Right, okay. So you love to write things about history and historical facts and historical characters. And you're writing something about an historical event or characters and the historical record doesn't give evidence of it actually having happened. Actually, it's more of the people. But basically it's about young queer people during Freedom Summer, Student Nonviolent Coordinating Committee. And it's like, well, obviously we were there. Or like it's not like, but it's like trying to find that intersection between LGBTQ stories and the movement. And that has been such a struggle. Once I was thinking to myself, well, think about the elders in your community. And then it get bothered by the fact that when I think of that, I'm like, it weird to me out that I know very few gay elders, which is weird to me. Yeah, I know, right? So... Well, I honestly think Jonathan, there might be two separate issues. Okay. One is the fact that you as a person sounds like it would be great if you could spend some time. What a great thing to do this year, spend some time connecting with some gay elders, right? That would be great. That would be a wonderful thing. Just cause it's always wonderful to connect with elders, elders. I don't know how old you are, whatever, what you're thinking, but it's always wonderful to connect with people of another generation who were there or let's say more there than you were, more there than we were, whatever, right? That's always a great thing. Connect with them online, connect with them in person, since people are getting back together and having coffee or tea or whatever, that's a great thing to do. So that is one thing. And the second thing is there's, you said you're correct me if I'm wrong, it's upsetting to realize that those stories haven't been written down yet. Right. Yeah, yeah, okay, yeah. So make them up. I mean, what are we doing? You know what I mean? Yeah, I mean, you have a poetic license, son. Okay. You say, what are you just gonna keep it in your pocket, laminated and cute? Why do you have a poetic license? What's it for? But to make shit up. To make shit up, right, right. Because that's, I mean, because that's what we're doing in real life anyway, we're just making stuff up and sometimes it gets recorded, written down and sometimes it doesn't and most of the time it doesn't. So you fill in the gaps with your, as my son says, imagination. That's what he does, my imagination. You know, does that make sense? It makes sense. But there's two things. What's two things? And I'm not saying to hang out with elders so you can interview them to use their stories. I'm not saying that because that's another thing. That's permission to use somebody's story. And that's for, you know, I'm gonna hang out with elders so then I can use their story so then I can enrich myself. I'm not suggesting that actually. I'm suggesting hang out with elders because it's gonna help both groups of folks. You know what I mean? It's gonna fuel your spirit and it's gonna fuel theirs. You know, you'll see the evidence of things having happened and they'll see evidence of the transmission and it's gonna be great. Okay, but that's not, but it's not gonna be fodder for your work. I'm saying make shit up, bro. Make stuff up. Who do you wanna see? Who do you wish were written down? Right. That person, that activist, that person, that whatever, whatever, make them up. Tell the stories you wanna read in history books. It's fiction and just because it's fiction doesn't mean it's any less real. And then maybe more people will start writing about it. Maybe or maybe not. It doesn't matter. No, I mean that maybe it can inspire people to write about it. You know what I mean? Sure, sure, sure. I mean, we're just concerned about you right now and getting you to be inspired to write about it. One person at a time. We're just you. If you can get inspired to write about it, you know? Gotcha. Fill in the blanks. You know? I'm not going to discriminate it and put it in my back pocket, I promise. There you go. There you go. Okay, great question, man. Thank you. Thank you, Hannah, it looks like you're up next. Bye, thank you so much for doing this. I was listening to one of the recordings of this last week and was so happy to hear that it's coming back. So I felt like part of the Zoom even though I was just watching on my computer. My question is about like the first thing that I do in my process, which for many years I write in the mornings has been morning pages. And you know, you write three pages longhand and you get it all out. And I just feel like over the last six or eight months I've been not, I don't know, like a verse to morning pages or like I do them and it just makes me feel antsy that I'm not writing yet. So I can't tell and I've experimented like stopping them and didn't do them at all this summer. It didn't seem to like cause a problem but like I know they've historically been a very useful tool for me in the past. So many writers swear by them. So I don't know, any thoughts on like, should I just like ditch that part of the routine or like what might be happening there? Yeah, yeah, yeah, that's great. So how's the rest of your artistic process? It's going really well. Like I feel very inspired. I'm getting a lot of work done. And maybe that's like part of why I'm like, do I really need these things? But then I'm like, maybe I should be like feeding the fire for the future. So yeah. Yeah, yeah, I mean to every season, you know there's an activity that's appropriate, right? So, I mean, you did sort of put them down and Hannah's, if I'm correct me if I'm wrong that it's the, what is it, the artist way? Julie, you can't be talking about great. So those people don't know what you're talking about. Yeah, three pages longhand. Yeah. Maybe, I mean, so you're kind of antsy about it. Yeah. Maybe it needs a different kind of structure. Maybe 20 minutes longhand. It's not page count, it's time. You know? Yeah, that'd be interesting. Because it's a different feeling that might be helpful. You know, and see if that works. And then, but as long as you're continuing to do your other work, that's what's good. You're continuing to do your other creative work. So that's good. So see, just try that. And if that does, if it feels superfluous and unnecessary, then put them down for a little while. You know, it's not like anything bad is gonna happen. You proved it. You put them down this summer and you kept working. So it's good. I mean, do you use them as part of your process? I know this is supposed to be about me. Yeah, I do a lot of things. I'm an 11 year old. Do you have an 11 year old? I have a two year old. I think part of that crunch is like, why I'm like, I have to use this time to write, you know? Lauren, have mercy, I have a two year old. Okay, we'll see we're in different places on that train. Right? Right? Now I do a lot of different things at different times. And I travel a lot, you know? I'm in rehearsal right now again. So I have to really work, you know, it's like, I mean rehearsal, so it's different. It's always like a moving thing. So I gotta kind of do whatever is we're gonna work on the day. Yeah. Well, I like that, that's a great suggestion to think about the timing versus the page count. Cause yeah, sometimes it does feel like I'm just racing to the end and then I'm like, what am I getting out of it? But yeah. Yeah, but the time, I think what might be kind of relaxing, you know? I mean, do you have a meditation practice? No. That might be helpful. Yeah. Even if it's like a five minute meditation practice and then a 10 minute timed morning pages practice. You know what I mean? Just sitting and breathing. Meditation is really good. And yes, I do meditation practice and I try to add it in wherever I am. It helps clear the mind or still the mind or it helps you think clearly, especially with a two year old. And with an 11 year old, it helps. And you know, and you train, I mean, I'm sorry, I hate to say this word, but I have, I trained, we trained my son. He, I know that when I became a mom, I wanted him to, when he started crawling out of his crib, I wanted him to crawl into the living room and see mommy meditating. I wanted to impress that on his psyche that mommy was doing this thing, sitting on the floor, you know, that he would later come to ask, what is it? What are you doing? That kind of thing. So that, because it's important, I think for kids to know that their moms, especially, but their dads also, you know, have things to have lives that are embracing of theirs, but also that they have their own thing that they do, you know, that is quiet, silent and still. And just to see your parent do that, I think, you know, helps them learn something about the world. So, but too, whoa, girl, you in the trenches. Good for you. Good for you. Bless you, lots of blessings. Thank you so much. Yeah. But try the time thing that could maybe I could know, I mean, see what it feels like. And then, you know, in a couple of weeks, you'll have a different, you know, have a reaction, you know? Yeah. Yeah, I like that. I mean, I use the timing for like the, for my writing, I just do. Okay. So, yeah, and that works really well there. So. Okay. Okay. So maybe 20 minutes, maybe 10 minutes of pages, you know what I mean? You know, just a little, just kind of touch it. You know what I'm saying? Just touch it. Well, thank you. Thank you. Thank you. We have two more minutes and one final question. I'll do a quick answer. Okay. Can you hear me? Yes. Hi. Hi, I'm Beth Angelie. I'm in Toronto, Canada. Hey, this is not maybe not going to be a short answer. I'll just ask the question anyways. Maybe next time you can answer it. So I'm trying to start a script writing process for a new piece, but I want to build the script based on improvisations with actors. So rather than, you know, like devise theater. And I was wondering if you had any thoughts for how to do that. I've done it once before. We're like a choreographer and me, like I showed them some of my ideas and prompts. They were like, you know, from objects to poetry to whatever. And then we divide something out of that. But this is going to be kind of different. And so, yeah, I'm trying to figure out how to go about it. So, cool. So let's do this fast. Like, and do you know, you have your actors picked out already? I have ideas, but I haven't got them picked out. Okay. So, do you know kind of generally what kind of you want to, is the story you kind of want to tell? Yep. Great. Okay. So you kind of know that. You can write some prompts on some cards, right? Pick your actors and just throw yourself in the room with them. Get a regular meeting time. Explain to them very clearly what the parameters are. Okay. How do I know what the parameters are? Well, well, it's tricky because you're inviting people to help you create your work, which is a, unless the parameters are very clear, that is a minefield because that runs smack into like ownership and stuff. Oh, yes. That's a big, that's a tricky one. So if you've done it before, maybe you can lean on your experiences before with the choreographer. But that's very tricky. You have to explain to them that this is, is it going to say buy Gitanjali? You know what I mean? It's going to say buy the group. Right. Which I haven't done before, but what does that mean? Yeah. What does that mean? Like if it's say, just you're best creative, it's going on, it's on whatever Broadway or your favorite theater or whatever, you know, it's going to be a rights issue. So think about that before you invite people in and also think about why you want to invite people in to write it like that. Cause you could also of course write it by yourself. I could. You know? Actually, I don't think with this piece, I could. I think with other pieces, sure, I could be like the playwright. Okay. Okay. So just do a little bit of back, a little bit of research as to how that all works out. You know what I mean? Maybe there's somebody who's created something like that before you can ask them. Yes, that's it. I don't know, I don't personally, I don't know how that all plays out, but you'll want to know that before you invite actors into the process because they're going to be giving up their creative selves and you want to make sure they're protected and respected, you know? But then write about a whole bunch of prompts and ideas on some cards and just start meeting with them regularly and talking with them about it. I think the project, I mean, I think the process will naturally unfold, you know? But we can talk more about it in a couple of weeks. I think we're off next week because of its MLK day, is that correct? Yes, we're off next week. We're back January 23rd, same time. Same time. We'll pick this up when we go back. I have to jump and put on a dress and go to a gala. Okay, thank you. I'm going to go. Thank you all. We love you guys. Thank you so much for showing up. Thank you. Great questions. Happy New Year. We'll see you next time. Yes, Sam.