 I just want to say thank you to the Public Theater for supporting us for 11 years and thank you also to HowlRound. Those folks came on a few years ago to help us live stream from the lobby and now they're helping us create this beautiful community and so we can meet four days a week and talk with you about your work and your creative process which this is all about. So what we're going to do is we're going to work for 20 minutes and then we're going to talk with you. And if you have a question about your creative process I'm just going to tell you how to get in touch. Go Audrey. Thanks SLP. So as a reminder if you are inside of the Zoom and you have a question all you need to do is click on the participant tab likely at the bottom of your screen on a laptop or the top if you're on an iPad or a tablet and inside of the participant tab is a little raise your hand button. Click on that a little blue hand will appear and I will call on you if there is time. And if you're watching on HowlRound.tv you can tweet at us at watch me work SLP with the hashtag HowlRound H-O-W-L-R-O-U-N-D or you can tweet at the public theater which is at public theater NY or you can write to the public theater's Instagram and that's it. Or you can get one of those owls and send an owl or a pigeon. I'll open my window. That would be great. Okay. Or a pigeon. Either way. Or a bat. Or bats up here in upstate New York. Anyway. All right. Here we go. Hello. Hi. Hi. Hi. So here we are. Back. Maybe someone has a question. I don't see. Oh. Got one. Roxanne. You're up first. Thank you. Um. Hello. Hi there. I wanted to know a concerning research. What are some specific ways or places to find information you need? I know I've been kind of just roaming around Netflix and finding like old movies, for example, you know, going to the library when you can go to the library, but are there like specific places that a playwright can go for research when you don't have a trauma church? Oh, I see. The last part of your question was very telling. So, so right. So are you a custom Roxanne to working with dramaturgs or turges or however you pronounce that word? I don't know how to say it, but no, I'm not. I'm not. Okay. Cause I only work with them, uh, those very helpful, uh, scholar type folk when I'm in production. Okay. So when the play has been written and rewritten and rewritten and rewritten and rewritten and then we get into production and then I'm working with them and they're more of a facilitator. They sort of help the production achieve something. They don't really help. I mean, of course I'm helped also, but they primarily, in my experience, are there to serve this, not only the playwright and the play, but also the whole production. Um, so they might give actors things to look at or reference points, materials to read and that kind of thing that might include some things I've already read as the writer, but that might be things that I've never even encountered. Um, so you're writing something, a play, excuse me, and excuse me again, thank you. You're writing a play and you wonder where's a good place to do research. I would say, yeah, that's of course the library. The library is mostly online now anyway. So, uh, it depends what it is that you're looking for. For example, picture, you know, images of New York City in the 1970s, you know, you'd want to, you could, I think, watch some early Scorsese films, for example. You know what I mean? That's a good place. It depends what you're looking for. So, so can you just briefly tell us what kind of thing you're, you're looking for and maybe we can tell you where to go. Yeah, I am looking for, um, how slang in the 1950s, particularly if there's anything specific among black servicemen who were stationed abroad. Right, right. So, um, maybe there are biographies of these brothers or autobiographies, maybe someone, you know, you can look, you can zoom around, uh, the library online. Um, you can look for maybe articles and magazines. Um, if you, um, any men who were back in the day servicemen, black servicemen, that's a good, you know, firsthand information is always interesting also and super helpful. Um, you can, uh, yeah, I'm trying to think, um, you can also, you know, find, if you find something, again, you can find some real, you know, some like, if you look and say maybe a magazine or maybe look for it, maybe also in the, the predominantly black magazines and newspapers, New Amsterdam news, Chicago defender, the crisis, you know, um, those kinds of magazines that might have had stories, uh, written by folks for folks, you know, you know what I mean? So they might be more likely maybe to include, um, things of wide range and interest, I mean, of what, you know, slant, you know, they might be able to, they might be inclined to include stuff like that. And then you can always make up a few things. Well, I mean, unless it's an historical document for a scholarly publication, okay, great. So you might find three actual slang terms, you know, and make up a couple of them yourself. I don't know. Okay. I mean, you're allowed. It's, it's a, you're writing a work of fiction at play. So. Yeah. Thank you. This was, uh, really helpful. You're welcome. Thanks. Thank you, Xan. Um, all right. Up next, we've got Crystal. Hey, Crystal. How are you doing? Hi. I'm doing okay. How are you? I'm good. It's good to see you. It's good to see you too. Really good to see you. Um, so I, um, I brought my draft in, um, to present and, um, it didn't go so great. Uh, yeah. So I got a set of news that would basically have me start over, um, I think it was, he wanted, he wanted it to be structured differently and he didn't feel like it answered the questions, the, who am I? Um, how did I get here? And, um, what, what do I hope for? Um, the thing I was able to accomplish was I was able to make this person, this demagogue, um, relatable, relatable kind of understandable, which seemed to be impossible to the, to one of the persons who critiques her. Um, um, and so it, it went well in that regard, but everything else was kind of like, you know, um, so I guess my question is, um, I guess I now I'm kind of, I'm not confused. I just don't know how to approach such notes. You know, that's, um, because I thought I was answering the question. So he even made me answer, like, he was like, why did you pick her? And my answer was, well, this person, according to a demagogue, they use fear, they use religion, they use racism to get their agenda. And so this person used Christianity and used fear to, to extract rights from a group of people. And so, like, for me, it was like, like I'm a Christian. So it was like, how could someone take something like Christianity and use it for hate? What ended up being a, you know, a movement of hate? And I mean, we've done, we've seen this happen many times. Yes. Um, but how could one person who was like, just someone who was like a beauty queen really do so much, so much damage in the name of the Lord, you know, um, and so, um, and he was like, I love that answer. I, you know, I was touched by that answer. Um, but now he, his challenge was basically dramatize that answer through this person. And it was like, what? Um, and follow the structure and answer those questions. Um, so I'm kind of like, I have to try to present it either this Friday or next Friday, which doesn't give me a lot of time. Um, but I'm just kind of like, you know, help, you know, I hear you, Crystal. I hear you. Um, so he, who is, I mean, is this a class? This is a class you're taking, I'm guessing. No, this is a project. This is a project, meaning, but, okay. Cause a note, like you didn't answer the question. It sounds like it was an assignment. I mean, I'm not, I'm just trying to, trying to figure out like, yeah, it's a, it's a project and you're presenting it. And the, so the notes from your collaborators. Is that, am I guessing great? I'm just trying to, I had a couple of notes from collaborates, but it was mostly his note, the big gigantic, you didn't follow the structure. His note. So who is, I mean, not, yeah, he's the person who's choosing the writers to produce this piece. The different demagogues. So he's a producer. Kind of producer and from the writers he's chosen, he's saying, write something, you, you and you, and then present it to me and then we will, I will choose which pieces I want to produce. Right. Um, okay. No, I'm just, I'm just, um, um, um, um, I'll just be honest, I don't, I don't, I mean, if you are given an accurate representation of how he gave you notes, is that accurate? Um, I guess what, I mean, I think, I think I'm having, I'm having trouble trying to be, I guess original, but also follow the directions. Um, because I didn't want to look like everyone else, but at the same time I was trying to keep an eye on how the notes were as far as those questions. I was trying to answer those questions. Um, but I also had other things in mind, like, you know, multimedia. I wanted to show one side of her on, you know, at a beauty pageant and, um, and when she's giving speeches and then show this, you know, intimate version of her live on theater. And I guess it got mixed up in, like, stage directions that it didn't come across. Okay. Okay. But so the, the basic sort of the basic, um, okay, are you comfortable with, I mean, it's, it's always a drag to hear like darn, you know, you have notes and you didn't, so you didn't hit the mark. And that's always a drag. I mean, that's never great to hear. Sure. Um, but it's, it's a producer that you want to work with. Yeah, I do mostly because I feel like most of my writing life, I've been writing for me and I've been producing it myself and I've just put it, you know, not waited for people to give me money or, you know, to. Well, oh shit. Oh, where'd you go? Are you there? Oh, no. Hold on one second. It's okay. I think we lost her for the moment. Okay. We'll go to the next one. Yeah, when she comes back, can we, we'll just jump in. Yeah. Okay. Laura, how are we going to go to you while we wait for Crystal? Great. Thanks. Hi, Laura. Hi. How are you? Good. Good to see you. Good to see you. I want to show you. Oh, oh, oh, oh, how nice. Very nice. I like the pink box. Thank you. I was very excited to find the hot pink. So, so yeah, so I've got that for a new project that I'm starting in tandem with the old project. So my, my question is, so I, you know, you were saying about, you know, you want to write every day and ideally at the same time. And so I've been trying to do that. And, and I've been successful in writing just about every day. Great. Yeah. But now that I've got a second project, I'm just kind of curious when you have multiple projects going on, do you pick two different times of the day for two different projects? Do you tend to leave one time of the day for one project and one for another? Or do you just sort of wing it? I'm just, I was just kind of curious. Wing it, wing it, wing it. I mean, I wing, I like, I wing it so much that it doesn't ever look like I'm wing it. Okay. So the, yeah, it's, it's exciting to have more than one project. What I do is I divide, well, it depends, but right now what I do is I write on one project for two hours, say from 10 to noon. And then I write on the second project from say, tutor my kid to avoid the summer slide. And then I write for the second project from one until I come on here and then after I come on here also. Okay, fantastic. So it's two hours on one, two hours on project number one, which is due, has a due date more in the future. I have a little more time to do that one. And then the other one that's, that's more of a priority right now, I spend more time per day on. Okay. So you can totally do it. It's totally, it's doable. You know, it's just, when I say same time of the day, it's because then you can stick to it, you know, like if you have an alarm clock and you say every morning I get up at seven, you know, you just, it holds you to something or I have to be at my job at nine o'clock, you know, or have my first Zoom call in the morning at nine every day, we have our group meeting at nine or watch me work is at five, guess what, I'm turning on the thing at five, you know, that's kind of, so it's something that you can hold yourself to, which is really helpful. Yeah, yeah, to give you writing for yourself. Yeah, it helps you with structure, definitely. Fantastic. Yeah, thanks so much. And it's on your hot pink. Oh, thank you. Really gorgeous. Really gorgeous. Thanks, Laura. There, did Crystal come back? Crystal's back, yeah. Oh, great. Okay, she was talking about how she was working for this producer, which is a big change from writing things primarily for herself. Is that where we left off, Crystal? Yeah, sorry about that. That's okay. Oh, okay. And I guess because I'm so used to that I wanted to learn the discipline of writing for someone else, writing for her, especially if I want to grow in my career as, as a writer as well. And so I was invited into this project by someone else. And so it was kind of like, you know, this person is well known in the writing world. And it was like, this would be a golden opportunity to try to write for somebody else and follow their rules, you know, for, for creating a character and creating a scenario and such. Okay, so it's, so it sounds like a good, a good thing. And it sounds like you want to sort of reach that mark and answer those questions that they say, and you haven't done it yet. So today, Monday, right? You can present it on Friday or Wednesday. Next day, you could present the following Friday. Okay, so you're going to have to double down and get the work done then. Right. And, and if they have certain things that certain marks that you have to hit, you're going to have to hit them. And if you pitch something to that color, that person, a producer, and they said, yeah, yeah, put that in your character like that. You've got your answer already. You just got to double down and do the work and do the rewrite. That's all. Yeah, I talked to me. I think I, I'm, I'm, I don't know how to put this rewrite down and create a brand new one. Because this was this was the third. This was the fourth draft that was like, completely different. So it's like, okay, so how do I make it even different? Like, I don't think I don't know if you have to do make it completely different crystal. I just think you have to infuse that rewrite with answers to those questions. Infuse, you know what I mean? Like, like, like, see, put like if you have a garden and your garden is all kale, right? You've got a garden of kale. I want to have some daisies in there. So you take you're gonna, you're gonna strategically place the daisies in there to give it a shape. It sounds kind of, you know, paint by numbers, but it does give it, it will give it that shape. Those the answer that you gave to your producer person, and that they said, yeah, that sounds good. Just maybe write that down on an index card. Like this is what I want to infuse each scene with. Let's see how she decided to use the power of her fame and religion, you know, against people. I'm paraphrasing what you said, more and more beautifully. You see what I mean? Let's put it every turn. Let's see. And that cousin character, I remember that cousin was following her. You know what I mean? So yeah, so let's let's see. Let's see that happen at every turn. Let's let's make let's bring that to the surface. I just think it's buried underneath some other stuff. That's my guess. That's my that's my guess. I don't think you have to like totally throw it out and then start all over. No, no. Well, no, let's say no. Let's say try it for a day. Say how can I put that idea and that action, evidence of that action in each scene? Try it like that. Evidence of that action. I'm just I'm just I mean, again, not seeing your manuscript and not being able to in this, you know, yeah, right. But but I'm because doing a whole big honker of a rewrite doesn't seem like it's something that you can accomplish by next Friday. Right. Yeah. Okay. Yeah. Okay. So and look over the notes again. You said they said you haven't answered the questions. Yeah, the questions. Who am I? How did I get here? What is my hope? Okay, well, those three questions, they're very specific. I mean, Jim shaking. I mean, I, I have a whole nother thing to say about this, but I'm not going to put it on. I mean, woof, you know, but okay, answer those questions. You know, right. Look at Jim. You can see his head, right? I mean, no, right. Answer those questions. Who am I? How did I get here? And what is my hope? Right. I mean, if she has to give a speech to her cousin in one scene, you know, I'm talking about their past, if she has to give, have a conversation with her best friend or I don't know the characters in the play, but you know, one of her followers, what is her hope? You know, answer those questions, find scene places in the scenes where she can address those questions. Okay. I think I can do that. You know, it's like, it's like a, I don't know, I can't, the analogy, the garden analogy might not have been, it's like a skin graft or a transplant. You're going to take, you know, it can, and it can totally work. Okay. Yeah. You're going to have to work on it hard, though. You're going to have to crank up the, the how much and how hard you're working on it. Yeah. I can, I can dedicate the time to do it, you know, I just, I'm just trying to get the brain space, the brain space to do it. Yeah. We'll make the brain space. Don't wait for it to come. And I would suggest try to crank out a draft by Friday and then polish it for the next week, the week and present it the following Friday. I would say really crank. How many pages is it? 24. Okay. Okay. Guess what? 24. What's 24 divided by five, you know, right? So we're rewriting, you know, you're rewriting like five pages a day by Friday, and then you're going to rewrite until the next Friday. Okay. Okay. Yeah. Yeah, for sure. Okay. Yeah. Look at those questions. How can I put this stuff in this scene I got right now? How can I put this stuff in the scene I got right now? Yeah. Okay. Yeah. Okay. Okay. Thank you. You're welcome. Thanks, Crystal. All right. Chris, you're up next. You there? Hello. My question is I finished a number of drafts of a short film script that I was working on and I feel like that that project needs space. And so I'm now looking at what the next project is that I want to work on. I've been doing free writes and I've been drafting different story outlines. And I have some like ideas that feel larger. But when I try to go into them, I feel like a loose steam with the idea like it in the marathon running analogy, it feels like I haven't like worked up enough stamina yet in order to get through a larger piece. But it feels like with my smaller ideas, like when I looked at look at the story outlines, it doesn't feel like there's any that are grabbing me yet. So I'm wondering what you do when you're between project ideas and and like how you like, I don't know, get started. Yeah, yeah. Yeah. I mean, Chris, when I one day I will be between project ideas and then I'm going to sit. I mean, I'm at my mom's house right now. I'm going to go in the backyard. Maybe it'll happen in the next month or I don't know what I go and sit in the sunshine and go, I don't do shit. I don't do shit. I take a chill, you know, I like read a book, watch a movie, you know. So that's that. Okay, I just I just enjoy sort of the space between the projects. That's one thing. It might be a good time also to fill the well, you know, between I mean, say go back to your marathon analogy, which is which I love, because I used to be a long distance runner. And it's like, you don't want to run like a marathon back to back. You know what I mean? You want to take a little bit of a rest time, right? So there could be that even if it's just three days, just to go. It's been like, it's been like a month at this point. Okay, okay. So maybe there's a little like it's time to work now. Yeah. And I don't know if it's that like, that the ideas just don't like I don't have enough of a seed of an idea to grow something. And that's why none of them have taken yet. Or if it's an issue with, um, uh, like my craft or not being able to focus or just like buckle down and and outline the thing and write the thing, but it doesn't feel like it has the like the the wings to it yet. If that makes Well, well, maybe it doesn't. And that's okay. Maybe it's a maybe you'll write a couple more short things before you write a long thing. I mean, I would say, I mean, just listen to your words and I've used them to, you know, focus and buckle down and, you know, get to it kind of thing. I would, um, I would say how about, you know, embrace where you are, be grateful for what you got, not that you're not, Chris, not that you're not, you know, but but maybe your next project is another short thing. You know, I mean, Sam Shepard said, you know, what is this thing with time? Everyone wants to be if you want to be a real writer, you write long things and not real writers write short things. He said that's a bunch of bullshit. You know, um, we can we can write a number of different things and a number of different lengths and they're all great. They can all be great. So, you know, you can you don't have to do like the roof of the ceiling of the Sistine Chapel to be an artist. You can be like Joseph Cornell and do little Cornell boxes, you know, it's all beautiful and cool. Um, and you can do both, you know, so I would say if you're you tend to be writing right now, you run out of steam and write a short thing, that's okay. If you write one every other day, that's kind of cool. You know, that's beautiful. Um, and allow your artistic process to flower to flower. Okay. On its own. It knows more than you do. Yeah, I don't want you to buckle it down and force it. Yeah, it doesn't sound like a great thing. It doesn't sound like you lack focus. It doesn't sound like you lack focus to me. You know what I mean? It doesn't sound like you're lazy or any of those words that we like beat ourselves up. Stupid. Yeah, you're not doing it. You know what I mean? Yeah, you're doing you're right in the flow, man. Okay. You know, just just really be grateful for it. It's a beautiful time. Thank you. You're welcome. Thanks. Thanks. All right, we've got about 10 minutes left. I don't have a question at the moment. Oh, you know what we have to do? Buckle down. Oh, Greg. Oh, here we go. Greg, practice our posture. Oh, yeah. Oh, yeah. OK, I really need to. Oh, there we go. You do? OK. Oh, are you there, Greg? Yeah, hi, I was just trying. I was sorry. Hi, not a burning question, but since no one had their hand up, I always have a question. So I do a lot of work that that's research based and actually so I'm working from a trial transcript right now. And I can't actually I was at the trial and I took a lot of notes, but I can't actually get the trial transcripts because I have to go to Baltimore and get, you know, go to the courthouse and all that stuff. So I'm working from my notes and, you know, I took really solid notes and I'm kind of writing a scene out of this prosecutorial thing, but it's not what's been said. And I'm just I my idea is that eventually I'm going to be able to do a workshop in Baltimore and go get the proper work and all that stuff. But until that time, I'm feeling weird about it because it's important stuff. And and, you know, it's it's real, you know, it's like a real thing. And if I were to do a workshop before I could get the research, I guess I'm just wondering how you might approach such a situation. I know you don't. Right from the real that are the the the literally real. I I just this morning, I wrote something and I was like, I can't find the actual quote that the man said. So I'm going to write this and, you know, I'm going to find the quote in a week or two or whatever. And I'll pop it in there. That's what I would suggest, Greg. Go ahead and do what you can, when you can and and leave the rest for when you can do that. And if they have a workshop before you could get the right words, you'd just go ahead and do it with. Yes, sure, Greg. I would make a big disclaimer or you could even type at the top of the scene just for yourself. Don't worry, Greg. You can't get the transcript. But when you do, you're going to pop in the correct words. Don't hate on yourself too much for it, man. Just just write the scene. Right. I mean, right. You know me. Yeah, I know you right. And then it's OK. You can also by the time if you go get to Baltimore before you get the transcripts, you can tell the actors in scene. It's a big thing, man. I couldn't do that. Please forgive me. I will. By the time we did it, OK, but the fact that you were actually there and you actually took notes is a great credit to your writing and your commitment to the project. OK, thank you. Yeah, you're not slacking, man. OK. All right. Don't worry. Thanks, Greg. I know y'all are tough, man. Y'all are tough on yourselves. Oh, crap. Oh, up next, we've got Dwayne. Oh, yeah. Hey, Dwayne. Hi. Hi. Hey, thanks for taking my call, I guess, as they say. So I am. What happened with the project that I'm working on is I got the rights to a bunch of great music like songs and like rock songs. Yeah. So and like, you know, kind of like Green Day did American Idiot kind of a situation where I'm having these great rock songs and I'm trying to form them into a full length musical. And the songs are great. And but I've been having a difficult time finding ways for the characters to justify their points of view, to sing a particular song. And I'm working with the writer a bit to like change some lyrics. But this puzzle has been really hounding me for several years. I've been working on this project and I don't know really how to like find a way to justify the songs from the characters, perspectives and the moments. I'm just having a hard time. The pieces almost fit, but they don't quite. And I don't know necessarily even what my question is for you, but that I just wanted to see if there's any kind of insight you might be able to give. Yeah, it sounds like a really cool project asking. You don't have to tell me specifically, but are the songs written, are they from the same band? Yeah, they're the same band. And they have a thematic, you know, part of their music. Pretty thematic, even characters that appear in various songs. Oh, that makes it that right. That's really cool. That's really cool. It's tricky. It might, it's something that you might get so close and then solve the rest of it in workshop, you know. Once you get in a room full of people, you might, if the pieces are almost fitting, they might click in totally in a workshop situation. You have a list of the songs that you want to include. You have the order pretty much set. Well, you know, I've been shaping it for a long period of time. And yes, I think I have a basic structure, but sometimes, you know, I can't make the scene as intense as the music that you need to justify. Right, right. I mean, sometimes it's, because when you work with music, as you know, you can pull back and have fewer words in there and let the song really take over, you know. You can let the song take over, you can let the song fuel, well, I'm telling you all the things you already know from working on it. It's tricky not to, you know, not to sort of know specifically, and I don't want you to keep the specifics private. But I would just say, do this, try, if you have the great song, take away all the dialogue and see what happens if you just run the scene before it, the song, and then the scene after it, right? And you're gonna be tracking the character who sings the song, right? Yeah. Okay. So with no dialogue, no scene, just say nothing happens. Just say the only thing that happens in that scene is somebody sings that song. And then you have the scene before it and the scene after it. And you could do what children do when they learn, or people do when they learn to read context. If you don't know the meaning of something, you get it out of context, you look at the sentence, right? So sometimes you might get like, oh, this is what might be happening in that song. You could also maybe, so you could try that. You can also maybe play around with the tempo of the song. Sometimes, you know, like anthems could be sung as maybe more ballady songs to give you sort of another way of looking at the song, you know? Because you know the writers of the song. So you can play around with the way the song is presented. Sometimes, you know, a happy song could be turned into a sad song with different sort of choral progressions underneath. Mm-hmm. A lot of talking, but just play with it. Try everything since you have a huge bunch of it already done. Just kind of throw things up in the air and see what happens. Okay, good. Okay, okay. Sounds like a great project. Yeah, thank you. I appreciate that. Thanks, Dwayne. All right, we've got about two and a half minutes left and we don't have a question at the moment. Oh, we've got two people raising their hands. Oh, now I have to talk really fast. Okay, fast, okay, bring it up. Go. Are you there? Yeah. Okay, can you hear me? Yes, hi, how you doing? Hi, hi, this is Lori, hi Audrey, everyone. So I might share again tomorrow because I have some updates on my going in hot, but smart with my, Oh, cool. The magazine that I mentioned. But at this moment, I just wanted to share with everyone that I have a profoundly renewed or new passion and love of tree. I'm sitting outside right now and what used to be behind me was this beautiful, unique tree that my landlord told me he was going to shorten, but he actually chopped it down yesterday. And I'm like, I was devastated. And so in my 20 minutes today, I am writing about this whole process of being connected to nature and really being forced to, how do we show up for unexpected or shocking disappointments? And I think I have particular attachment because this outdoor space has been my oasis during quarantine. And I have a friend who called it Arbor Sight to just kill, let me just chop down. And I don't think the tree is dead. So, you know, I've been renamed as the Tree of Resilience. I could come back. And, but with the writing, maybe just how often, I'm curious, how often do you find your writing to be just like a source of or life experience, writing about this experience around the tree. And I did a little tree honoring ceremony this morning that it's like my therapy right now to express it on paper and to, as always, find a way to bring about a sense of gratitude or inspiration for someone else. I mean, maybe that's all that the artistic process is. And when we stray from it, maybe that's when we're in the wrong. You know what I mean? When we're thinking more about how we can cash in on something, how we can make a career move, you know? Maybe that's when we get off track. And maybe, like I was saying the other day about Pythagoras said about music, that the first music is first and foremost so that we can align ourselves more effectively with ourselves. So if you play an instrument, it's not like, how am I gonna make a hit? It's more like, how do I align myself with myself? And I think the same thing is about, we could say the same thing about writing or painting or dancing or being a good spouse or being a wonderful parent or parenting. How do I align myself with myself? That's the first thing we need to focus on. So if you're feeling the need to, you're feeling that in your writing, I think that's exactly what it's for, really. Everything else is just bells and whistles. So you're on the right track, sister. It's 6-0-1. It's 6-0-1 on a Monday guys. On a Monday. Yeah, I was like, wow, it feels like a Monday. It is a Monday. It really was a very Monday Monday. Monday is Monday. Yeah, yeah. But as a reminder, everybody, please sign up by 3 p.m. Eastern time every single day, Monday to Thursday. And I will, on the public theater website or around and I'll send you a link between three and 4.30 Eastern and we'll see you here at five. All right, thank you guys. Love you. Thanks, it's okay. We love you. Love you too. Bye bye.