 Hi, this is Watch Me Work, I'm Susan Laurie Parks, where the me in the title is you. This next hour is pretty much all about your work and your creative process and we've been doing this for like 10 or 11 or 12 years. We started in the lobby of the public theater pretty much and we transferred to Zoom land during COVID where we did it like five days a week for a little while to be with people. We want to say thank you to the public theater, we want to say thank you to HowlAround which make this gathering possible both of those awesome organizations and basically what we do is I set a timer. We work together for 20 minutes and then for the rest of the time I talk to you about your work and your creative process. So if you have any questions about your work and your creative process in 20 minutes, it'll be time to talk about that. What we don't have time to do is for you to read from your work and me to give feedback in that way, but I certainly do want to be with you as you take your steps forward. Okay, so what else, Audrey, tell us how to get in touch with you. Well, so glad you asked, once we get done with the 20 minutes of work, you can ask questions if you're inside of the Zoom, you can raise your hand, which you can do by clicking on the reactions button and clicking the little raise hand button in it. It's likely at the bottom of your screen on a laptop or the top if you're on an iPad or a tablet. And then if you are watching the live stream, not inside of the Zoom, you can tweet at us at atwatchnewworkslp with the hashtag HowlRound or you can write to the public theaters, Instagram or Facebook. And we will get those questions as well. That's great. So you look, is it just me or does Audrey look like a reverse Vermeer painting? You know what I mean? The light's coming on your face. You're looking toward the light. It's really interesting. And I don't know the name of that painting. It's not the girl with the golden earrings. It's the other one. Anyway, blah, blah, blah. That's our cultural reference for the day. No. Anything else? No. That's all. And all that's left is the rest of this. So here we go. Nice. Hello. Hello. Hello. Hello. Hey. Hey. Here's the part of the show where we take your questions about your creative process. Your questions. Any questions? Oh, we got a question. All right. Go for it. Yeah, Emma. Hello. Hi, I'm one of the Rando's. What do you mean the Rando's? We're all Rando's. I was, I only came like a few times like a year ago, but I'm trying to be more regular now. Yeah. Okay. That's cool. Okay. It's all good. You're here. That's all we, that's all that matters. You're here. Hey, hi. Hey, hi. So my question is I'm trying to write a play right now. I'm at like the very beginning stages of it. And it's about like a friend's experience. And I actually thought that I wanted it to be like a docu theater piece. And like, I just, I saw Dana H and is this a room? And I was really inspired by those. And, but I don't have like a lot to work with. And I also feel like my, my biggest strength as a writer and like a creator is with like my, my writing voice as like a satirical voice. And so I'm wondering if I can like have some kind of combination of like using verbatim text from like real interactions and then also satire or if the satire will kind of like detract from the, the weight of people's real words. Like if I'm like writing things that are like, like heightened or like super exaggerated, if that'll like make the real words feel less weighty. That's a good question. I think it depends what the real words are. Yeah. You know, if you're like, well, this pattern go with this pattern. And I have to, you know, I don't know what the, the initial pattern is. So, um, so it sounds like that you have some material that you really appreciate is some, some actual material, historical material that you really appreciate and you want to work with and you have the permission to work with. I'm guessing it's a friend. Okay. And that you want, you don't have a lot of it. So you want to add some of some original material. Yeah. But so I think go ahead and it's not going to be just the one thing. It's not going to be docu theater. You know, it's going to be a combination. So it's going to be something else. You know, I think that's fine. You're going to see how it fits when you fit it together. Yeah. You have to really go there to know there, right? You have to go, you have to go ahead and do it and see if, if it like lays right as we say in the music business or the music profession or craft or whatever. You got to see if it lays right. So you got to go ahead and try it out. I think you have permission. You have the, as long as you have your friends. Permission to use their material, then you're good to go. I think. Well, thank you. Yeah, thank you. Good question. Good question. All right. Hi, this is Karima. How are you? I have my, my, um, my question is I'm, I'm working on a play about the that scene. And I'm trying to figure out as I'm moving each scene, how, I know each time you're moving it, something should change. Something should be happening this different, but I'm trying to figure out how to handle the subject. I'm trying to figure out how to handle the subject, but without seeming as though it's constantly being repeated. Because of. Basically what it is, is that the main character is a nurse. Who is refusing to get vaccinated. She feels she shouldn't have to. Okay. Okay. She should have that option. Right. So it starts off with her. She's not going to do it. But what happens is that her, her sisters, her sister and brother end up taking themselves and then her mom and dad to get the shot. Okay. And by doing that, now she can't visit. Because the mom is saying. Right. Everybody has to be vaccinated. Right. Coming out. Right. So there. So she's having these different conversations. With. First with her sister, when she finds out everything. Right. Right. And the second part. Is her brother comes over to check on her. She's dealing with her husband, letting him know about it. So. Right. To discuss it. So I'm trying to figure out how to. Do it where it's not. Where you're not. Because it's about the virus, but how do you talk about it? But I'll seem like you. Like. Like it's over and over and over again. Making sense. I think, I think, I think, I know what you're talking about. Because it's the same. Whether it's about the virus or. You know, the election or the weather or. You know, the crops that were harvested last year. The it, right? The it. Right. I think it's the specifics of the it. Are really what you're asking about it's how do you convey information that. The, I'm thinking, I think I'm going to repeat this and makes, tell me what makes sense. How does one convey information that. The audience will have already heard about not necessarily from the outside world, but from the specifics of the play. Right. Right. Right. Right. So you have to we. And that it works in, you know, in a film, you know, in any kind of medium, you know, it's like, we know that already. So why it's not, we know that already because we've lived in the world and there's a virus, but we know that already because the characters have already talked about that already. So what you need to do. Is get really. Specific about why each character is talking. Okay. Okay. And you have to. Because character, like. In drama, I mean, this is, as I understand it. Characters are talking because they have a need for something. Right. The need is not to tell the audience what's going on. That's not the character's need. That's your need. Right. So if the character already, if the audience already knows. Let's see. We like, do you know, let's see, let's think of a play that we both might know. Hamlet. Hamlet. Yes. Okay. I'm just saying not everybody. Okay. You know, first scene, like they've seen the ghost, right? And the second scene, it has to build on that. Right. And the third scene has to build on that. So, so. They're telling Hamlet for the first time that they've seen the ghost. And he has to take that information in and then it's, what are we going to do about it? Kind of thing. So he, he furthers the actual lawn. So just ask yourself, why is my. Character talking, what are they trying to get. What are they trying to get. By. Talking right now. Okay. Does that help at all? Can't hear you. Unmute yourself. Oh, I think I have to let her do it. Sorry. There you go. Not. Okay. Unmute yourself. There you go. Yes. That helps. Thank you. And go through it like that very, very methodically. What does my character want? Why is she saying this? Cause it's not, I don't want to get vaccinated because like we heard that already, but if she's saying it to maybe her mother, maybe just say she might have a different reason. She might have a different way of coming at it. You see what I mean? So we're watching a character switch up her. I'm just making this up switch up her argument. Given. Okay. She's talking to. Okay. You see what I mean? So we get very specific. Right. Okay. Okay. Okay. Okay. That's good. Thank you. No, you're welcome. And keep us posted. We want to hear out how it progresses. Okay. All right. Up next is it. Andrea Andrea. Hey. Hey, hey, hi. Hi. Thank you for this. I came. Maybe like. In 2020, like, I think maybe a day or a week. I think it was just right after George Floyd's death. And this was like such a sacred healing space at that time. Oh, thank you. But it was, it was really helpful for me. So thank you. Thank you. The question I have is about. When you first get an idea for a story. But also write it for different mediums, right? So if you're writing it for different mediums, right? So if you're writing for a movie or TV or play and this idea that you're, that you have is just the story for a separate medium. What is your process for deciding whether it's a movie or it's a play or if a TV or if it's a TV show. I'm getting to the point where I'm starting to write in different mediums and now I'm like, is this the TV show or is this the play or is this a movie? I'm not sure. I'm not sure. Is this the TV show or is this the play? Or is this a movie? I've only ever written plays and I'm like, there's so many other options for what this could be. And maybe this isn't the right format for it. So I'm interested in how you go about that. Sure, sure, sure. Sure. And it's, I mean, you can ask yourself. Where would I like to see this? That's good. You can ask yourself, I mean. This is what I would, if it had, my thing is, if it has lots of different scenes, it, I mean, it could be a play, but it might be a TV show. You say what I'm saying? Yeah. So I would get, if it has lots of different scenes, it might, I'd lean toward maybe a TV show, right? Like, you know, lots of little two minute scenes. Sure. There are many great plays with lots of little two minute scenes, but these days it might be a TV show. It might be a TV show, right? And if it is what I call short form, long form, if it's long form, like if it's a long story, right? Like, I don't know what, long story. Like, you know, then it's probably a TV show. If it's relatively, relatively short, like a two hour thingy do with many scenes could be a movie. You see what I mean? That's, because that's what they look like. And sure we can reinvent the wheel, but we've got better things to do, I think. I mean, sure you can like, I'm going to do a 29 hour play. That's full of, I mean, who's talking? I just, I'm doing that right now as we speak. So that I didn't set out to like do it. It just came out that way. And look, so here's, here's another thing. If there are lots of scenes and it's really long, and this is something that breaks the rule. And all those things I just said, there's going to make a TV show. It could be a play if it's one of those plays. Right. And it could be one of those plays. Just talk about my own work for five seconds. I'm doing one of those right. A place for the play gear is one of those plays. You know, but that's what it is. I, I, that's kind of one of the things I do. I would say if it's like maybe one, it takes place in one location or a couple of different locations, then it's probably a play. But the main thing is, I think throw all that aside, Andrea, and ask yourself, where do I want to see it? Yeah. And that's going to, that's going to be the first incarnation. Because those of us who write in lots of different media, we, where do I want to see it is always my, like, where do I want to see this? I want to see this on stage. I want to see that. I want to write a knot and not my second novel. I want to see it in a novel form. I want to see it as a first as a book on the shelf, you know, or in the hands of someone, maybe on the subway. You know, so that's, I think the most important thing. Given the variety of, of incarnations and the variety of ways that things can express themselves. Right. Yeah. Like, you know, okay. So that was like, I was trying to be helpful. And then I veered off and talking about all kinds of shit. So. I like where we ended. Yeah. Okay. Okay. Okay. Okay. Thank you though. Keep us posted. As to what it is. Have a big reveal party. It's a reveal party. We're down a forest. No, anyway. Yeah. Thank you. All right. We're going to go to crystal. Hey, crystal. Hi. Hi. Hi girl. How are you doing? All right. I'm, I'm hanging in there, hanging in there. How are you? I'm hanging in there right hanging in there with you girl. Good. We're in it together. So I had a question. I don't know. It's a two part question, but I don't work on like, I don't want to take other people's. I don't know if you remember the plate that I actually finished at watch me work. It was. It was about the two character play. Was it the man and the woman who were having some problems? But I can't remember. It was the, the Jewish man. That's right. That's right. That's right. Yeah. So I've, you know, worked on it. I did this, um, um, this artist in residency. Um, and I'd worked on the play some more and, um, and I kind of felt like I was at the residency is done, but I felt like I kind of started because it was very long. I had to trim away things and cut some plot things that I guess, you know, I had to cut some stuff. Um, to turn it. I felt like I started losing the essence or the, the honeymoon side of writing it. Like when I first started writing it, which was years ago, um, and so like, the one question is like, how do you, um, yeah. How do you work or rewrite or revise without losing the sense of the core essence of the play? The thing that you fell in love with the story about. Um, and then the second question was it's, it's in three parts. It's, it's, it's the present, um, the past and the present again, but the two parts are told in both of their perspectives and one of the perspectives, one of the, a couple of notes that I've gotten was that, um, you know, he breaks in, she calls the cops and then she lets him stay and it doesn't seem, it seems like it's too easy, but I'm like, it's three part play. And if I write any more, it's going to be an epic that's just way too long and it's already a two person play. So how do I, how do I justify in a, within the means of about, about 40 minutes or less, um, this, when I, when I have to, I kind of have to get to the end of that portion of the part of the play before it gets, gets lopsided with, with, with, um, with content, content, yeah. Um, those are my, my two questions. Mm hmm. Mm hmm. Okay. I'm going to like, you know, go into your mind for a minute. I'm going to go in and look around. I'm going to say, I mean, don't worry. I'm in there already. Um, What's the most important part of that part of the play? He said, he breaks in. She calls the cops. She lets him stay. The most important part is she lets him stay. Okay. Great. So is there another way to do that? Without the other two. I mean, is there, is there a more economical way of doing that? Yeah, that's what I'm, that's what I'm wondering, but part one and part three, they start the same way. They start the same way as, okay. He breaks in, but except it's from her point of view. And then part one is from his point of view. So he breaks in. She calls the cops. He can, he sways her and, and basically she, he, he, uh, she lets him stay. Um, and it's not like, you know, it's an easy stay. It's more of a, like they have to sort through some things and some racial things and all these things in order for him to like, you know, actually stay. Um, because, you know, there's a whole marriage thing that happens. There's a, there's truth things that are revealed. There's, you know, she, he gets kicked out and he gets back in the house all during a blizzard. So it's like, you know, um, as I say, it sounds a little crazy, but you know, this is the story, you know, and so, you know, I, I, I understand what said when, you know, it's already kind of absurd and kind of bigger than life that a Hasidic Jewish man would break into a black woman's house and confess his love for her and she calls the cop, but then he says, she says you can stay and they break through things and, you know, like it's already bigger than life. So I'm kind of like, well, we're already, we're already out of the box. How do I, how do I reign it in to create, I guess, real, um, I guess a realistic process in which they're, which we've gone from breaking into he's, he's sleeping over. Well, I, I, no, I don't think you have a problem creating a realistic process. I think you're getting notes to tell you to cut it. And it doesn't seem like that's going to work. Right. Okay. So I mean, that's the thing. If, if none of the parts can be cut, then you're going to have to live with the fact that it's longer than the people are asking you to have it. I'm trying to, I mean, maybe, maybe both of all three parts start the same. Do they have to, you start to have to ask yourself hard questions. I mean, and this is, it's interesting. This answer is connected to the honeymoon question. Okay. To get back to the honeymoon, you got to start asking yourself hard questions in the beginning. Um, and this is just in my experience, but I've been married twice. So I know these things. No. Um, but in the beginning, which is true, but in the beginning, the honeymoon, which is there, right? Cause you didn't have to ask any questions about other than like, are you free on Friday? You know, like, then that was like the deepest thing that you had to go. Um, but when you reach a certain point in a relationship, you have to start asking hard questions and you have to start asking your work hard questions. Like, who are you? And do you really have to be that way? And if you have to be that way, then what do I have to give up to accommodate you? You have to start looking your work in the eye and going, huh, like that. You can't just be like, yeah, I'm free on Saturday. Why doesn't it feel like a honeymoon? Cause you've been through a hundred thousand Saturdays and you're, you're, you're not allowing yourself to go to the next level with your work because I don't know why because you think I'm in your head. I think you, you think it's not going, it's going to fall apart. You know, sometimes we like that in our relationships. You don't want to go to the next level because it might fall apart. You know what? I go to the next level all the time. Yeah, it's like, yeah, and it's still there. Good. And look, another honeymoon, another spring of, you know, another, another flowering, another bubbling brook happens, but you have to be willing to dig. If you're not willing to dig, you're not going to find it. And so that's what I'm asking you, like, what can you cut? Right? What can you do without? You got to let go of the thing you had in your mind, which is great and beautiful. But here you are in your life or in the life of the work, right? And you go, okay, okay, what can I, what can I do without? Maybe the, maybe those notes, those people giving you notes have a point. Hmm. What can I cut? What am I missing here? Me telling myself the story. Is that my sense? Yeah. Ask those questions. And if you have a fear that the work is going to fall apart when you start asking hard questions, that's okay to be afraid. And it's okay to have a fall apart. If you, well, I know what you made a sound. What were you saying? Well, you know, it's just been, it's just been so many years that it's been structured. Sorry for the beep. It's been structured a certain way for so many years. I mean, I literally like started this play at Watch Me Work, you know, and like, and we went through it, you know, and, and so it was kind of like, Oh, this could be a cool concept. And it's like, what if the idea of like, what if this concept doesn't work, seven or eight years later is like, that's, that's like heart smashing, you know, like, just for the sake of like, there was a vision and it could be good, it could be, it could be engaging, you know, because it's so it's long, and it's two people lonely. But the idea of like, maybe there's some kind of thing that makes it work that keeps the attention of the audience like breaking it up into three parts and having, you know, two different perspectives and the truth in the middle, you know, trying to kind of play around with the story structure. But I'm like, the only thing that has been like in my kind of gut that was like, should I try it? Was like, if I like took out like one whole part and just had it as two parts, like, like a normal play. That's okay too. If that's in your gut, then try that. I mean, that's I think that's a hard question that you're asking yourself. You know, I mean, that's a good, that's a hard question. You know, that would, I mean that would qualify as a hard question. I thought that was, it's funny, I thought that was like a black cat walking behind you and I'd say, oh, there's a glitch in a matrix I was going to say. Yeah, just right at that point, that's a hard question there goes the black cat walking by. But I mean, that's a, I think that's a good thing to try. You know, yeah, I mean, just know that, you know, like the Bhagavad Gita says, no effort is ever wasted. No effort is ever wasted. And I mean, how many of us, I don't know, how many of us have done pitches for jobs that we haven't gotten or gone, got all dressed up to an interview that's gone to someone else or more in your coolest outfit for a date that didn't turn into the thing that you wanted or I don't know what other analogies, you know what I mean? Yeah. Audition for a part that you didn't get, you know, went up for a prize or something that you didn't win or won the prize that wasn't what you thought, you know, whatever. I mean, this is, this is, no effort is ever wasted. So if you have a gut feeling that you should try something with it and I go with your gut feeling, take out the middle, see what happens. Just see, just see what happens or keep it in and see what happens. I, you know, this is your road. I know. I didn't like you riding the road with me. I am, but, but, you know, I'm only holding the light. You're walking. I'm just holding the light. See, there you are. There's your road. Keep walking. Keep walking. You know. Yeah. I'll probably come back with another after I kind of do more hard questions. I'll come back with this. Yeah. It's a story I want to get. I don't think I'll get it perfect, but I want to get it excellent. There is no perfect. Perfect is the enemy of good. Don't worry about perfect. Perfect is something that people make up to feel bad. I just said that, but it feels like it doesn't. Yeah, it always does. All right, I'll do that. All right, my friend, please keep us posted. Absolutely. I will. Okay. Okay. Thanks, Crystal. Thank you. All right. We've got just about nine minutes left. I'm going to go to Samantha. Hi. Hi. Wow. It's been four or five years since I attended. Oh my goodness. Yeah, we were in person and we were upstairs and it was all the photos of all the Hamilton actors. Oh my goodness. That was a long time ago. Yeah, so I had started working on a piece about 9 11 because I'm a member of your first responder. Okay. Okay. So now what I'm finding, I did a draft. It wasn't where he was working. Now I'm finding myself thinking about the bad guy and giving a voice to, you know, why we have, 20 years later, we're still, you know, grappling with 9 11. There's a memorial now. There's all the things now. There's, you know, I've lost colleagues to 9 11 related. Anyway, so, you know, I'm finding myself resisting putting a bad guy in this piece because this bad guy wants to be one of the terrorists. So I'm, I'm struggling with that because I'm loathe to give a voice to, you know, any of them. I'm just trying to find a way to, you know, address a very large issue. But I keep coming back to it and I keep, you know, I'm sort of, I know it would make a very interesting conversation and I'm just trying to find a safe way to do that, not just for me, but if it, you know, the miracle happens and it sees the light of day that, you know, I want people to, you know, I'm just trying to find a way to do it safely and still get my point across. I, because it's the only way to really ask the question and try and get it answered. Why? What, what is this truth that they felt so passionate about? That's, that's kind of what I'm, you know, I could do a lot of different things, but I need to be realistic, I guess, is I, I, yeah, so I'm, I'm, as I'm looking at all the things I've been writing is I'm trying to find a balance with these are very, this is a very, you know, there's very thin ice, this can go from, you know, really opening up a dialogue about what happens so that we can continue to heal from this versus giving a voice to, you know, evil that doesn't need to be heard. I think that's, that's where I'm kind of, you know, the bad guy got to have a bad guy. Like whether it's a character, whether it's time, whether it's weather, whether it's an attack of some sort. I'm grappling with, I don't want to give the bad guy, you know, it's, but that's not, you know, that's not going to get the dialogue going and answer the questions that I have of why. I don't know, I think, I think this is where your creative power comes in. I mean, if you, if you, if you, someone, something, something else, something is telling you you got to have a bad guy. And you're saying, but I don't want a bad guy. I don't want to give that guy voice. So who are we going to listen to, Samantha? What do you think? We're going to listen to the good guy, but the good guy. Good bad nothing. Who are we listening to? Good or nothing? I'm not saying good or nothing. The voice is the same. You don't want to have a bad guy. Who are you listening to? The voice is the same. You got to have a bad guy. That's who you're listening to? Well, I'm trying to find, I don't know, I'm kind of stuck at the beginning of, you know, I took everything away and I'm just trying to, I know I've got, I know it's still, it's new. So it's been working on this for a long time. I know, because I know you and you've been through some really deep and, and, and, you know, difficult stuff. And I, my, we listen to you. You got to have a bad guy. Sounds like a should. Sounds like someone outside you talking and telling you what to do. And I don't want a bad guy. Sounds like you saying, no, thank you. I don't want that. But then you go, but how the fuck am I supposed to do it if I don't do it? I want to get it done. I want to process this thing. I want to, you know, kind of get this out there, whatever happens to it, whatever, whatever, but I want to get it out there. And someone, well, this is how you do it. You put a bad guy in there and you go, I don't want to do that. So then the question is, where's the road? Right? Where's your path? I'm looking around in your, in your space. The path, the road has been traveled already by the people you know. And there's a, there's a, there's a verse from the Tao Da Ching. I'm sorry. And I'm looking around because like I'm looking for my Tao Da Ching and I know I'm not going to find it. So why am I looking for it? Anyway, it talks about how we, that's what we do. We, emptiness is what we use yet shape, the shape is what we make, right? That's a horrible paraphrasing. But like a cup, right? With a cup, you use the emptiness, but to make, to create the emptiness, you have to make a thing, right? You have to make the sides of the cup, right? You think of like a drinking cup. You know what I'm talking about. You know what I'm talking about. I think collectively, the people you know, whose voices you have in your head and in your body, collectively can tell you what you need to know can create the vessel through which this can run. I really believe that. I really believe that. I don't think, I think, And if the only bad guy you rained or I'm inhaling and getting some ash in my lungs. That's going to, you know, that you know, one of your friends, you know, you say you lost so many people who might pass away because of, if that's the bad guy, use that. If your body, if everything in you is saying, I don't want to have the bad guy, the terrorist, and I don't do it, that's your gut talking really loudly to you saying for your protection, don't invite that energy into you because you've gone through enough already. Okay. That makes sense, yeah. Call on your friends and your co-workers who have experienced these difficult things with you, listen deeply to them, and together they can create the experience of what you're trying to tell. They can do it, you know. Okay. It's okay. That's helpful. Yeah, okay. No, you can do that though. You can do it. Okay. Is your, Sarah, is your question a burning question? We can answer, I can answer really fast. No, really. You want it? You want to ask it this week? I'm sorry, Audrey. Oh, you can do it. Great. Okay. Go ahead. It can't wait. It, oh, it's up to Audrey. I'm sorry. I didn't hear. Oh, no, no, no. We can go a few minutes. We can go a few minutes. Yeah. Great. Thank you so much. I love the advice today. It's really helpful. And if we're on the road metaphor, I feel like I'm very in the weeds because I'm trying to write an artistic or like a personal statement for a project. And I don't know really how to stay like I'm writing it every day and I feel like I'm going to the weed field in circles and anyone can give me advice on this. I'm really struggling to stay with it and find a path. Mm-hmm. And you've written and you've written from the beginning to the end. Is that correct? Yes. Okay. And a few different versions of the draft. I've tried to find a couple of different handles. And where you're in a public place right now. Is that correct? Yeah. Okay. Oh, it's okay. Do you have to go? Do you have a, can you walk? I mean, not now. Maybe I don't know where you're where you are right now, but in New York it's dark. Can you walk outside and talk to yourself out loud? I can in about an hour. Okay. You keep your mask on. No, we'll know. Put your, if you have these, I don't know if you have these and you have the ear, but no, we'll know. No, we'll think you're crazy. I do it all the time. So don't worry about it. Talk to yourself. Get your body moving. Swing your arms. Say Sarah. Look, it's like a, it's like a Fleetwood Max song. You're probably too young to remember this song. But anyway, Sarah, you're the poet in my heart. Okay. So there you go. You know it. Okay. You go, you walk, you talk to yourself and go, Sarah, what do I want to say about me? What do I need to know? Talk to yourself. Get the energy moving in your body. It might make you sad. It might make you happy. It might make you cry. You're going to be like alone walking. No, we'll know. Okay. Or you will join the multitude of us who walk around talking to ourselves, trying to get our energy out. It's cool. Yeah. Rose is laughing. You know what I'm talking about. Right? So you're walking. You're saying, Sarah, what is it that I want them to know about me? What do they have to know about me? How can I write this statement? Right? Yeah. You might get a little kernel of something that could be helpful. I think that's a great idea. Okay. You can do that. Okay. And that is a perfect place to end. Nice job. Nice job. I love doing this. I got to tell you, this is fun. This is really fun. Best work. So glad you're doing it. So thank you. Thank you. Thank you. We'll be back next week. Same time. You can sign up on the website now. And we'll see you then. Yes. I'm just to tell you, if something, I might be called to an event next week. I was trying to. So, oh, sorry. No, it's okay. It's okay. But, but I will know in the next couple of days. It's some anyway. Stupid thing about to go and smile. I hear though, but, um, but we'll, we'll see. We'll see how it goes down. Okay. Okay. But definitely the week after and every other week after that. Okay. Love you guys. Okay. Bye bye. Have a great week. Bye.