0. Accounting software. Purchase order form or PO form.  Here we are in the custom 0 home page we set up in a prior presentation. I'm gonna zoom in a bit by holding down control and scrolling up on the mouse wheel currently at 175% zoom in. Support Accounting Instruction by clicking the link below giving you a free month membership to all of the content on our website broken out by category further broken out by course. Each course then organized in a logical reasonable fashion making it much more easy to find what you need than can be done on a YouTube page. We also include added resources such as Excel practice problems PDF files and more like QuickBooks backup files when applicable. So once again click the link below for a free month membership to our website and all the content on it. We're going to go into the demo company but before we do going to reset the data just to note that you have the capacity to reset the data after entering transactions in the demo company which is a great tool. So we're going to do that it will open up the demo company for us. I'm going to hide this window up top typically I would then open up the major financial statement reports now that being the balance sheet and the income statement and then have this tab on the left to be working in but for this case we're looking at the purchase order which does not have an impact on the financial statements the balance sheet and the income statement so we will not do that this time. The purchase order can be located in the dropdown here it's one of our primary data input type forms and it's a little bit different than most of the other forms because remember our end goal is to generate the financial statements from an accounting standpoint and obviously also to facilitate the purchase in the case of a purchase order but just from an accounting standpoint we're trying to build the balance sheet income statement and related reports most of these other forms are used to make the data input as easy as possible to then create the end financial statements. The purchase order is different because although it looks like the same kind of data input form it being similar in look and feel to an invoice for example there we don't actually have a financial transaction because it's just basically a request so before we go into it let's first just take a look at the flow that would be involved. I'm going to go into a flow chart just to see the kind of flows that would be involved if we have a purchase order so we would be looking at the vendor flow of things or the purchasing side of things or the expense side of things you might call it and we're expecting at the end of the process that we're going to be spending or cash going out in this particular flow. We've talked about this flow in terms of purchasing say expenses like utilities for example in which case we might just have a check type form or an electronic transfer a decrease directly to the checking account to pay for expenses or we might have that accrual component using a bill entering this into the system a bill which to the zero system increases the accounts payable and then paying that off with in essence a type of check type form or decrease the checking account. Now we've got inventory involved if inventory involved you have a couple different options on how to handle inventory and this is what you really want to think about before you start setting up the accounting system you can either have a periodic system or a perpetual inventory system on a periodic inventory system you might decide that you're not going to track inventory within the accounting software within zero you might say I'm going to track it outside and say excel or some other software and then I will make periodic adjustments into the accounting system at the end of the day the end of the week and the end of the month in other words I'll record the purchases of inventory in the accounting system I'll track the actual physical units of inventory outside of the system I possibly will do a physical count at the end of the day week or month and then determine how much of the inventory has been sold beginning inventory plus purchases minus ending inventory kind of calculation for cost to get sold and do a periodic adjustment in that case it's a little bit easier to to not have to set up the inventory tracking within the system but if you want the full perpetual inventory system in zero then you're going to have to turn on you're going to have to track the inventory and use inventory items within the system which will not only record the purchase in terms of the account that will be affected inventory when you purchase the inventory it will also record the sub ledger tracking the units of inventory that you're purchasing and then when you sell the inventory with like an invoice or something then it's going to actually reduce the inventory account as well as the sub ledger for the units of inventory sold so in that case you might have a purchase order as well in the system note that you would only have a purchase order in the system if you have more leverage as the purchaser in this case of the inventory that you're later going to sell because usually when you purchase something like online you you have to pay for it if you're an individual at the point of purchase like if you buy something from amazon even though you haven't got it you typically pay for it at the point in time you're requested what you want but if you have more leverage in your state go into a manufacturing company in your order in a thousand cups or something from china or something like that a manufacturer and they're going to send those over maybe you can have a position where you request the cups they send them over and then they come with a box you can imagine a box of thousand cups with a bill in it that you can then match the bill to the purchase order in order to have a relationship like that you have to have trust between the two companies so that they're willing to give you the the goods before you know you bill it and so on so that's where the purchase order comes into play and that's why the purchase order doesn't have a financial transaction related to it because one we're not paying for anything at the point of the purchase order and two we didn't get any inventory at the point of the purchase order we're going to get the inventory we can imagine in a box in our warehouse full of cups at some future point with a bill in it that will enter at that point in time so given that then how do we track the purchase orders how do we deal with the purchase orders well we can enter the purchase orders of course here you enter the purchase order you would expect the next thing to happen is that you would then enter a bill would be the next thing in the flow that would happen and then of course you would pay off the bill as in essence you normally would at that point in time and then to track the open purchase orders we go into the business dropdown and we've got the purchase orders down here let's check that out going into the purchase orders so up top we could make a new purchase order up top so this is just another way to get i'm going to go back again to the same area as with the plus button so like most accounting softwares there's multiple ways to get to the same area i think zero is fairly streamlined that there's not too many ways i think some softwares kind of go overboard in that there's too many ways to get to the same thing it's almost confusing and it's taken up more space than maybe you need but zero is pretty pretty streamlined that they don't they don't aren't they're not too redundant on that because any case so now we've got the all items here you've got the drafts when you set up a purchase order in a draft you've got the awaiting approval so if you're going through a more like a longer approval process you can add them for approval then you've got the approved items which smaller companies when you enter the purchase order you might just enter it as approved up front and then uh then you've got the build items so you can imagine the build items would be once you've received the information for the purchase order you're going to have them be billed for meaning the vendor who you're purchasing from has issued you a bill and you've entered it into the system and typically the bill might be created from the data you put in to the purchase order so if I go back to the approved items let's just take a look at one that has been made here drilling down on a purchase order so we've got the information up top we've got the abc the contact information the date and let's look at it as if we're editing it so we can see it in an edit kind of format so now we've got the contact the date the delivery date the order number if applicable the reference if applicable the theme is standard so the type of forms that you're going to be using and they will give you standard forage you might be able to get into some custom formatting if you so choose purchase orders being a type of form that might be useful to do that make it more customized that is because you're giving it to someone else outside of the company it's not just an internal form us dollars we're going to be in uh tax inclusive on this one and then the item the description the quantity the unit price now now the item might be something that we would have to set up so we might set up the items in order to be purchasing and tracking the inventory items the discount the account the tax rate and the amount now note this looks a lot like what you might see in like other types of forms like a bill or an invoice or something like that and you would think hey there's a lot of numbers here wouldn't this have an impact on the financial statements the balance sheet and the income statement it looks like kind of form that would but it doesn't because it's just a request it's like it's kind of like an estimate form if you've done with job job costing where before you enter the invoice you might have an estimate so just because you made an estimate doesn't necessarily mean that you're going to invoice someone it's going to be an estimate and it doesn't have any financial impact this is similar you expect the purchase order to be fulfilled but you haven't actually done anything that requires the financial transactions in that you haven't actually paid anything and you haven't actually received the inventory so no financial transaction it's the step before the financial transaction which is when you connect the purchase order to the bill that we will have at a future point and then down below we've got then the delivery address attention uh foh telephone number delivery instructions if necessary you got notes that you can add and add expected arrival and more detail down below here for the related activity that has taken place so this is going to be kind of like your history and so on so i'm going to go back up top let's go back and let's go back and so so then of course you can use these items you can check off these items you might check them multiple items off and then apply them as build or you can print them you can send them and you can copy you can copy too now oftentimes you would think that you might use the purchase order to basically create the bill so when you have this copy two item here oftentimes we would copy it to a bill because when you're going to receive the goods the thousand cups for example then you would you would expect that that should match the purchase order and you can use the purchase order to pull over the same data into the bill uh if you so choose if you're going to make another purchase order then you can make another purchase order in that format and you can you can pull it over to an invoice which might be useful if you bought the cups for example custom for a particular customer and now that you've received them you're going to just roll them over into an invoice and turn around and sell them to the customer possibly that ordered them custom for them let's go ahead and see if we can just enter a purchase order just for the fun of it so i'm going to create a purchase order here let's make a purchase order we're going to say the contact is a a a again i'll just make another contact of a a a and the date that's fine delivery delivery date i'll keep that blank i'm not going to put any reference this is pre or pre filled the order number standard themed us dollars i'm just going to say no tax on it and then i'm going to choose here these t-shirts now note if i if i go to a couple of them like this item here they have it going to cost of goods sold and instead of an instead of an inventory account and if you have like a job cost type of system it might be it might be set up more likely to be kind of set up in that way meaning uh when it pulls through to the bill it's not going to go into inventory but instead basically be expensed in the form of cost of goods sold but if you're just buying and selling things traditionally you would track the inventory and you'd be pulling it into something like putting it into the inventory account now because i can see the account here again this makes me think well this is going to result in me this is going to result in me having to transaction no but this information will pull pull over into the bill which will result in a transaction so that looks good we're going to say i'm not going to add any lines this looks good down below and so then we have their options of just approving or we can say we want to approve and add another we also have the saving option so smaller companies might just go directly to the approve if you've got if you've got another kind of system another kind of link in the internal controls you might save the draft and then we could have we could save it as a draft let's go ahead and do that and just go through the cycle and say it's saved as a draft so now here it is as a draft and then if i was to go back into it as a draft and then say okay now what i'm going to do is move it to save and submit for approval so i could just approve it from here but no i'm going to go and save and submit for approval imagining i've got another step in my accounting process and so now it's going to be a waiting approval so here it is a waiting approval still hasn't recorded anything to the financial statements of course we're just going through the bureaucratic system in our office here and now we're going to say okay finally i'm going to approve it so i'm going to approve or prove and another i'm just going to approve it boom it has been approved and so now i'm going to go back into my purchase orders and so now it's in the approved area here so there it is here now then from here uh i i could then go into it and we could uh copy it over to a bill so i could hit the drop down and say i want to copy it to a bill which we'll do next time we'll focus in on the next bill next time or i can hit the drop down and make a bill and let's say i'm going to make a bill from aaa it says up here purchase order blah blah blah is outstanding for this company so i can once again kind of pull in the purchase order gives us that pop up telling us hey there's a purchase order so there's two ways we might do that i think the more systematic way would usually be to say okay if i got a box of inventory with this thing i ordered i would probably go to the purchase orders personally and then go to the approved items and then use this to create the bill check the purchase order make sure we got what we ordered and then copy the bill but you can just go directly to the bill and type in the the aaa that you bought from the vendor or supplier and then pull in the information from the purchase order once again no impact thus far on the financial statements next time we'll talk about linking and we'll go to the bill component and the only difference between the bill components what we saw in the last time in the bill well there's a couple differences one is that we're going to have the link between the purchase order to help create the bill and two now we're tracking the inventory in on it so when i purchase that bill information it's also going to track the inventory on a perpetual inventory system both having it on the balance sheet as well as sub ledgers for what it is we purchased


You're kidding. No, no, no. So we just did an action, and I wanted to work longer, so I think about what time it was to say my name. Did anybody have some really good writers? Always come to this show with some really good extra writers.  So now, if you have questions about your work or your creative process, and now it's the time, ask away. Adam, walk him back. I was just thinking about how they say that you should write what you know and all that kind of thing. But what if I wanted to write, say, from the point of view of an elderly Hispanic woman? Obviously, I'm not any of those things. But if I really wanted to, because I feel like there are so many stories about a young white man in New York, what advice would you give for writing outside your own skin? Well, good question, Adam. The first thing I would say is that in my, well, this is obviously my opinion. I would like to never suggest that one writes, quote, outside one's own skin, unquote, because, to paraphrase, there are so many stories already about my particular group, right? Because that answers the question, how much skin do you have in the game? And if the only skin you've got in the game is the skin of, yo, I want to write something that might be more interesting to people looking at work, because there are so many stories written about my particular group, then that's, like, no skin. And if you don't got no skin, I would say, like. I just meant, because I'd more like to kind of add diversity in literature. Well, I would, well, it's all, it's the reason why. I'm really, this is a real answer. I'm saying, like, you have to get to know the reason why you want to write that. For example, I've written things about people who aren't myself. Top of the road, two men, real brothers. Okay, great. But it wasn't because I sat around going, hmm, I'd like to write something, but of course not. It comes up from the ground, from that deep place and it sort of forces itself through you and then you know you're writing with real, what I call, skin in the game, okay?  Still you have to say, how much skin do I have in the game? Okay, so you always have to ask that question, but especially when you're writing someone who you think isn't like you, right?  So nicely, isn't it? Right, you know what I'm saying, right? People should do appropriated big time. And when the stuff goes to the bank, they're not being invited to the party. And so I feel like it's up to those of us who are still able to think and feel, to go, hmm, what's my part in that?   We live in this country. We're part of the bullshit, okay? So what is my part in the bullshit and how do I do something about that lest I just continue it without thinking?  What story is it that you wanna tell, that you can't tell from where you are right now? You know what I mean? And then you, if you have to, every time you ask those questions, it has to be a yes. And if you get your own yeses, you better all find someone close to your home. Writing someone who's not close to your home is a really specific skill, okay? So I would suggest, and this is different from writing what you know, I would suggest write someone close to your home and dare to write something that might look like one or a lot of your writing.   It's okay, you know? I mean, how many plays, novels, movies, screenplays, TV shows, poems, songs are written? A hundred? No. One a day for a whole year? I'd like to say so, but no. Okay, seven, seven, okay. So this would be number eight of the entirety. I mean, like, there are short stories that have been started, stopped, followed. I don't count, I don't count.  Right? I mean, I'm sorry. I know, you guys have heard, see? You know, you know, yeah, the plot is like a cold, you know, the plot is like a cold and you just gotta keep moving along. I know it's true, but you know what I mean? Just gotta land to people, okay. Or maybe be born. There's, that's a better one, I guess. Okay, so go ahead and go ahead and write about me. Okay? And when you grow out of that, you don't grow out of it, maybe if you're that inclined that way, and then you'll think, wait a minute, I'm writing stuff about an 85-year-old man from Saskatchewan, you're not from Saskatchewan, but damn, oh my goodness. And it's set in 1816. Oh my goodness. And then you sort of make your way and not go on to it just because you think it might be remarkable. Which is what you're saying, I know. But that is the business we are involved in. That's what people do. That's heavy. I'm glad to be back. I'm glad to be back. It's good to be here with us, thank you. Anybody else? Dave, I didn't even know your name. Okay, you're right. I should have said everybody's name. No, it was just, I was nervous. My name is Jessica. Jessica? Jessica? Yeah. Okay, Jessica, cool. Okay, oh, I didn't know I was gonna be on camera. Oh, but you have an early piano. It's cool. It's cool. No, it's cool. Committed to look at a mess today. So, no, I don't, but it's cool. I committed to it. So anyway, my question was, I kind of forgot it now. But it was like, how do you, you mentioned it and I wanted to parlay. How do you like find a balance between trying to create something that is marketable and is going to be profitable? And I know that's, a lot goes into trying to determine that. And then also staying true to like, what you want to create. Like as a writer, writing is art, right? So it's essentially you're creating something and in writing there are a lot of different rules and you know, things that you have to adhere to for anybody to take it at, you know, face value.   Or should I just like commit to like having like a side career or a job or work in retail while I try to, you know, bump my way around in the dark until I come up with some gold or something. Like, if that makes sense.  It's really hard to guess what's going to be marketable, okay? It's really, really, really, really hard. So I would suggest just stay true to yourself. Now this is what happens. You just, what could happen, what happens for a lot of people, you stay true to yourself and then you have kind of a couple of different tracks that your career starts to run on.  And then you get maybe a work for hire. Someone hires you because based on the quality of work that you've exhibited in your stay true to yourself stuff. They say, wow, Jessica's a good writer. We're gonna hire her to do whatever, work on a TV show or have a commission or write this article or whatever. They start hiring you to do things. So based on your excellence in your stay true to yourself, feel good. You can hire to do work for hire. And that's a way to make the living. And also you recognize the prizes and awards and that can give you an opportunity to do other things. So I would say if you're trying to kind of like, I mean, stumbling around the dark, right in the mind, trying to find gold is a lot better than shooting in the dark, trying to hit a target. Oh, baby, it's over here. I mean, that's even worse. That's so bad. So I would say, stay true to yourself, do your thing, get better and better and better at it. And people will begin to notice you and you'll get hired to do things that are more profitable. Okay, we're gonna be invited into those meetings where you'll say, who's just some ideas, Jessica? What do you want to write? We'll commission you. Or we'll hire you to write a TV show or create a TV show or something like that. Okay, is that? That's just personal, but you know, well, everyone deals with it. So it's just something we have to get through. But sometimes I feel like I want to kind of step up the box and I remember having a debate with a past professor about it because, you know, she had her ideas, but at the same time, she was like, I don't really want to critique you like that because I feel like this is, it shouldn't be, you know, totally creative, but it's just so confusing sometimes to decide whether or not I really just want to present like what I feel is my true work and my true, like my voice within the different writings, poems, plays, you know, screenplay ideas, things like that, or, you know, that versus doing research and figuring out, you know, what's going to appeal to producers or an audience or a certain demographic or, you know, trying to find all that. I'm gonna get, and we draw, and it's as if we've gotten splits in our mind and I was talking with some of my students because I teach at NYU on Monday, so I've had some students this morning and the distinction would be made between being a writer who writes good characters and being a writer who writes good plots and how, oh my God, it's either one or the other, right? It's either financial glory or it's creative. See, you've got these separations in our mind who talk these things. There's actually, it's not either one or the other. You can start to remind yourself that what is creative can also be financial and rewarding. Why not? Well, you could, I mean, the thing is, you, what your job is to say, to remind yourself that what is creative is also financial and also can be financial and rewarding. That's your job.   Your job is to tell yourself that what your creative work can also be financial and rewarding. If you tell yourself that, then things will start to line up that way. Sounds, you know what I'm saying? So you start to say, my creative work can be financial and rewarding. Now, your teacher giving you notes, your professor might have been giving you notes to make it better, to make it sharper, to make the dialogue crisper, to make the characters more effective, to make the scenes really pop. That's good writing. It's not trying to make it financially rewarding. It's trying to make it good, you see? So when you get notes like that, like you have to make the scene really work. Jessica, I gotta really be like this to make it so I can understand what the character's going through. It's not, man, she just wants to be determined to learn to work for higher people. You know she wants to make it better than writer. And so we have to take those notes in that context, you see?  I mean, really, if you wanna do the algorithm or whatever it's called, add the algorithm.  So what, you know what I mean?   You got what I'm saying? We can't just stop because the marketplace is not gonna invite us in. It's the line of the sand right there.  Or they want us to turn us into those people who are gonna write in only the way that they are going to allow us to represent ourselves. That's what's going on.  So we're not talking about that necessarily, we're talking about you at your desk having to make the decision, I'm gonna write for my heart, I'm gonna write for my guts, and I'm gonna be the best writer of Jessica's stuff that anybody's ever seen. That would be amazing. And the money comes or not comes, it doesn't matter. At the end of the day, I'm gonna go and say, I did a great job. That's a really good and really good question today. Yeah, Siobhan, who's got a question? What is your decision process?  Cut a whole scene? Whole? I thought that you asked me this question. I remember your work a lot. So cut a whole scene? Yeah, just cut a whole scene. Just like, um, yeah, just like, if that's your impulse, what is the decision making process to go through whether to do that or not? Well, sometimes we get notes from people who read our work and go like five people in a room and everybody hates the scene. That, sometimes that would be good to cut it. Maybe. Okay?  This isn't working. This is so not working.  Yeah. It's time to cut the scene. Ask yourself, is it helping the story? Is it telling the story? Is it, like we said earlier today, is it generating the next scene? Whether it's a novel or a play or a TV show or whatever. Is it pushing the story along? Is it telling us something about the character, what I call vertical plot? It's not just this way. Sometimes plot is developed vertically, right? Yeah. Is it telling us something that we really need to know that will pay off somehow in the relationships that we will see later? Vertical plot. That's what I call it. I don't know, like I told you I'm going to go to school, so I just make sure that I'm just... I can't. You know what I'm saying? So is it one of those scenes? Like, oh, we will never understand her if we don't see her in that pink dress. You know what I'm saying? Yeah. Oh, then you might say, well, we need to see her in the pink dress. Let me find another way to show her in the pink dress. Oh, look, she can wear the pink dress and see number 45. Ah, great. You see, so you find the most important thing about the scene, and you might be able to transplant it into another scene instead of having a whole scene. Okay? But I tell you, is every time you... So does that help? I won't go over. Yeah. Okay. Oh, I'm glad to see you guys. Yeah! Anybody else? Oh, yes. Milena. Hi, Milena.  Oh. Right, for an energy. Right, right, right. What's a good way to start? So Milena says if there's a subject that you're really excited about, but there's so much swirling information, how do you get started, right? So it's like, I think it could be the same thing for every project. You start by putting the time in, right? Do you have a writing time, period, during the day? Okay. Do you have a time, a work time, a creative time during the day? You do. And it's every five days a week or whatever. Six days a week. And so you go to a certain place, tell us about it. What is it like? Okay. Okay, so it's at the beginning of your day, it's a block of time in the morning, okay? And it's vocal work, some movement. It's a movement, meditation. Meditation. Okay, in prayer. So you're, and that's your creative time. Okay. Okay. Great. So I would like you to, in that block of creative time, get specific, carve out a specific piece of that time. You're not in that aspect, or is this something you already do? No. Because you've already made the time. So it gets a specific piece of time in your creative period, in your creative time during the day to sit down at your wherever, right? With a notebook or whatever. And write long hand your dancer so you move.  So movement is good. So you can even stand and write if you want. And you can do 20 minutes a day of every creative period. 20 minutes, it's a magic number, I think. I don't know, I'm not gonna do this to John, but 20 minutes. Use a timer, not your phone. Everyone knows your phone is cracked. Your phone is cracked, yeah. It's, yeah. Okay, because your phone has all these wonderful things on it that wants you to chance you. Okay, so you're gonna use a timer for 20 minutes, each writing, each your creative period, or you're gonna be with your notebook writing on this topic, okay? So we're gonna focus it in and move, I don't know where I hand it or left it, right? 20 minutes, six days a week. See what happens, that's where you start. You start by making the time. And you've already had that time period, you start to get more specific with your time, okay? I'm just blah, blah, I'm just going blah, blah, blah. I want to write about a uniform, you know, whatever, right? Whatever it is, 20 minutes on the topic, right? And if you want to pick a designated notebook, so it's not a notebook with everything else in it, because it seems like you put a lot of things together at once, yeah, get a designated notebook, pick a color that you like, doesn't have to be expensive, okay? Last, they keep nom-joking. We should nom-joke. Congratulations again. Thank you. So I'm starting with another one of those plays that have a lot of things I want to say in it. I want to fight the man and all that stuff, and I'm catching it early this time, though. You're catching you desire to fight it early? Catching it early, yeah. And so what I want to do is actually make it a story. You want to make a story? First, and then see, because the thing is, when I do work, when I did, when I carved out my creative time for it, to look, to see what these characters really actually wanted, who I thought was the protagonist was not the protagonist at all, like my person who was gonna drive the story and take it to the man, well, actually he was the man. It's not the man's story, so it's like, I know this now, but now I'm kind of 30 pages in, which isn't terrible, but it's like page one rewrite, which I'm not mad at, but I'm contemplating whether or not I should just start all over, knowing what I know now. 30 pages isn't so much in. How long is it? I wanted to do a couple one acts around the same topic, so I'm saying as a one act, it's probably gonna be about 60, 65 pages. Yeah, absolutely. Yeah. So they're two things. They're two things, because you're really smart. I know. You come and you ask me whether you should, you've written 30 pages and whether you should start all over again, because you're really smart.  And you think, if I could just have Susan or Park tell me to start all over, and I'll start all over. And I'll get the first 30 pages perfect next time, because now I know what my play's about. I know. I know. To go forward, I know. Go forward. And all the things you know now about your story, write them on post-its, not the big post-its, but the little ones, write them on a series of post-its and put them in a notebook. Actually in the notebook. Yeah, I think it might be fun, right? Whole lot of yellow post-its, yellows are good colors, kind of relaxing, you know?  So you're writing, first you do this, this happens, and then this happens, and make sure that, and stick them in an actual notebook, actual pages, like those cheap composition books, and stick them all in there. And then on page 30, this happens, and then you go, keep going. Or you write the whole play and the rest of the play on post-its, you keep going. Maybe you like post-its. So keep, so like, say don't change anything about the first 30. No, I'm saying change it, but don't change it like, xing out all the pages, yes or no. Change it, but change it on all the post-its. Like, this is why I know it has to happen in the first 30. This, and then this, and then this, and then, so change as much as you want. But don't. New document. No, no, no, no, no, no, no, no, no, no, no, no, no. You see, we're trying to get that, so change, I think you need to change, just make little notes to yourself on post-its, non, yellow legal pad, non, yeah, in a notebook writing long-hand, on post-its, these little things that are cute and they can stick out. And go forward. And then when you're done, on page 60, write with all those new things in mind, and when you're done, then you get to go back. So in the beginning. And that's called second draft. And the sword of discernment, and the song. The sword of discernment, so. Well, maybe, or maybe you just gonna write it all and see if it holds together. And then all this new information. Yeah, because it'll probably by that time be something. Right. Something else too. Right. So you will have at least gotten a draft. Yeah. So the desire to turn back to the beginning and make it all perfect is, you know, it's some sort of illusion, someone's like, wow, your voice, like, carried all the, an illusion, that's a, it is an illusion. It's just a, yeah, yeah. Well, the specifics actually don't matter. Which is why I'm not asking Stacy about the specifics. They actually don't matter. What's mad, I mean, they are your important question, but what really matters is her mind and the way she's thinking about what she needs to do to make it right. See, and that's why it's an illusion. Cause to fix, she really probably does need to fix it. Sure, we're not discounting that. But the desire to cool back and rewrite the first three pages because what happens is they keep hearing the loop and most folks will go back and they'll rewrite them again and then they'll have another great idea and then we'll write them again. And at the end of this year, they'll have 30 interesting pages and about 120 set of drafts. Ryan, I'm looking at you. I'm not gonna mention your names. I'm just looking at Ryan right now cause he's wearing such a cool leather jacket. Ryan, Ryan, Ryan, you know. I'm just saying. Oh, today, by the way, it's leak day. It's so exciting, leak day. I'm gonna like do something extra. So I jump over there, there. It's just this. This is that? It's just this. But does that help? Try that, because what happens is, if that doesn't work and I'll get it, but really, if you get to the end, then you'll have so much more of an understanding. Like just stopping and doing the exercise because there's so, there was so many moving parts and there were some things that I just couldn't say maybe in this particular play of the series that could maybe live in another play.  Just keep going. Because I feel very unsure. Rico, what did I say? Just keep swimming. Just keep swimming. That's right. Just keep swimming. Just keep writing. Just keep writing. Get to the end and then fix it. Just as a spiritual practice, just as a spiritual practice, just do that. With something magical you can do, you know. Yeah. Yes. Anybody else? Yeah. You were a few years, you looked vaguely familiar. Yeah, I don't come that often. What's your name? I'm David. Hi, David. How's it going? He's going great. Great day. And I think I asked him along the lines of like, oh, this hasn't happened for you lately. And you used one of your tattoos to tell me basically not to freak out about it. And I was hoping you would maybe remember which tattoo and what it says. Oh, that's such a great question, David. Yeah. Yeah. Has it happened for you yet, whatever you were waiting for?  Well, you know what's wonderful about my tattoos is that they each say the same thing. Okay. Yeah. So I went for number one. And I could just say it three times. So the tricky thing is that one's written in small type, then middle size type, then bigger type. My idea was to get it XL, large. But I was like, overkill. Three is good number. Good enough for the trinity, it's good enough for me. So it says it's from the yoga sutras. It's sutra number one, two, three. So it's all this joke, right? You can do the joke, right? Okay. So it's sutra number one, two, three. If any of you are old enough or have a, you know, remember that song, ABC, easiest one, two, three, simple, don't worry, ABC, one, two, three, don't worry, maybe you and me, girl. Anyway. So the sutra says ishvara prana dhani vah, which is a horribly pronounced Sanskrit. It means either go with the flow or submit your will to the will of God. So you, so we say, what time it is? Cause I don't know what. Unlike Chris Barlow, who's a Mac genius and has all these watches. Anyway, I say, what time it is? It's time to go with the flow, right? Just go with the flow, right? Flow me in capital F, the big picture. I can't see the whole big picture. I'm just gonna figure that right here where I'm supposed to be. Cause right here is where I am. Got it? I can repeat it in two years time. I don't have to be the same thing, man. Well, but I enjoy talking about it. So thanks for asking. Are we, is that, is it that time? What time it is? So we have three minutes? Yes. Anybody have a question? Anybody have an answer? You might have a story to tell? Have a story? Okay. Oh, yes. Certain days that someone has exactly the question that you're dealing with. Right. And I was just able to get started in working on this play that had had running in my mind for a long time and had an insight also similar to yours that I think I need a different character that is not there, needs to be there. Right. And so I couldn't write the play today because I wasn't sure what to do. So I just wrote series of questions to myself about it and who is this character that's trying to find the way in. Oh, great. And stuff. I don't know if that helps or not. That's true. But I had that same question. Going back. No, it's not going back. I know I'm going to keep that part, but it's turning in a direction that's totally different than where I thought it was going. Yeah. How does things do? I don't think. How does things do? How are you doing, Chris Barlow? Are you good? I got a short question.  Oh, well. We can start talking for us. Okay, oh, I'm sorry. Yes, we have to tell them. Yes, we have to tell you when we're going to be here, not next to them because I have to go to LA again versus the problem of some of the wars. But this is going to be the seventh year group. Oh, but the week after next, which is March 14th. March the 14th. Thanks, Alika. So March 14th, we'll be back here. Thank you all for coming today. Thanks for your question. We're going to continue because Chris Barlow has a question. What? Okay, Chris Barlow. Okay, so you talk about outlining time. Yeah. And it reminds me of a piece of advice you gave me last year about taking the story, like a pre-writing point of view, and taking the story, and outlining it on index cards, and just kind of flipping through those cards, flipping through those cards, flipping through those cards. And so I took a play I wrote about a year ago, and I did not. Right. And I didn't like how the first draft had ended up, but I really liked flipping through those index cards as I tried to fix what I wanted to fix. Right. And I have never been able to go back to actually making it not on index cards. Like, the more I try to outline it, the more I'm like, I love outlining it, and I don't ever want to ruin that outline by putting it back on paper. Huh, are you dating right now? No. It has everything to do with the thingy. The idea, your idea of how great it is, gonna be, and the reality of it, you guys just, you know what I mean?  I was so big, it's gonna be like 150 pages. You know what I mean? And you, you can come. No, it's like, I mean, the idea and the, wow, it's so beautiful. I don't want to ruin it. You're such a good writer. I know you're writing. I know you. I know you. You're so good. Oh, stop. I didn't go on a date like that. No, but I'm, no, I'm sorry. I mean, that's sorry. That's pretty personal use of this, but the idea that you finally got it right, now you gotta go out of the house and see how it plays in the street. I'm serious. I mean, that's why I say it's like dating.  And you have to actually step out of the house and see what it's gonna look like. You have to put it on the page. You have a lot of experience with writing, so you know what that's like to do with other projects.  I don't want to ruin it. Yes, but see how it holds up. It's not one of the ones you worked on last year. No, it's not. Okay. It's gonna be great every point, because you're right straight in, so. Just give over to how beautiful it's gonna be. Okay. Thank you for coming. It's something to say. Anybody else have anything? We're gonna go. We're gonna chat.  You're right. Yeah. That's good. Writer's blog. Writer's. What are they, what do people say? Just write. What are you doing, like, music or drawing or... Those are good. Those are good. So, that's good. I'm just referring to Peter for everybody. So, just write, use prompts, participate in another artistic forum, like music or dance or whatever to get in the movie. All those things are great. All those are good ideas. I would just say, I think what I've discovered is that the muse, and we never think this about the muse, but she likes a schedule. You never think that, right? The muse likes a schedule. She loves it when you show up at your appointed hour to converse with her. So, if you make it in your mission to have a daily practice or an almost daily practice, you show up at a certain spot and say, you know, you're gonna call a friend, hey girl, how you doing? She will more often than not be there for you. And just to sit there and put the time in, putting the time in. I mean, just write as kind of fuzzy for me. Putting the time in. For the time in, it's not your phone, because your phone is cracked. Okay? Just put the time in. And start saying nicer things to yourself. Saying that you made a commitment, like not to look good today or never. I'm sorry. I was like, wow, you look cool. I'm gonna be who you are. That's what I thought. So, it must be true. So, just, that'll go a long way in helping you feel, because we're all just needed to feel okay. Not great, but just okay. And the more okay you feel, the more it's possible for you to get more done. You wanna go? Can I have somebody have a brief burning question? Jenna, I guess, I don't know, because you're my favorite writer. I feel like there's something about, well, there's something about having permission somehow. Which is that, if did you hear how Amy Schumer wrote that she writes because of her belly, and if she didn't have a belly, she wouldn't have had to write for herself, because other people would be writing for her. I don't have a belly. I don't have a water right. Anyway, but yeah, I know, I know. I heard, I heard. Yeah. And I just kind of feel like... She's great, by the way. I'm a big fan of her. Yeah, me too. Yeah. And so sometimes I feel like as an actor, like I feel like I have to be a writer just so that I can act, you know? But in a certain way, that feels disrespectful to writers, because I'm like writing, I think of acting as an art. Writing is an art. Is it disrespectful of me, who that's not my art, to be going and trying to do that, you know, just so that I can act? Well, no, I mean, I think we'll always have reasons to talk ourselves out of what we want to do. But that's your reason to talk yourself out of writing, disrespectful to writers. No, man, writers, we don't, you know, we don't sweat it. You can write your own stuff. I mean, no one's gonna write the exact stuff that Amy wants to, although I'm trying to write, if anybody saw it, I don't know what happened in the last 20 minutes of the movie. Someone fell down on the job, that's all I wanna say. She needed a writer, a lot. Or whatever. But I think that, no one's got to suspect that if you do it well, you know what I mean? If you're just writing so you can have parts, I think Amy isn't just trying to get parts, she's also wanting to get certain kinds of things said and you know, just outside your role. If you wanna write about things that are specific to where, ever it is you're coming from, you have a right to write those things. You don't need a license, you know? You can start calling yourself a writer, if you want.  Oh, you're so great. I'm gonna call myself an actor. I'm an actor, I'm in play, look, I'm in play. You know what I mean? It's okay, you can call yourself a writer. I'm an actor and a writer. I write things too sometimes. You can say, for a minute anyway you want, you're allowed to do what you've gotta do.  No problem. You just gotta work as hard as these people over here. They work hard. You know, I mean you have to treat it with seriousness. Like they would, if they started acting, they would treat it as an incredible crowd that they really wanted you to have, you know? I know this name. So they work really, really hard. So you have to work at least as hard as they would at your crowd, at your chosen crowd. Yeah, there you go. Actor, I'm an actor. No, no, no, I have to be, sir. Oh, I have to be, I have to be, I have to be, I have to be, I have to be, I have to be, did you see him running around here? He's not here today. Dang, I got to be, I got to be, sir. They're like, okay, it's time to go. Okay, we're going. Okay, bye. We'll see you next time.