 We're back now, we're so happy to be back. So I just want to give a big thanks to the public theater and to HowlRound because HowlRound makes this Zoom magic possible and Thea and Audrey and Miranda are here to support us with that. We really thank you guys for being here to support us. So yeah, so how, well, how, those of you who don't know how Watchman work goes, here's how it goes. Basically, we work together for 20 minutes and I still have my little timer. So I'm gonna time us for 20 minutes and then we're going to, and you can work on anything you want. And then we will talk with the time remaining. We'll go for an hour. We will talk about your work and your creative process. Okay, so we won't be reading our work. We don't have the time space continuum for that, but we will be talking, we'll be inviting you to talk about your work and your creative process. So like, you know, I have trouble getting started or I don't know when I'm finished or how do I get a character to talk to me or I'm having trouble with the story of my novel or I'm having trouble writing a song, whatever, whatever it is, your process, that's what we want to talk about. Audrey, is there anything else we need to mention? Yes, so here's how you ask a question. So I'm gonna record, sorry. I know, I'm like, do I remember how to do it? So basically we will be taking questions, as Susan Laurie said. You can ask a question if you're inside of the Zoom by clicking the raise your hand button, which I believe is on the top of your screen or the bottom. I'm gonna find out and get back to you about that. But you'll hit the raise your hand button and then we will call on you. It's not in any particular order necessarily and we try and get to as many questions as we can before our time is up. If you are watching on HowlRound.TV you can tweet a question at us at Watch Me Work SLP with the hashtag HowlRound, H-O-W-L-R-O-U-N-D. And we will be looking at that and we'll try to get to those as well. But I think that is it. Yeah, except we have to comment, we have to say hi to Lynn. We have to say hi to Ryan's mustache. Ah! Because that is kind of new to us. Okay, and so we got all that out of the way. Here we go, I'm gonna set the timer. It's already set, haha. So here we go, we're gonna work and then we're gonna talk. So here we go. Oh, hold on SLP, I'm gonna make you a host so you can unmute yourself. Okay, all right. All right, all right. So we just did the work part. Now we're gonna do the talk part or we did the action and now we're gonna do the dialogue. So anybody have any questions about your work, your creative process? You know, fire away. Let's talk. Look at all these beautiful people. Hi people, I recognize. Like Emanuella and Nick and all you guys. All right, Crystal, you're up. You have a question, all right girls. Hi. It's so good to see you, it's so good to be back. Congratulations on everything that's been happening. I'm just, when I saw the email, I was elated. It's the highlight of my week, my month, my year. So thank you. Thank you. So actually I worked on something, I'm working on something different today but I don't, honestly, I don't remember the last time we met, the last time we met, I was working on a piece called The Father Chronicles. Yes, okay. You remember? Okay, good. So I started, I submitted it to a couple of places. Oh great. And I got to do a reading at the cherry lane of a portion of the play. So that was really awesome. But I feel like it's one of those pieces that might be like a lifelong piece. Like I'll just kind of add onto it as like life kind of, maybe there'll be a second volume or something like that. But I don't, when I wrote it, it was very, it was very soul led, emotionally led. And I guess now, you know, now it's like, okay, if I want to add onto it, how do I, how do I write from the same place, but some time has passed. And so the emotional urgency isn't there to get it out. So like, how do I still write the same, with the same urgency, even though it's not there, but I guess from a different perspective, like I've kind of run out of ideas in other words. And I've run out of fire, sorry, fire for it. So I guess I'm just wondering how, how do I continue the process of that particular story, knowing that it's just gonna take, it's probably just gonna be something that's gonna be a part of my life for a long while. I love that question. That's such a good question. Because so you always have some of the best questions. It's like, yeah, going right to the heart of stuff that is important to you. And it's beautiful how your questions are often like, so helpful, I mean, answers and the questions are just so helpful to other people, to all of us. Thank you. No, cause I just enjoy it. It's like, so you've started writing this piece, you've gotten a lot of it done. You know that it's gonna take a lot more work. When you started it, you had this fire, this urgency, right? And now knowing that it's gonna take something you're gonna be adding on throughout your whole life, or at least for a little while longer, maybe a couple, you don't know, but it's gonna take more time. How do you write with the same kind of fire and urgency? Right? I mean, now you guys know me. I'm gonna talk about dating, right? It's like dating. That first date, you could hear the music, right? It's like your favorite, that kind of thing. And then like, you're with somebody for a little while and then like, who's gonna do the dishes? And are you gonna go out in the snow and get the milk or the soy milk or whatever it is, you know what I'm saying? It's like, sort of passion can get you in bed, but you want something to keep you, right? And that's dedication, right? That's dedication. So you have to treat it like you would a spouse or a relationship or just a good friend. Let's take the romance thing out of it, just a good friend, right? I mean, so the first, so when you're writing your work in the beginning, it's all like, yeah, I'm excited. I'm on fire, you know, I'm gonna roll. This is great. And then like, then it's like, all right, now you gotta just show up every day and you gotta throw some words down, right? And that's what you got to do. So I would say, dedication, disciplines, a schedule is your friend, right? And you know, this is like, I'm the broken round, the mom keeps saying the same thing. But it's been very helpful to me because, you know, I start things and then, you know, after whatever week, a month, a year, whatever, I'm not as excited about them, but then the schedule is my friend. So I say, I pick a time every day where I'm gonna show up for the work, right? And Chris, I mean, say you're writing more than one thing, right? But you say, I'm gonna show up for this, for the father Chronicles for 30 minutes a day, 30 minutes every day, or whatever time is manageable. You have 15 minutes, you know, whatever time is manageable. I would say choose a 30 minute time, so I'm sorry, I have my guitar picks on, choose a smallish time slot so it can be manageable, you know? So 30 minutes a day, every day, you're gonna show up for the father Chronicles. You're just gonna, just talk to the play. Just, what do I got? You know, again, some of my, you know, my favorite things, where are they? Here they are, my desk is such a mess. Ooh, look, it's the index card. Ta-da-da-da! Blank, I know, right? My favorite thing, I've done more writing. I know, I'm a bag lady, but oh my gosh, there's some projects in there. And look, here's some more. Oh, look, it's a different project. Look, look, I've done more writing on index cards. How great is that? So you get your index card, you get a clip, right? Maybe you just, I'm just gonna blah, blah, blah, on index cards about the father Chronicles, right? Or open a file on your computer, just as good, right? I'm gonna just write for 15 minutes about what I'm thinking. I imagine a scene, I imagine a monologue. I think of something that could happen, a piece of plot line, okay? Does that make sense? So in addition to passion, which helps us in our creative endeavors, dedication, discipline, a schedule, will also help us get to the finished line with any given project, okay? Yeah. Does that help a little, a little bit? Yes. Does the scene doable, you know, 15 minutes? If I could do 15 minutes, I think that's doable. For this particular piece, I mean, I've come to watch me work and have only had like two sentences come out in the 20 minutes. But if I know that like there's a set time that I'm constantly coming to it, I can do it. Yeah, there you go. Just set aside 15 minutes, set your timer and just write. And dare, Crystal, dare to write something less than great. Yeah. I think that's my fear only because where, you know, again, where I was writing from was like a grieving place. And now it's like, oh no, like it's not that, that's not there. It's just that in the in between times, I got nothing, you know? Or there's, you know, I don't know. You can replace the I got nothing to I got something. Just a little, maybe it's just a little harder to get at. Yeah. So maybe it's, maybe the emotions are more, you know, shy, they're shy emotions. They're emotions that aren't so ready to come out, you know? They need a little coaxing, you know? They need a little more faith in them. Maybe they don't think they're appropriate. You know? Yeah. You know, maybe they're awkward and weird and not as nicely formed or as, you know, as fully formed, you know? Yeah. So they need a little more dedication on your part, you know? Yeah. You know, before you were showing up for yourself and for the grieving process, and now you're showing up for that next level of writing. Which is the dedication. Yeah. And that's, you know, and there that's where the artist is made. Yeah. Okay. You know? Yeah. You know? Yeah. So it's also just to know that what you're going through is also all part of the artist's path. It's all part of the journey, you know? It's not like you fail because it doesn't come easily or it doesn't feel all the same, you know? Yeah. You can also tell yourself when you say I got nothing, say I got nothing that's easy right now. I'm digging. I'm sitting for it. You know, give yourself some positive feedback. Okay. You know, that'll help. Okay. Yeah. Yeah. Good thing. Thank you. Thank you. I always love your questions. I love saying your crystal. Same here. It's crystal. All right, we've got our next question. Monique. All right. Go for it. Hi. I was wondering if you can talk a little bit about what happens for you in the revision stage. So you wrote the first draft and what are you looking for? What do you do in that next draft? Great. That's a great question, Monique. Again, a great question was just helpful to me and for everybody. So yeah, there's, let's see. There's, I often say there's two kinds of courage. There's the writing, the courage of writing, the courage of making that first draft, right? Which takes a lot of nerve and guts and passion and dedication and all those things. And then there's the nerve, passion and dedication that comes with the rewriting process. That's the second kind of courage, right? What I'm looking for and what I encourage people to look for is listen for, if you read it, it can read your work aloud, right? Preferably standing. Cause you're on your feet, you know what I mean? I mean, no one has to be watched. You don't have to have an audience. That's not what I'm implying. But you stand up there and you read your work aloud to yourself. I mean, you read it out loud if you can get some privacy in your room and you listen for where it feels like it's moving along and then where maybe it feels like it's going like that, okay? So those parts you can just note, like, okay, I'm not as engaged right there, you know? Maybe, you know, I'm not sitting forward. I'm not leaning forward. I'm kind of leaning back, okay? The energy isn't quite as intense as together. So you look for those parts. And that's the main thing I look for where my energy is sharp and where it lags. And I also read it and go, how is this, how does this thing feel? What is this scene, what is this scene about? You know, if it's a play, even if it's a novel, what is this chapter about, you know? Or if you're writing a song, I was, during our time I was working on a song and like the lyrics were like like that. And I'm like, nah, that's like my energy's leaning back, right? So I'm like, okay, what am I really trying to get to right here, you know? So I can pull it forward, become more intense with it. Does that make sense? Yeah, and I often do this little game just for fun. So what's your, do you, let's see. What's your favorite color? I'll give you some choices. Brown, gray, black, white. Which one would you choose? Gray. Okay, great, good. Like we'll say today, gray, silver, okay. And can you think of your favorite piece of music just off the top of your head? It would be something by Rochelle Ferrell. Great, Rochelle Ferrell, okay, great. So there you are on this gray horse, right? This beautiful gray horse. And you have in your hand the sword of discrimination, which isn't like racial discrimination. It's like, you can tell what should be in your work and what shouldn't be in your work, right? And you got your favorite song on and you were going through a field and you were cutting down everything. Plants, these are plants, like a wheat field. You're pruning everything that doesn't fit, doesn't sound right, right? And you're just going. And so it's a joyous process. And the beautiful thing about doing that kind of pruning in your work, in my experience, what happens when you cut something, I say I take out the magic scissors. One of my favorite songs is, what's that song? This shit too high, you got to cut it. Anyway, it's about drugs, but I pretend it's about writing. So, but I cut stuff and what happens when we cut is that it falls to the ground and it falls on fertile ground. And so more often than not, you will find another place to put that maybe beautiful passage that you cut, that beautiful line of dialogue, that beautiful moment in your novel, those beautiful lyrics, you know? So it's not like you're cutting them and throwing away and you'll never see them again. You're cutting to make the thing that you have the strongest it can be. And then the other bits that you've cut will probably resurface in some other work at another time. Okay, so it's a joyous process. The editing is a very joyous process. Okay. Thank you. Thanks, Monique. Great question. All right. It's like we don't have a question in that moment. And it might be because I forgot how to tell everyone how to raise our hands. So if you're looking at the bottom of your screen, it's in the reactions category. Oh, is that where it is? Yes, this is different than a history. I know, reactions. So you can click raise hand in the reactions. Oh shit, I'm looking at that now. I don't want to raise my hand, but I'm not. Susan has a question. I don't know. We also sit inside. We also just sit in the right... Yeah, I've got a question for my manual. Hey, there you go. Hi, again. I'm so happy it makes my heart very warm that this is going again. It was amazing during the lockdown. So anyway, thank you for holding this again. Are you still... Were you calling from France? No. Yes. Yeah. Right, right. I remember. Okay. Yeah, okay. Still calling from France. Still calling from France. Woo-hoo! Okay. So I have a question. More and more, I want to get more serious about writing. I've always done it, but it's... And it's something that I feel is very important, but it's always taken a back seat. And I think it might be fear or something, so... But right now, it feels like a transition period. The lockdown helped a lot with that. That it's something that is vital and needs to come to the forefront. So I guess some kind of advice to get rid of all the distractions and everything else that becomes important and more important and takes all your attention. And so, oh, I don't have time to write, but that's a very big excuse. So that's my question. How to give birth to that importance. Right, right, right. That's really... That's another really good question. That's a good thing. Okay, that is great. And we all have something that we have things that we feel more comfortable doing, whatever it is. You know, like what do you do for your job, job manual? I am an actor, singer, and I teach as well. Okay, okay. I've got all different projects that kind of take up a lot of time. So you're already putting yourself out there in a major way, right? You're already putting yourself out there in a major way. So this is... So maybe you say, oh, whatever, I'm preparing for a role. I'm going to an audition, I'm teaching a class, I don't have time for my own writing. So maybe you put those important things getting to the forefront, right? And your writing might be taking it back to these things. So it's harder to look critically at those important things because that might be how you pay your rent or it might be how you just have your great joys in your life. If you're spending, you know, 20 hours a day doom scrolling, that's easy to talk about cutting out. But if you're spending many hours a day preparing for a class or teaching a class or whatever, that's a little difficult. So let's just say that nothing that's taken up your time is bad, okay? Let's not like condemn the stuff that's taken up your time. Let's just, like you said, make room for the thing that you also very much want to do. And I would say deadlines are good or finished lines, you know, are good. So I would say maybe friendship groups. This group is really good for that. I know a lot of people who come to watch me work have said, and James is not, I said people are not, Jim did. You know, people not, we said like, okay, so how about by the end of the year, right? The end of the calendar year, December, you cross the finish line with a piece that you're wanting to finish, okay? Is that possible, you know? Is that possible? Yeah. Okay. So how many pages of that piece would you need to write? Do you think? I'd say 50. 50? 50. Okay, 50. Okay, great. So today is the 15th of November or the 16th of November in France. So anybody go with math? We got 30 days in December-ish, you know, 31 days. And then we got like... It was 45 days, I guess. Thank you. Great, great. Okay, okay. So you got like, let's just say, let's just say you got to throw out, throw down a page a day. Right? That's okay. That's okay. I didn't say they have to be like prize winning, publishable, the world is gonna read them pages. I said pages. We're talking what Julia Cameron says a lot. We're talking quantity. Don't worry about the quality, right? We don't worry about the quality. Not when you're just running toward the finish line, okay? So what I want you to do is see if you can get a page a day, okay? Yeah. Which means what? You're gonna have to, do you have maybe 30 minutes a day to devote to this project? Okay. Do you have two instances of 30 minutes a day when you can devote to this project? Yeah. Okay, because that's kind of dealable, right? If I say like, okay, sit down and turn on your timer for a whole hour. That's like, ah, right? Yeah. If you have two 30-minute segments a day that might be more manageable, or four 15-minute segments a day, whatever works in your day. And then I just want you to set your timer and just spew stuff, vomit stuff. And we can get competitive about who's gonna write the shittiest draft, but what you're gonna do is you're gonna get in the habit of prioritizing your writing, building a habit. And someone said, I was reading somewhere, I'm looking around, it takes 21 days to make a habit, whatever, you're training yourself. You're training your brain, you're training your whatever, wiring, whatever it's called in there, right? Okay, you're training yourself in the habit of your day, maybe if you have a spouse or roommates or something, you're training them to see you writing, all that kind of stuff, right? Training your cat, oh, that's impossible, but look cat, I'm writing, you know? Okay, but does that make sense? So what you want to do is you want to give yourself 30 minutes, a couple of blocks a day in which you're just gonna vomit out stuff. And what you're looking for is to get a manuscript of a certain length. And then at the end of the year, you write the end on it. And then we go into what we talked about with Monique a minute ago, then we'll talk about rewriting, okay? Because your task is not to write the best thing the world has ever read, but your task is to prioritize your writing. That's what we're doing right now. Very sneaky this shit, right? Sneaky shit up here. Okay, right? Okay, you do it every day. And even if some days you're going, oh my God, I hate my writing, so set the timer for 15 minutes. Pretend like you're in a zombie movie, just pretend. Zombies are coming and writing will help them stay away from me. Zombies biting my neck, writing's gonna help it stop. You know what, just make a fucking game of it, shit. The things we do to get our work done, okay? Does that help? And when we have right, watch me work, and we're gonna figure out, I'm gonna figure out with Audrey after this class how often we're gonna be able to do this, we're gonna figure out, and then you come and you check in and you go, yo, you know, okay, I wrote every day this week, you know, like that. Okay? Okay? That's amazing. Yes. Yes. Good, good question. Thank you, thank you. Good to see you. Yeah, great to see you. Thank you. All right, we've got another question from Emke Glee. Oh, right, yeah. There you go. Thank you. Hello, I'm so happy to see you. Hey, yeah, thank you. Hey. Hello. So this is my question and, you know, bear with me because I am a new playwright. And so what I'm struggling with right now is fitting my writing into form. So I've spent a lot of time with various teachers learning how to write some of the subconscious. And so I feel very confident in my ability to do that. I have characters, I have stories, there are things I wanna say. I can get it down on paper, I can write the play, but I need to fit it into a form so that because this is performance art and people have an expectation when they're coming to see a play, like it needs to hit certain beats or we need to make sure that the person, you know, that our characters have, that they're going after goals and wants and the audience can track those things. And so when I'm writing my plays and I'm going back and I'm editing them, trying not to write a whole new play in the editing process, that's been a huge struggle because I feel like I'm losing the organic story that I was telling that was coming out of my subconscious because I'm trying to, which I need to fit it into form. So it doesn't sound like, sounds like you're doing great. I know. I mean, that's what I was working on during this period was, okay, I need to make sure that this is hitting all of those check marks, I guess, but I don't want to call it that. I just want to make sure that the story that I'm telling is resonating with the audience. Uh-huh, uh-huh, uh-huh. Well, it's so, so, hmm, hmm, uh-huh. Do you have kids? No. A pet? I used to. A dog? Cat. It was a cat. Yeah. Right. Cats are a little tricky because of it. But no, but because cats have a big subconscious and it's like, I am always gonna be free. You know, okay, great cat, great. But cats also appreciate structure also. They like to be fed, right? By their person, okay? What I'm saying is your relationship between your subconscious and the check marks or whatever the story beats, let's call them, right? That you're talking about is not adversarial. It's like a cat to its person. Ooh, oh, good. Oh, good. Cat like, oh yeah, so I like that very much. Your subconscious really likes that because when you take the story and allow it to organize itself in within those story beats, then you crank up the delivery system, right? Have you ever had someone tell you a story like, blah, blah, blah, blah, blah, blah, blah, blah, blah? Yeah, you're like, what are they even fucking talking about? Right? I mean, all those people who just random ass shit, right? And then someone's gonna tell you, okay, once upon a time there was this woman, right? And she had some long hair and she was up in a tower, okay? And then you're like, yeah, wow, right? We, so you're improving the delivery system. And that's what those story beats do, okay? Okay, so I think part of, maybe what I'm hearing is part of the problem is you think that they're in conflict. They're not in conflict. They're actually the same thing. It's just, yeah, okay? They're very friendly, okay? It's like, I mean, and I've had, well, I've had a couple of cats and more dogs than cats, you know, and a kid. You know, kids, you think, oh, they just wanna be free. They just wanna do that. No, they don't. No, they want a parent to say, sit down and eat your food, eat your dinner, do your homework. Kids need structure so they can grow into, you know, like people who you wanna have a conversation with, okay? Okay, so you're, and your story wants a structure also. It longs for that. And there might be people who tell you differently and that might be true for them. My experience, and I have a very active subconscious, you know, but my subconscious, oh, it's like a cat. Yes, oh, yes. Then, because then I can tell you a story that's gonna click into your head, quiet all the chatter, all the background chatter and totally like control the room of a thousand people at a time. So if you wanna do that, you know, make friends with the strong friends. Yeah, make friends, but your friends already, your friends already, it's not make friends. Just acknowledge, you know, pet the cat. That makes so much sense, okay? Yeah, I was coming at it from this adversary point of view, but we both serve a purpose, so. Yeah, pet the cat, that's gonna purr. It's gonna be great. I'm happy about it. Thank you. And remember, like I was telling Monique, everything you trim and cut and shape, if you have to put it off to the side, no worries, it's gonna flower in a different work. You know what I mean? It's not dead, it won't die, it's just gonna grow in a different garden, no worries. Okay, thank you. You're welcome. I'm gonna take that on too. I don't have any too. All right, we've got about five and a half minutes left, so we've got maybe one more question. All right, looks like Mary has a question. Go for it, Mary. Hey, Mary. I'm in graduate school right now to get my MFA in theater to be a theater educator. Cool. And I have never taken a playwriting class, but I've always enjoyed, obviously, I love theater, I love plays. So I'm just starting to delve into playwriting, and of course, not being offered next semester. When you're writing a play, do you write like a synopsis or a story first before you get into dialogue? And I know this is very like playwriting 101 question, but I just don't, I have a great, I think it's a great idea for a play, but I don't really know where to start. Right, right, I love that question. I think it's a great question. It depends on the project, how I approach it. I would suggest a, like an outline, a beat sheet, a synopsis. Why do I suggest that? Because again, you don't, like we're talking to him, you don't get so wrapped up in the river of your subconscious, you know? So, and the subconscious can take you like undertow. Woo, where'd she go? I don't know. Or suddenly you're whatever, Virginia Woolf and you're lost in the river. No, what's great about an outline or a beat sheet, beat sheet means this happens and this happens and this happens, right? So you can, the beats of the story. What's great about starting with a beat sheet or again, my favorite thing, index cards. I love those index cards. I studied dance for years and Twyla Tharp has a similar, she makes boxes when she's working on a project and she puts everything in a box. Oh cool. And sometimes she forgets about the box. Oh wow. And then Maria comes back to us and she circles back to the box of ideas. Oh wow. Wow. Very cool. I have bag, I have plastic bags. That's so sad. I know, it's sad. I'm a bag lady. She's a box lady. She's a box lady, bag lady. Box lady, bag lady. But so the cards, so this is kind of because it's sort of, I love cards because you can carry them around in your bag or backpack or fanny pack or sling or pocket, right? They're kind of cool. You can write your story beats on little cards. Also, as you know, you shuffle the cards around. If this is scene one and then suddenly you want it to be scene five, you just kind of do that. It's so cool. So you write your story beats on index cards, Mary, or you write them on, you use a document on your computer and then you can start to imagine what it's gonna look like. And you just, as much as you can, just run the story in your head and see what you think. Pretend you're in the theater watching and just let the curtain come up or there's a curtain. There's the play. What's happening? Just write down what you see, right? And if you see, like, okay, the first thing I see is someone is, you know, I don't know, chasing a duck, all right? And then, you know, it's nothing. I don't really see anything. But at the end of the play, I know that the duck is in therapy on the couch in analysis, actually in some analysis. And that's the end of the play. So that's all I see right now. So then you go back and keep visiting it and you keep fleshing it out. Does that make sense? That makes such perfect sense. And I have a great, I think I have a great imagination, but I always imagine things, even if I'm choreographing or directing a piece. I envision it. And I guess I just have to use that same imagination, what I see in playwriting as well. Exactly right, exactly right. Thank you. Thank you so much. You're welcome. You're welcome. Good luck with it. And check back in. Tell us how it's going. I will definitely. All right. Thanks, Mary. All right. So we've got just about a minute left. So we wanna wrap up. Yeah, let's wrap up. Let's wrap up. We are going, we are back. Do we watch the work? We're so happy to see everybody. I just love this experience with you guys. And it really meant a lot when we were in the thick of the pandemic. I mean, we probably still are in the thick of the pandemic, but when we were doing it every day, and those of you who showed up, like every single day, day after day after day, it was a really beautiful thing. And now we're back. So we're gonna figure out, Audrey and I are gonna circle up after this and figure out what the schedule might be. Just so, yeah, just so we're here and whatever. That's so vague. Exactly. We'll let you know soon. So we're consistent, but it's gonna be on Mondays. Love you guys too. It's gonna be on Mondays. It's gonna be at 5 p.m. And we're gonna just go for it. And now that we're all back at the public theater and how around is back in. So we really appreciate you guys for being here. And Ryan's mustache. Yeah, that's right. Dude. Okay, I'm just playing with you. Okay, so we love you guys. We'll see you in something, anything, Audrey, you wanna say and add? No, just keep checking the website. We'll add some dates as we have them. Okay, love you guys. Okay, see you next time. Thank you.