 11 years in the lobby of the public theater, mostly, and in theaters and venues all around the world. But big thanks to the public theater for all their support. Also thanks to HowlRound, who have been supporting us. We started live streaming a few years ago, and HowlRound is also working with the public theater to create this community, which is awesome. So thank you for that. What, so what do we do here? We work together, watch me work. It's about you. We work together. And then for 20 minutes, we work together. And then I take questions about your work and your creative process. So we can all start talking about the creative process. What we don't have the bandwidth to do in this format is for you to read your work and have me critique it. We don't do that, but we do talk a lot about process and how you're doing it and how you're keeping going, especially in these difficult times. Audrey, are you gonna tell us how they can get in touch? Sure, well. All right, so if you are in the Zoom, how you can ask questions is you can click a button on your screen that says raise your hand. It will likely be in a participant tab, likely at the bottom of your screen if you're on a laptop or the top, if you're on an iPad. And if you're watching the stream on HowlRound.tv, you can send us questions through social media. You can go to the public theaters Twitter or our Instagram, or you can tweet at us at Watch Me Work SLP with the hashtag HowlRound and it's H-O-W-L-R-O-U-N-D, and that's it. Fantastic, okay. So we're gonna get working. Where's my timer? Here it is. Okay, ready? So we're gonna work for 20 minutes and then we're gonna talk. All right, here we go. All right, here we are. Here we are, we just did 20 minutes of work and now here we are with the questions. If anybody has a question about your work or your creative process, raise your hand or click the button. Click the button. All right, up first we've got Melania. Don't fret. Hello, hello, how are you? Great to see you. Great to see you too. You know that I am practicing my courage of writing and I am putting the time and doing the work and coming here that I love. Thank you again for doing this. And yes, one thing that is happening to me right now is it's been a long time. Since I want to write for children, theater for children. Okay. In particular. Yes, so I am trying to do it. That's the idea of the work I am doing right now. I am taking a class in Argentina. It's online. Okay, cool. I'm Spanish with a professor that is from Argentina where I am from. And I am enjoying that. But I tell you, your, your help was so, so key to me. So a sentence. Thank you. Yes. I love that. So my question is for me theater, especially when I was a girl, it was a refuge, a place to go, a safe place to go in the middle of several difficult things that I was living. So I would love to do that at the time of writing for children. Right. To create a safe space, not to, you know, only entertainment. And it's good to entertain because we need to entertain. Sure. So to be that space to, to know that it's okay not to be okay. And it's okay to feel. Feel it. Right? So I would like to know if you have any comments or suggestions about writing for children in particular and about this, kind of, I don't know how to call it that honesty, this humanity that I want to bring to the place, but at the same time being pertinent for children. Right. Right. Well, you have, you have three children. Right? Yes. You have three children. I have one and you know, we're not experts, but we have a little bit of experience. So what I find is my son appreciates appreciates honesty. You know, we're reading right now, Charlotte's Web, you know the book Charlotte's Web. It's, I mean, I read it years and years ago, rereading it now with him. And it's amazing what that book talks about, the sort of the idea. So we don't have to, sometimes when we think we're writing for children, we think we have to like dumb it down, you know? But Charlotte's Web has in it, you know, Wilbur the pig, right? He talks about how he has a plan for his day. At six o'clock, I'm going to do this. Seven, I'm going to do this. This is a pig talking, right? Amazing. And then at three PM, he says, I'm going to stand very still in the yard and feel what it means to be alive. Wow. I read that and I'm like, wow. Yeah. Okay. So children, you know, they're very, I mean, as you know, they're, you know, they're very open. They haven't perhaps created or, you know, armed themselves, you know, with a lot of armor. If they're lucky, they're in an environment where they can still be open and which means they can still be hurt. Yeah. They can say things, they can, and I think just, just think that you tell a story that's engaging. No need to dumb it down, as you know. And think of also the things that, specific things that you appreciated in theater when you were a kid. Okay. And what kinds of things that the theater was doing for you specifically, you know? How did it create that safe space? How did it create that, you know, how did it create that beautiful thing that you want to recreate now? Fortunately, you have a lot of experience. You've lived through it. So take those elements and employ them in your right way. That's great. Thank you very much. And spend time every day standing very still and feeling what it means to be alive. I read that. I was like, you know, Oh, I love that. It's absolutely beautiful. And I put a little heart by it in the margin of the book. My son said, Why are you putting a heart in the margin of the book? And I said, Because that's what mommy does. She writes hearts in the margin It's such a beautiful passage. Okay, thank you very much. Yes. You're welcome, Milani. It's always good to talk with you. The same. Thank you for everything. Next, we've got Isabel. Isabel? Hello. I'm a student. We're actually reading one of your plays in class and what all your classes. And that's what brought me here actually. Um, but anyway, I have one more general question. A little bit for like advice from a more experienced writer. Maybe like, like, I don't know if you experienced this, but like, sometimes when I'm writing, I get really jittery, like I can't sit still. Or like, it's hard to focus on what I'm writing. I don't know. I was wondering if you ever experienced anything like that. And if you have any advice. So you have, you find it physically difficult to sit down or? To sit still. I think it's something, it's like part of the, like, it's like, I, like it, I don't know, it's hard to get your ideas out sometimes. And I like want to like just stand up and walk away a little bit. Stand up and walk away. Yeah. Have you tried writing standing up? No, I haven't. Yeah. There's a, you know, they have all these standing desk. I have my version of a standing desk. I don't have it with near me right now, but it's just a step stool, plastic step stool. You get a plastic little step stool, you put your laptop on it and you've got a standing desk. Try that, you know, it's cheap. It's, it's fun. Try stand, a lot of people write a lot of writers, Hemingway, Rilke, to name a couple of them wrote standing up. It's something cool to try. Also, if you want to, you have a hard time sitting, you want to get up and walk, walk instead of away, walk around. You know what I mean? You have a lot of energy. You have a lot of like electric current in your body. So that's okay. But say I'm just going to walk around. I'm going to move around, you know? I'm going to feel the language in my body because language is a physical act. It's not just something that goes on in our heads, especially if you're writing dramatic literature, whether it's a teleplay or a screenplay or a play, you know? So give into that, walk around. Also, you can talk it out, you know? You can get your phone, you know, and record it. You know, you can talk about your ideas. Like that, you know? If it's hard to sit or stand and actually keep your hands on the keys. Also, do you write a long hand? Have you tried that? Yeah, I usually write in a notebook first and then I type out and edit at the same time later because it makes me feel better if I can't delete it all. Right, right. What about index cards? You know, again, it's a different, it's just giving yourself a different tactile experience. So little index cards like, you know, here's my census card again, I still don't fill it out. You know, right? Yeah. And you, there you go. Oh, someone's holding up a, is that your, Anna, is that your census card too? Yeah. But the little cards, right? Isabel, and you write out just what your pieces of your scenes. In this scene, you know, Jane, you know, catches a fish that's taller, it's longer than she is. Okay, great. Yeah. In this scene, something else, in this scene, something else happens. And then you have a lot of cards with your scenes on them. It's also a helpful way. So that you're not sort of just having to sit and write. You're just, it's more manageable. Right size. Yeah. Thank you. That was really helpful. Thank you. Thank you, Isabel. Up next, we have a nap. Go for it. Oh, hey. How's it going? Yes, I can. So yeah, so. When I'm writing, I get sort of the way, I know a lot of people like to do outlines for their work and like really write out everything and then go in and fill it in with dialogue. And I'm sort of the opposite of that where I just have the characters. I have an idea of where I know I want them to go and I just sort of let them speak and just go for it. But then sometimes I get in a moment where I get like 20, 25 pages in and I get stuck. And the characters just sort of freeze and you're like, I don't know what to do. So what do I do now? And I personally don't believe in writer's block. I think there's a. I think it's just like a, I'm. Reaching a roadblock that I do need just an obstacle that I need to get past, but I just don't know how to. Do that. And if you have any tips, like if you ever experienced that for yourself. Or should I invest in a more and I'm an outline. Type idea. I think that's a difference now. I think, I mean, if you were just saying, Hey, I come up with these characters. I kind of have a general idea where they, I want them to go. I write it and it's totally fun. And I get to the end and I'm so pleased. Then I'd say, keep doing what you're doing. Right. But if you write 25 pages and you get stuck. Then it might be who of you to do a little bit of outlining and split the difference. So there's those outlines where. Pete, they write out every fucking thing. She picks up the pen. She takes the cap off. She puts the cap back on and puts the pin down. I mean, we don't need that in our outline. Right. I mean, that's not. Necessary. Right. But maybe. She walks outside and meets him finally on the corner. Where they met years ago. That might be. You see what I mean. So. Yeah. So maybe you need more tent poles. Right. Just a few more, not a lot, not over. Do it. But maybe you need, you have characters, right? And you generally know where you want them to go. Right. So those are tent poles in a way. Jane. She wants to go to Michigan. To defend governor Whitmer. No. Oh, well. That's what. Jane would do. You know, and talk about how social distancing actually works. But anyway, but so, you know what I mean? So you have these, these tent poles. Maybe you need a few more. You know. Yeah. Yeah. Even Van Gogh sketched. Yeah. You know, Van Gogh, the painter, you know, you see these beautiful sketches that he did before he. Committed it to oil. Yeah. What are you feeling? What are you feeling? No, but yeah, that's definitely, I think I just sort of. I think also sometimes too, it gets to where I sort of lose interest. At when I get stuck like that. And I'm like, oh, this is terrible. You know, that whole, the self sabotage thing that we all do. Sometimes you just, oh, this is terrible. This isn't really going anywhere. This is not, this is not what I wanted it to be. And I just. And I think that sort of plays into it as well. Right. But I think what you're saying is, yeah, if I just maybe just make a list of, they could do this or they can do this or they can do this. Yeah. Yeah. Yeah. What's the best path. Yeah. Just do a sketch. Not a big outline capital O Roman numeral kind of thing. Just sketch it out a little bit more. You know what I mean? Yeah. Yeah. Yeah. Totally. Yeah. Yeah. Yeah. It's creating, it's creating yucky feelings. And we don't want you to have yucky feelings. I mean, anymore yucky than they're going to be anyway, because writing is difficult. Yeah. Okay. But, you know, in the context of the difficulty that you're going to have writing, you want to, you want to use the tools. If you were building a dog house. With a shoe. And a nail. And a nail. With a shoe. And a nail. I'd say, nah, use a hammer. Yo. I don't like hammers. Well, why not? I don't know. I might hit my thumb. I'm like, you know what I'm saying? Use the hammer. You know, Thor. Hammer. And, you know, in a, in a judicious way. In a way that feels comfortable. Know that that is a tool available to you. Outlines can be anything you want them to be. But it's a tool. Right. Right. Cool. Thank you. Yeah, that's cool. Thanks, Matt. Thank you. Thanks, Matt. All right. Next we've got Sahar. Go for it. Hi there. Hi. I feel kind of bad that I'm asking a question before all the other hands that are. But I'm. My question is about stage directions and writing them in. And I remember somebody yesterday asked about. Not being precious with your work. And I was wondering. How detailed. Should we be in our stage directions? Is that a turn off? I mean, sometimes I imagine it's like, it's. It's like, I don't know if that's possible. I don't know if that's possible building. That's happening in the play, but. I also don't know if I'm like trying to control. What's going to happen when it plays outside my hands. So yeah, my question is about stage directions and writing them. Yeah. It's a, it's a personal thing. I mean, some directors have told me. Yeah. The first thing I do is just, I just ignore all the stage directions. You know, which is annoying. William T writes long pages of stage directions. They're very beautiful, you know. I would say it's your play, write it how you want it. You know, when you do things like teleplays and screenplays, you're going to have a page count issue that's going to determine how elaborate you can get in your stage directions, in your action lines, okay? Right? Because you don't want it to be longer than 50 pages or 120 pages or whatever, so you have to be mindful of that. But in a play, the page count isn't really as much of an issue, so you can go to town if you want. Now, the other thing you brought up is the controlling factor. Yeah, if you're writing elaborate stage directions because you think you're going to control what people do with your play, to your play, with your play, when it leaves your hands, yeah, that's, you can try to control it when it's out of your hands. You can be like Samuel Beckett who follows his plays around the world, makes sure that we're done exactly like he wanted them. You can do that. I mean, if you want to spend your time doing that, you know what I'm saying? And great writers have done that, so you'd be following in the path of great writers who have done that. It's not something I want to do. I got other shit to do. I like to see what people do with what I've written. I like to see what they do with their free will as long as they say the words on the page in a respectful way. So it's two things. One, if you really want to write beautiful stage directions like Tennessee Williams, go for it, Sahar. Go for it. But know that no amount of stage directions are really going to be able to control people that you've never met in cities where you probably won't visit when they're doing your play, if you're lucky. So you got to let go to some extent. I know someone, a friend of mine who's a wonderful writer says he likes to make his plays actor-proof. Go for it. I don't know. I like to control people but in a really subtle way. Like I like to put words in their mouth and have them love saying the words I've written. That's my control thing. You know what I'm saying? Thank you. Thank you. Next we've got Renee. Go for it. I'm surprised. I didn't think you would like to get to me. How are you? Well, Renee, Susan Laurie, before we do this, I want to see if you can see that. I met you in Tzaki. Oh, how about that? Yes. You at the Armory. Can you see it? Oh yeah, I can see it. Yeah. Oh, it's on your phone. That's why it looks like it's so shiny. Yeah. How about that? Right? Yeah, I was working with her at that point. Yeah. Oh, what a beautiful, yeah. What a beautiful event that was. Yeah, it was. It was a beautiful event. I remember I was sitting with a younger writer and you and Tzaki walked in and Tzaki provided a wonderful writer and you guys walked in and I stood up and the young writer said, what's the matter? What's the matter? You're standing up and I said, the queen has entered the room. Yeah. And when the queen enters the room. And you stand. That's another picture of you two. Yeah. Yeah. So that was a happy day. That was. That was. And God rest her. Yeah, I miss her a lot because I was working with her up until the past. Yeah. So I just wanted to get that out first. Well, thank you, Renee. Oh, thank you. Well, my question is, I don't know how to say it except just say it straight out. How do I tell my story that I want to tell? And how do I tell my story without calling people out and making people look bad because people who know me will know who I'm talking about. They just will. Right. And I don't want to and the people are they're no longer with us. But how do you do that? And still, you know, you change the names to protect the innocent. Right. But I guess my question is, how do you do that and still live in your truth? Right. That's a hard, that's a hard question. I know it is. That's tricky. That's tricky. I mean, part of me, I mean, part of me, you don't want to. Yeah, you don't want to make you don't want to badmouth people. You don't want to, you know, you don't want to. And yet, if there's something you want to tell, there's a story that you want to tell Renee. Try to tell it, you know, like Emily Dickinson says, tell the tell all the truth, but tell it slant success and circuit lies. You know, so find ways that you can make it. You know, maybe open it up a little bit. Make it not just about the people you know, you know, it's true. It's tricky, though. I know the, you know, you don't want to say bad things about people, and yet you want to tell the truth of what happened. I would say, I mean, maybe how about this Renee, in the first draft, write it like you want to write it. Okay. You know what I'm saying? Don't let like, oh, people are going to think I'm some kind of biatch, because I'm saying about that. You know what I mean? Just go ahead and write it like you want to write it. Okay. And then in the second draft, you might find ways to modify it. Okay. But I would say don't don't let it stop you that it's about real people who have done things that need to be discussed. Because when I, I read a lot of Michelle Obama's book, and I loved the way she approached it. You know, she told her truth without slamming anyone. And she told just enough in my head that I could kind of read between the lines. Uh huh. Uh huh. Right. Right. And you know, when you read her book, that's not her first draft. Very true. Okay. So you know, it's been through at least a couple. You know what I'm saying? So, so she writes a draft, and then she works with her editors and rewrites it. So you know that the thing you're reading in your hand is has been rewritten considerably. So just keep that in mind. So maybe the first draft was all like, you know, I bet it was. Yeah. What, what really happened. And then I could modify it. Yeah, then you can modify and pull back a little bit. And yeah, yeah. Yeah, because, because this is a very personal story. I'm adopted. And it's just some Oh, wow. Yeah, I'm adopted. And I found out something real weird a couple of months ago about me being adopted. And I can't confront anybody that is involved in this because they they're all passed away. So my way of finding my way of dealing with it is on my in this play. Right, right. I'd say deal. I'd say write it. Write it, write it, write it. You can pull back a little bit afterwards. You've gotten that first draft or that second draft written. Yeah. And, and in the words of into Zaki, she was like, tell it. Tell it. Damn it. Tell it. Tell it. Okay, come on then. You write print that big on your wall. Tell it. Tell it. Damn it. Tell it. Write that big on your wall. Everybody tell it. Shit. I mean, what are we waiting for? Right? Tell it. Tell it. What are we waiting for? Whose feelings are we safeguarding? You know what I'm saying? Right? Tell it. Tell it. Damn it. Tell it. No, Zaki said it. It's true. That's it. She said it. Well, thank you so much. And it was good to see you. Yeah, thank you. Thanks Renee. Thank you Renee. Up next we've got Kristy. Kristy, are you unmuted? There you go. Hi. Thank you so much. I really, really appreciate it. This has been really, really great for me. So I'm still, I would say this is more of a beginners question, perhaps. I've learned that a lot of my dialogue as I look through is seems kind of like dreamy and redundant a bit, kind of just like speaking from the heart. And I'm noticing that maybe do you think it's best to just think about your actions and then place it in that way rather than just writing aimlessly what you know and feel? I think that sounds beautiful, though, to write aimlessly what you know and feel. So it sounds gorgeous, you're writing. It sounds gorgeous. And maybe that's the kind of writing that you do for the first draft. I mean, I'm only saying this because you're having an issue with it. If I were to read it, I go, oh, it's beautiful. But if you're saying, well, it doesn't seem like it's really going anywhere, then that's the first draft. Make sure you get through the first draft. And then when you go back and read it aloud to yourself, then you start circling places like, yeah, what's this scene about? Is it a play, Christie? It's a play, yeah. So you can say, what is this scene about? What is the main event in this scene? What do the characters want? What are they trying to do like that? So you can do your rewrite based on that. And it will be maybe just as dreamy as it ever was, but maybe have more of a focus on a storyline. But definitely write the first draft first. Don't try to change your writing style to accommodate something that you think you have to accommodate. I mean, forget all that. Just write to the end. Okay. Yeah, great. Thank you. You're welcome. Thanks. Thanks, Christie. Thanks. You got Collette. Well, thanks for having me. Hey, this is really, really wonderful. I'm sitting here thinking that as a writer, I just soon be a surrogate mother bird the baby and give it away. All that other work comes very hard. This is sort of a follow up to Terry's question yesterday. I have a full length play with many characters who enter to tell their story, their point of view about their life in a neighborhood in Detroit. And several times people have suggested that I turn it into a novel. They talk about the prose of it. And that just, it just seems so huge to me. I don't even know where to begin. So just thinking out loud about that. So you have a play with a lot of characters. A lot of characters. A lot of characters. And because each scene is a standalone scene. So it's kind of interesting. You could pull any scene out of the play and do it individually, but it will collect them. Sounds great. I think it sounds like a play to me. I mean, there are plenty of plays that are a series of monologues or standalone scenes. I mean, I think it sounds like a cool play. But I don't understand your question. It sounds like a great play. It's very well, they all came and visited and it was very pretty. And I love all these people that are in it. I feel honored to spend time with them. But many of the people who have worked with me or done scenes from it have suggested that I turn it into a novel form. That it would read well as a novel and would reach a bigger audience. Oh, well, I don't know. Nudge, nudge. Yeah, I don't know. I don't know. I think if you already have a draft of the play and you feel like turning into a novel, great. If you don't, then just have people keep doing the scenes, the standalone scenes. Think also about the narrative drive, the dramatic drive, like how are these scenes moving? How does scene one work to create the environment of scene two? You know what I mean? You want to feel some kind of dramatic drive to it. But that's the same even in a novel. So you think of Dickens, Charles Dickens. You know what I mean? Lots of characters, lots of things going on. But there is a dramatic narrative drive to his work. So is it because why? I mean, they think it's a novel. If you want to turn into a novel, go for it. But it sounds like that process, that sounds like it's a lot for you. You don't seem really into it. So keep it as a play. Sounds like a cool play. Thanks for that. You know, I guess we have to be our own first audience, right? Yeah, exactly. Exactly. Exactly. And I would say keep workshopping it. If you've written all the scenes, all the... It's complete. About five of the scenes have been done and one even took a fringe fest thing. Oh, cool. I just keep doing them. Have a game of momentum. If you feel the desire at one point to turn it into a novel, then go for it. But it doesn't seem like it's not a play. It seems like a play to me. But I like weird shit. So, you know. I like you. Awesome. Thank you. Next, we have got, just to say, we've got about seven minutes left and we're going to go to Emmanuel. Hi. Where are you? Where are you? With a fake background. I'm in Paris. Oh, you're with a fake background. Yeah. Oh, wow, you're in Paris. All right. Cool. Yes. So thank you very much for doing this. It's helping this confinement amazingly. So I asked a question last weekend. I restarted working on this musical. So thank you so much because after that first reading, which I realized after all of these sessions was way too soon to have had that reading, because I got all this feedback and then now I'm realizing I should not have gotten any of that feedback was way too soon. So I'm a little bit stuck. Okay. So it was one of the critiques, but it's quite relevant. I didn't set it in a specific place. So the characters and the relationships are very clear. And I've heard like you're supposed to write what you know. So I grew up in Australia, but I don't really want to set it there. But maybe I should because I, yeah, I'm just wondering, is it necessary to have a very specific place or can we have a vague kind of, oh, these people come from this sort of an area. Also the other reason for that is I don't want people who are performing it, whoever's going to perform it. I don't want it to be like, oh, it's head in Australia. So all these people have to learn the Australian accent. Like I just don't, I want anyone to be able to know their sisters. So their sisters, it doesn't have to be from this kind of a socioeconomic background. It doesn't have to be specifically Australia or France or whatever. Right, right. Yeah, that, that, that rule, you're right, you know, I'm saying, I don't know. What does that mean? I mean, what does that mean? Actually, the problem is that it's a cool thing to say, write what you know, but it is interpreted. It's like Jesus, you know, you know, it was, he, cool dude, misinterpreted over the years. You know what I'm saying? Write what you know, great idea, misinterpreted over the years because the way we take it, write what you know, you're from Australia, you think, shit, now my play has to be set in Australia. Yeah, I would bet that you know a lot more than that. Do you see what I'm saying? It's like right, it's not like the rule isn't right where you're from, or you're only allowed to write about people like you. That's a very limiting interpretation of that, you know, because, because who we are. I mean, really, have you ever done this cool exercise? You stand in your bathroom or bathroom or in front of a mirror and you look at yourself and you look yourself in the eyes and you go, who are you really like that? You do that for like 30 seconds. And then you realize, oh, shit, there's a lot more going on here than I thought. You know what I mean? I'm my big, because you're connecting with your big self, not your little self, myself, you know, Emmanuel, but your big self, the self that is connected to all people, right? So that's about writing what you know. You don't have to set it in Australia just because you're from Australia. No, you don't. But you, I would think it would help to ground it in some way, you know, some way, somewhere. It can be set on the moon. It can be set on Mars. It can be set on a planet we've never been on. Just to have it be somewhere with, and if it's somewhere we've never been, make up the rules, you know, make up the rules. What we want is what I think people might want from your play. They might want it to have a kind of specificity and a kind of groundedness that would root the characters in some kind of reality, not a reality that's Australian, you know, but something, some kind of, they want some kind of rules, you know, that's all. Yeah, go ahead. Because I would say, sorry. No, go. So for example, I would say, oh, I want to move out of the suburbs or like I'm just, yeah. So for example, and then one of the comments was, oh, well, I'm from Sheffield and the suburbs is like this. But if you come from this place and the suburbs means the opposite. So that kind of thing, I guess. Well, I think you can have your characters be specific. I want to move out of the suburbs into what, the city? Yeah, into the city or into it, yeah. Okay, well, it's either from the suburbs to the city or the city to the suburbs or to a different suburb. Right. Just be specific. Because I want to move out of the suburbs because in the suburbs, this, this, and this happens. And in the city or wherever I want to go, I can get this, this, and this. Yeah. You see what I mean? So it doesn't have to be, you don't have to name the place, but you do have to be specific about what it is that you're talking about. Yeah, yeah. I think that will help greatly. You know, just put a little more meat on the bones. You know, that's all. Okay, but you don't have to tell you. Yeah, well, it's, I mean, if you think the note is, is worth it. Also, if you don't think the note is helpful, then don't worry about it. You know, take it, like, and leave the rest. Yeah, go ahead. Go ahead. Go ahead. It feels like it's taking me away from it because I'm much more interested in their relationships and, and it doesn't really matter where they are. Like, that's how it feels. Okay, well, then it's one of those notes that doesn't really work for you right now. You know what I mean? And maybe there's some notes that you got that work for you. And maybe there's some notes that don't work for you. Maybe there's a way of looking at the note that could be helpful. You know, but I would, I'm really serious. It does not mean that you have to set it in Australia. Thank you for that. So don't have to do that. You might have to get a little more specific with, and to sort of put a little bit more dressing on their desires, what they want to do and why, but you don't have to set it in Australia. And wherever I set it, do I have to say, I mean, can I say, you don't have to have this accent? Yeah, wherever it may be. Like, I don't want the actors, like I hate it when actors like I, it's an extra barrier if they have to try and do the specific accent from this specific thing, rather than just tell them to speak how they normally speak. Yeah, okay. The accent you have is yours. Yeah, yeah. You know, you know, I mean, maybe the sisters, even if they have different accents, it doesn't matter. Maybe you're like, it doesn't matter. Hmm, you know, okay. Great. Okay. Thank you so much. Well, thank you. Oh, it's six o'clock. Shall we come on back tomorrow? Let us come on back tomorrow. Let us come back tomorrow. So as a reminder, sign up by 3 p.m. Eastern time every single day. And I will send you a link between 3 p.m. and 4 30 p.m. Eastern. And also our links for next week will be released tomorrow at 3 p.m. See y'all very soon. Bye. Thank you. Thanks, everyone. Thanks to Sophie. Thank you.