So, welcome everyone. I'm Emily Morrison, Director of Artistic Development here at Neurologist. And I am very happy to see so many interested people in Neurologist and in our mission process, and the new adjustments we've made to it. I've been asked to tell you to be aware that this event is being live streamed on the internet through New Play TV, and that as an audience member who asks the question, your voice or image may be recorded. So we tried this last year and it was successful. We're doing it again since I was born in Allen, our Director of Finance in New Media. Thank you to New Play TV. I just want to introduce the lovely panel here. We're expecting the playwright Daniel Wright to just finish his seven-year residency, who agrees to come back and sort of be able to represent the playwright's point of view on this process. Answer any questions you have from the playwright's point of view about what the film is is, what it's like to be on the admissions committee. And so we're going to introduce the panel here.  I'm interested in knowing who we're sharing. Here on the left. So I'm John Steepard, I'm the Director of the Playwright's Land. I'm Todd Wilder, I'm the Director of the Playwright's Land. Andrea Luxio. Maurice. Laura Gray. Eric Augenbaum. Christine Farron. Eric Moyer. Tammy Bryant. Mastan. Josh Bailey. Brunos. Zach Lyne. James Tyler. David Lawton. Jeffrey Steinstein. Derek, sorry. David Allen. We're going to try to do our best to open up the process to all of you to demystify how it works and also to answer any questions you have about how it will stand or what it means to be a resume playwright at New Brom. So while we'll do an overview about the process, the new adjustments I hope that we can quickly get into a dynamic conversation and field questions from you and we'll have some from the people. Help, help. Help me. Yes, from the... Hi, welcome. What's your name? Susan. Hi, Susan. Nassra. Nassra. Hi. Thank you. It's over to you, Todd. Okay, let's start. So I'm Todd Wilder. I just came in. And I want to give you a little overview of the process of the admissions process here. I want to do it in the context of what this place is and what the mission of this place is. It's... Nudromotus is now a 63-year-old center for the support and development playwrighting, playwrights particularly. We've never known too easily what to call it. It's partly our home base. It's partly a laboratory for writers. It's partly a community center. It is an actively evolving community of playwrights. It goes back to 1949. So it is constantly the offerings and the spirit of the place are constantly being updated. There's not something evolving depending on the group of resident playwrights here on. The current male, about 50 resident playwrights. It's not a set number. There's not a set number of people who get in every year. And so this year, for example, we lost... or we finished setting a residency period of five playwrights. We accepted in six playwrights. And so now we'll shut this room down to two. It's very important, I think, from the outset to know that the mission of this organization is to give playwrights space and time to develop as artists to make whatever impact they can on the field. And that the context for that is a community context. And specifically it's a community of writers, which I know some of you still think is oxenoron, but it's not. So that the work at New Dromedis happens in really two spheres. One is the individualist sphere, as each writer makes his or her way through the seven years here really directed by a playwright more than herself. So I'm the artistic director here, but in a great sense that's a misnomer because every writer is the artistic director and decides what he or she will work on, how they'll work on that, how they'll avail themselves of the programs we have here, how they'll use the staff, how they'll use the community of their writers, how they'll use the buildings. And as you know, every writer has a very different period of seven years, which is a huge period of time. Those lives can change in very different circumstances. So on one level, New Dromedis is about the playwright's development and growth. On another level, New Dromedis is about how to function, lead, participate in, be active within a community of other writers. And the underlying premise of this play, so it's not stated in our mission, is that writers are each other's greatest resources and that we make each other better. Your example, your challenge to each other, your collaboration, and share what you learn from each other is the strength of a place like this. So at any given time, there are roughly 50 writers here, each in some different stage of development personally, artistically, professionally, and each in some different relationship to the community. And playwrights use this place in many different ways. Some people use it entirely as a laboratory, some people use it as a community base, some people use it as a zombie around, some people use it as a place to write, on a daily basis, and most everybody uses it as an instance. So the admissions process, only like the process of being selected in a play and done in a theater, or even another developmental organization, say the O'Neill, some are the O'Neill or Sundance, or in other residency programs that are more limited in time, the selection process here is really about intruding a writer, their body of work, where it stands through a couple of plays, intruding a couple of plays, trying to get a sense of where they might be in career, how they might use this place, how they might get back to this place. So really both, again, the individual development and the community aspect, because not everybody would use new dramas or meet new dramas, though sometimes you would think that it's only, oh, this is kind of right, just finished a set of the res, what's he doing now? Just now. No, not until after this. It's his sneaky way to get back in the building room. You know, a tunnel. So the process, the admissions process really focuses on both of these things, specifically and mostly it focuses on the work. But it doesn't focus so much, as you know, you're going to submit two plays, two new dramas, those plays are written, they're read and written by you, and they are read, but I'll explain it in a moment. Later on in the process, there's a three meeting, there's very long meetings, so I'll explain it to you. Over the course of that time, most of the work is focused on who is this writer given these plays and what kind of passion does this writer incite in the community. Later on in the process, when I'm in the pool of applicants, as we know, to apply the list, then questions come up also about the writer's state of interest, how would that person use this place, how would this person benefit from this place, why a community setting for this artistic development song. So everything that we do, unlike a producing field which does really focus on is this play for us, and maybe secondarily is this writer, this place is really about how excited does this particular group of people this particular year get excited about how excited does this group get about this particular writer at this moment in this world. So the package that we submit are his two plays, a statement of interest, and we're going to talk about the other parts later, because we've just changed the requirements to make a smaller submission actually. And then some sort of CV or resume. If a writer is from out of New York, New York area, there's an additional small statement about how they might use this place. The process by which you would be evaluated or made to catch people on fire is more likely to. Is that there is a seventh person who may, it changes utterly every year. Staff is not on it, so when you don't weigh in and facilitate the process, to keep our big mouths shut, we often don't even give some information if we know it. There often we don't. We never say, oh yeah, this person was applied 18 times before or this person was applying to this last year or anything like that. So it starts fresh every year including the panelists. The panel has made up of three current neutral writers, two alumni and what we do do is we constitute the committee. So we try to create a committee that is as athletic and as diverse in as many ways as this place is, as we put our work is, and as we want this theater to be. So there is a geographical balance to the committee, there is age balance to the committee, there is gender balance, there is racial diversity, there is aesthetic eclecticism on the committee and none of that is predictable. So inevitably the most experimental writer loves the most conventional application or the most classic. It has never, in 16 years in my experience I would say with maybe exceptions of the one or two very strong parts of the conversations that people find themselves representing virtually, not uniquely in the process because the writers by the time they get to the end of this process they are so damn good and so damn right for this place that those kinds of conversations that the balance finds itself almost inevitably. So this committee changes every year, we stack the committee in a way to make sure that the committee will work on a consensus basis because that's how it's done. There's never any limits that are binding in a process. This group has to this group has to agree in the end and has to agree at every stage of the game. So if one person wants to let go of a pirate early on and somebody else wants to hold on to them, we hold on to them until I can all agree. At the end, this group has to agree by consensus and not by any miracle vote that this is the group that we are accepting.  It's not a lot of randomness built in. It's passion bias so that there can be writers that everyone on the committee really likes and they won't get in here the year after year because they don't set two or three or four or seven people on fire in the same way that maybe somebody who have the committee hates their work. So it really is about passion. It's about interest and it's about convincing the rest of the committee to go along the consensus on each and then on every athlete. We are limited numerically not by a set number that we bring in every year, but really by the resources in our place. We are pretty much maxed out in terms of time, space, money availability of space staff resources at this particular team number one. Which I know in a place that lets five to eight say in the first year, which has been my experience for 16 years has never been less than five or more than eight. It feels in some ways that each year is exclusive or they're exclusive, but when I think about that we're giving seven-year resources to everybody every year of our existence, I think there's no legal organization in this country that serves so many writers that want to learn so fully except maybe actually what it takes that has been actors and so on and so forth. So really I will get off this but the, so that's the panel process. The panel changes every year. We're trying to mix it up. They read two plays. They alternate the plays, go from the panelists, read ten plays every two weeks. From October to May. In January they made once, usually they made last between 12 and 15 hours during which they cut the list from whatever 300 of here in 25 would apply to about 100 semi-finalists. There's a meeting in March, early April where the semi-finalists are chosen, so it's committed to about 20. And then there's a meeting in early May during which they come up with a group of 5, 6, 7, 8 based on who they are really excited about. The statements of interest are not read until the finals unless a panelist has to read them. We've found that as we're about to have something happen we'll say as we have recommendations we find that they are almost never read in the process. The CDs are rarely recorded too. That the first two meetings are really about the work. It's random who gets to play the first time but as your plays get more feedback reports from the writers we start to sort of push the plays towards readers who you think will like them or get them in some way. As we, especially Emily and Erin, who run this process of industry as they see sort of what the play rate is on for where the passion between them might be. And that again is the question. So, statements of interest are read at the end and at the very end of the very end of the process we start to discuss things like citizenship, how a person can use the plays, whether they use it, whether they need it, whether this group makes a nice class that feels representative based on implicit or explicit sort of beliefs of the panel itself. There is no sense of what a new drama is. There's no sense that this is a place for emerging playwrights or mid-career playwrights or established playwrights. Some of that is hidden by default over the years because it's really hard to get through that process and so it tends to play group playwrights who are a little bit further along in that group. We have two really strong plays as opposed to one play that's really strong and one that shows a process. But again, every year somebody gets in and rushes off the boat and then somebody goes for 20 years. So it's a really different process. It changes from year to year but those structures are the same. You improve people in that particular situation how they read, how they discuss with them towards consensus. You described two bodies. There was the panel and there was the committee. At what point? It's the same thing. I used two words for the same thing. Many panel things. Intrepid viewers. People who can live with their spouse have been really pissed at them for eight months. Thank you. Is there any other need for clarification on that? We're going to move on because now I'm going to tell you what is going to change about the process. Essentially everything about the procedure will remain the same. There are some administrative changes some of which are rather significant. The first being that we're going to go completely paperless. So we have a module on our recently redesigned website through which all applicants will apply. What you apply with will remain the same. It will be two full-length plays instead of two copies of two full-length plays which is what the paper full process included. So two full-length plays for CD or BIO an artistic CD or BIO and a statement of interest. So that will all happen on the online process. We are no longer accepting any letters of recommendation. They have always been optional in the past. As Todd said they have rarely had any influence in the process except those that came from current resident playwrights or board members. The advantage to having a letter from those groups of people was that your A play and your B play. You determine which play you want read first, which would be your A play and then your B play would follow as you advance in the process. So the way it was done before with the letters of recommendation from current resident playwright and along with board member was that both your A play and your B play would automatically go into circulation to two different readers in the first round. So that is actually we are not having letters of recommendation so there is not for anybody. What we are going to do once we have a list of applicants is to circulate it to the current resident company and to alumni and they can opt to advocate in favor of one writer to have both their A play and their B play read in the first round by two different readers. So what we are going to do that is very new is to have that first round the read will be without means attached. So in fact while there is this advantage that comes from within the community advocacy from the current resident playwright no one will know whose play they are reading or if it is their A play or B play it will be attached in that first round. Names will be attached in the second the semi-finals in the final round so that the names will then get introduced in the second and third round of the read. And then the submission window which used to be open for two months July 15th to September 15th is now open from August 1st until September 1st until 11.59pm. So it is in fact open. And so the window has strong tool in mind. So those are the new changes right? I'm not sure. I want to just say one thing about the recommendations specifically. I think they are saying A yes as we both said recommendations aren't really read and they are not going to have full of a process. I think we feel really strongly about the recommendations again and again and again and that it's a drag on your relationships and it's also a drag on your writing especially if they are never a drag. Which are our cult. I mean I would say probably the people sitting up here would write about as many recommendations not for this process but for other groups as many poor people. Excluding you down in this, the staff here writes so many recommendations and it takes a lot of time. So it doesn't have a bearing on the process, it just doesn't seem fair to anybody. Yes. I also just want to say I want to also say that these changes just because it gives a glimpse into the way new problems work at organizational length that all these changes were made with the input of the writers. We have a writer's executive community of governance and policymaking playwrights within the community. To communicate really significant matters too for feedback and whether they are decision making. This was all done with their input with their suggestions and with their ultimately their blessing that this was in fact a great direction to go from a playwright's point of view as well as an organization point of view. I wouldn't say to say that that this was it wasn't something that deep that grew out of the administrative process but it would only happen with the input of the writers and their blessing to move forward in this manner. Another thing about the line reading first round is the question that comes to my mind is why do we do it here about and I think there are a couple of reasons that I just want to be really clear about and I'm never really blind once you get down to people who are getting into the civil trials it's inevitable that somebody on the committee knows that justice is inevitable and so whereas the blind reading first round seems to give a kind of equity across the board ultimately it felt too dicey to let some people be known as someone unknown particularly on the community level and the sort of citizen base and career level of this it didn't make sense to bring people into the library it didn't make sense to force or cut off that conversation about what benefit could this person have from some years here and how could this person participate in some years once you for us to make it blind through I really didn't make sense but we were really hopeful that this notion of the first round blind will create a quality of submission that in a way though we strive for it when everybody said oh I know this writer there is a sense of power additional power for the people who are now the person so just to give you an overview of what paperless is going to look like I'll just talk you through that and direct you to the website but first off I just have to say for us to be going paperless our designers are actually calculating they're trying to calculate how many tons of paper by doing this it's literally going to be tons so we'll post that on the website when we figure that out and also we need a whole store space in the basement that was not available like over 650 places we could get about 125 applications to play each so about switch ok great exactly but anyway a lot of things so all those shelves now are being used in a way that doesn't have storage space so that was like really extraordinary discovered so here's how it's going to work you're going to go to our website the window will open it's first and we'll go to t-front.org we'll click on admissions and you will be prompted to create a username and a password so you'll do that and that will prompt you to go to the website create your password and you have the entire window to complete your application you can wait you can start it you can save it you can discover oh actually I want to work on my statement a little bit more and you can come back and then paste it in that sort of thing you cannot make any alterations to any part of your application however once the window closes at 11.59 on September 1st so you do have that whole window to go back and scan but just make sure you don't leave it the whole last second and it lets you off that will be a very hard deadline so as Emily was saying materials are all the same with the exception of your letters of recommendation you're submitting the exact same thing that you've applied before that you've all submitted it's just all online so you'll be in contact information verified with your US citizen or an INS work authorization you'll be pasting in your statement so you can actually tape it in there or you can just paste in from the text file the uploading or pasting in your myo or CV or resume whichever you prefer whichever one seems most important to you and then you'll um, yeah, let's say you're most popular for that and then you'll be uploading each of your plays typing new titles for us and you'll have a chance to review all of it see if it all looks good to you when you are sure that you're ready to submit it you'll click submit and you'll receive an email that actually gives you a quick brief overview of the things Todd was mentioning about the process there are three rounds of reading about when you're curating that sort of thing as you proceed in this process and there'll also be a link in that email so that you can find your application and make sure you want to look at it but you cannot make changes you can't go back and re-reverse when you're playing you're locked in with what you submitted really, really, really easy really, really simple Morgan Alline has actually put together a little video if you go to this site right now and look at the admissions page you'll see text that sort of covers all these changes we've always been talking about you'll see the guidelines that you can upload and look at and then you'll also see a video that Morgan put together that will show you a pretty good approximation we're still making a few tweaks and changes but a pretty good approximation of what you'll see when you actually go through this any questions about any votes? so great, thank you I feel like now's the time to open up our questions and see what other kinds of conversation that stimulates, again John, as she said, he's the director of the Playwrights Lab I don't know if I can say this before he was on staff here he did spend a short period of time on the admissions committee and then Daniel who understands if he has been on the admissions committee you won't say because the actual identities of the committee remain confidential throughout I always tell the members that they can out themselves but they cannot out their committee members but they have unique points of view because they've actually been in the trenches with this particular process as well as just being eligible about all the way we've got these votes from the playwrights community from the lab community so what's in your mind? what don't you know? yeah? so each panelist will give one play because you're playing and you're written by only one person in this section there might be some mails on the panel who might have connected and just random in that sense we do circulate randomly but there's yes so the chance you will likely go into the first meeting with one playwright by one committee member possibly two depending on whether or not somebody from within the community advocated in favor two plays being read for the audience of purposes one of your plays will be read by one committee member and they will bring their response to your play to the discussion in January so no one person actually holds the authority over an individual applicant all of the people who, oh they make a recommendation on your play to reject at this point in the process or to advance so if you receive a rejection your play would be brought to discussion in that first meeting in January any play that has received a recommendation or rejection will be brought to that meeting and will be discussed amongst the group within the group and it's often happened I will say that the description of the material is such that another committee member might say that's really intriguing to me it's not like a play I would like I like to read that play at which point your recommendation is suspended your play will get circulated to the volunteer and your other play will get circulated to a different reader and so we'll get some more reads on it and then it will be brought back for discussion in that mid-march meeting the second meeting the other thing that often happens with rejections especially in the first round because first of all it's important that five of the seven people who are reading are writers so they're correct so it means why are they sympathetic and it means a while they can read and inevitably what happens is that if they don't like something they will say something like maybe I just don't get this or maybe this isn't my cup of tea maybe somebody else should read it this is the thing about discussing really at great length every play that is read and we discuss every read on every play so there are so many ways that you are and yet, yes, there is still a chance that based on one random assignment a reader can make a objective if a play gets advanced then it continues to circulate even in that first round and I will also say just even up to put a fire point on this playwright revealing their own limitations they often do that in their reports because Aaron and I really encourage them to let us know sooner rather than later where their biases are where their limitations are to ensure that that person gets read thoroughly so now we do have often have the writers or the committee members saying I don't get this early on or can I read their other play because I can't hear the voice or it's not clear to me and I really want to and I would say that they often err on the side of generosity because of being aware of their own limitations biases, sensibilities or they'll ask of somebody else and we do that in the first round because that's the best that we can to make sure that again that conversation in January has as much information as we can know at that point in time and I just have to say that when I was put in, so this was a little over 8 years ago I already read 40 plays so they couldn't just keep me out so when it was actually brought in someone else and he continued to read for that first round we both came to the meeting I had my input and then I was but I was actually I was surprised in that first meeting how many plays were actually there was always someone on the committee who said well that sounds really interesting I really want to read either that play or I want to read either that play so it was great to see that the care and the true interest for every play that had been read when the discussion came around there was great attention to the plays and a lot no plays that I presumed were actually or writers were put back into circulation because someone on that committee found something of worth in what the distance that the conversation was around that play or in that writer and so a lot of plays actually went back into circulation there so I just thought it was a really fair way when the clue wasn't just one and the check and that was it it's interesting it's an early on process I think to look much more tentative about their judgements and so and they're not just beaten down even so there is a sense in that first meeting that that is actually not a bad place to read that play but again just to reinforce last year's finalist is this year's first round rejection and last year's is a fantastic because there is that level of readiness especially in the first round and also tentative I wonder what you when you applied what you felt like you were going to get from you kind of just and then that change and there were surprises about what you needed to understand when I first applied it was many years before I founded that and the organization had changed so many things the last seven years I've seen for you it was there have been so many new opportunities for the players that I've never met so I was the least worried about new programs and new opportunities so in that sense it shifted my sense of what the organization was it was very different from when I first started applying so in that sense it wasn't necessarily what I thought then you would have were there any questions that you had and what specifically did you use for that? I use building practically every every day and earlier in my tenure here the building was fairly empty and I could go upstairs and be alone on Saturday and I lived two blocks away so it was kind of horrible but I just didn't know I realized that was the first thing I did and then I became the only program I could build so I got a travel grant and executive committee I was in the board of directors I tried to do everything and it was really important to utilize this as much as possible did you allow me to do it? yes that was my strategy literally not dirty but specifically I could tell you what you were saying was but overall everything that I did was good and others I was just going to because earlier today we held an orientation for five of the six new writers who would need less and one of the things that's on my mind especially I would call what Dan had just been saying was that we talk about the writers as the artistic directors or the leaders of their artistic trajectory over the seven years here so really to take the lead in how they developed their work what they're developing when they develop it how and with whom and so to really to really find that leadership position within your own artistic development and I just want to say that Dan was an exemplary he led this artistic development privately behind closed doors exploring the same play over individual working sessions to finding what it means to develop a play within a workshop a three to five day workshop to hold stories where he invited people to come in and help him think about a project that he was interested in working on to again the writers executive committee the board of directors showing up for all writers meetings showing up for other work and then just most recently really innovating a new kind of work which was through if you want to describe it but through improvisations and writing the response to improvisations with actors within the concentration of a three to five day workshop and it was so so the way he found his way through is not necessarily the way another person would find it but that is where individual rise to kind of evolution on an artist and a leader within the world and you know with the resources that we offer it's interesting man we have semi-regular champions with the writers as a staff, as a artistic staff both to make sure they understand what's here for them to make sure they understand what they have two years left and we have one of these with your meeting so a week or so ago I say parenthetically that one of the great things about being a staff at Neutromax is since we didn't create this place and there's not an extension of anyone's individual vision we can sort of brag about we can sort of brag about ourselves and one of the things that he said was he said you know when he got in here he was aware that it was the thing that he was supposed to check off of his professional resume it's like okay, got the group in time, got into the O'Neill got into Neutromax whatever production he had and what he realized very soon, even most of you got into some other writers was that it's it's a sort of box of gifts and that you open them over time and you just think about in Daniel's class it got it was Lucy Thurber, Kiara Brees Marcus Gargoy and now Neymar Mitchell amazing writers and amazing human beings and so just those five writers there, let alone the other 45 or the other traditional 50 that pass through during Daniel's time just gives you a sense of those gifts in addition to that that's a problematic opportunity so let's do that oh, okay so let's go Tammy and then we have a question one, two one, two could you talk a little bit about the out of town playwright coming in and okay I got your question thank you for bringing that up well as with any of this parent I mean how individual use is the building, the community the resources is very much according to their own goals and schedule needs and so for an out of town writer they have access to all the same resources as anybody within the community there's no separation or hierarchy depending on location but what we do ask the out of town writers to address is how do you from where you are participate in a community a vibrant vital artistic community of other playwrights and so each person really addresses that according to where they are we have some national members now I will say you can each hand all of them two live in the Bay Area Peter and Eugene Carlos lives in Chicago and they're as active as anybody building it to some degree because they have very discrete amounts of time that they come into they end up coming in for two weeks and doing everything they can do whether it's an extended workshop and individual readings and going to see other people's work they often concentrate their visits around our all writers meetings in which we have two one in the fall probably a playwright welcome in September and then one in the spring following the annual luncheon fundraiser big event May in the second all writers meeting so often their trips do cluster around those two big events but people use it it's a lot of people who come in for short periods of time more frequently extended periods but they make the efforts based on schedules and needs and try to do everything they can do over those periods of time we have free rooms upstairs free for them so and some of our in-town writers use them too for retreats from the family but people come and they can stay in the building on two periods they can use it as their home they can make their own coffee in the morning so they wait for they're in the kitchen too so they really can and so some do it some do it to develop works some do it some do it just to another follow up question how does that impact being out of town applying are there like number of in town versus out of town is it more competitive well we do it's really not discussed candidacy issues which would include location of where someone lives aren't discussed until about halfway through that third meeting but we look at those those various things and one of the mandates from and as Todd said we always bring in recommendations from staff in terms of resources how we're doing how many can we support this year but the mandate from the writers was really to a couple years ago we found that it was almost 50-50 but sort of it had just improved that way that they were 50% in town and 50% out of town and they really asked us to be mindful of two thirds in town one third out just to ensure that there's a certain kind of vibrancy and brutality within the building for some of the people in town use it more like I said it really with our national members they are very much a part of the community and sometimes they do so Melanie Margaret she started as a local person but actually she started in Minneapolis moved to New York and then moved to L.A. moved to New York and some have even stayed in New York so it's the way to do any precedence in which we know we still have some development we've done on that one we'll see again because there is no reading committee there is no answer to that the answer is one that changes from year to year I would say that it is hard for unfinished work or I mean but for really rough first writers will know other writers will know it's hard for that to compete with the best that's out there and so I think and again but again people are looking for the writer through the work it's not always easy to do the play reference they still get stuck on the play so you know I don't it's never easy to answer that question because it depends on who gets it what the state is you know what it's like so much when you play you love it more than anything you've ever written and two years later you think it's crap or you love it for a reason because it is just combined with something new in you and that will communicate and so I don't know I would just ask Dan maybe to speak from inside the process what that would say I mean yeah would you speak to lots of questions yeah it's all it's a replay it's a different play but what I respond to is work that spoke to me and also it's a different point of view that I really appreciate it there are a few plays I remember that were very different from the time I normally think I would want to see or that I really like reading I could actually say yeah I had no events in my head so it's a play by play basis I can't really answer what spoke to me what spoke to me is what would speak to me anyway with varying degrees of interest in terms of finished or unfinished did that ever sort of influence you when you were there? really say now I can say that I don't really remember reading plays that were remarkably unfenture that scene that they were promising in that area I spoke through a word I don't remember I actually have a response to that just as a committee member I'm not even sure that I actually would have even thought of that the answer to that or my response to it was surely subjective but when I was on the committee and again when I was on the committee I remember reading there was one writer and I said hello to some lawyers so I asked him to read the play and then the second play was a blow up with that and so what I thought was I'm not sure that this writer is someone although I thought it was a great stuff and so having sort of been I also have now over 25 years or so in theater I've worked with writers who have really great stories but I actually don't know how to go back and sort of what I would call a proper way it's more of a free word and again this is me very subjective but I can see that if I were on the committee and I saw two plays that were sent in that were this is my A play and this is my B play and again what's finished I agree with that there's a lot of leeway there but it seems to me that if what you're doing is putting out your best work then you don't want to put it in something that you don't do because you have no idea who's going to be generous and who's not going to be generous and the rest you can't do anything about you go out there you do your best and that's that but if you feel that you actually have not finished the play I would suggest maybe you want to send it to you for the most minister I remember something one play was great really really exciting just really computational it was great and the second play really did feel like a really good play it was a play that was not nearly on the same level but that was also kind of taking me now I don't know if I'm so strong you know it wasn't that it was going to be a play so the way that there's another instance where I read a play and I thought this is a great play and I said and I was giving the second play it was a scene where I go it was just so lacking it's this natural the relationship between the two plays comes up a lot I think you're also right you are addressing with your submission up now so even though there are five writers there are actually different generations of the theater and then we rotate those other two positions you know one here would be a designer an actor, an actor would be a dramaturge and a director they come from very different aesthetic backgrounds and often with for example producers they are it's harder for them actually to ask the play to the writer or to the writer that might in this gross generalization what why not you know a writer might be much more in tune with voice and you know the excitement of voice so that makes you the other thing that I would posit to compensate an extreme is to submit your most well known or well produced play from 1993 so what inevitably happens is there are people who submit an old play that they know is their best play or a really good play and inevitably certainly by the end people are going to say well we know this play what is the writer doing now how can we make an evaluation based on this play that was you know done a phenomenal like me do you know what I'm saying here and so I think these are in a way they are the poles that you're navigating between between the thing that you're doing you're alive and the thing that's mentioned is not true but ideally you have two things that are somewhat closer to the finish and I have an online question and then I have to see that there's two from Tom what is it? Julia Julia thank you online okay so it says are you open to new forms play with songs, audio play, dance, text site specific etc both in terms of submissions or or yes I mean that's I think that we have often received plays with songs I think that what ultimately needs to be delivered is something that is assessed by a committee of seven people who again who are including you as an artist I think that it's it's often hard to assess something that requires the collaboration of other people in order to have it fully realized when it's in a meaningful one doesn't mean that they would be interested in it it just would be more difficult I mean as it's come up in the past this is really interesting I think it needs three dimensions to be fully to fully experience it and so sometimes that's a hard thing to assess in a committee of seven people for example it's a site specific arguably the primary part of the dramaturgy is the site so how does a committee of readers assess that in relationship to other things that might still be experimental are still largely text based however once you come in here we have people who are working in very experimental ways whether it's you know devising work or with companies or with movement theater and then exploring the various kinds of dramaturgy that I think you definitely support that with the space and resources here so that's what I would say you know once you're in new drama this once you have gone through that admissions process in terms of what you work on and how you work here is supported fully if people have asked about something as you know conventional as screenplays and many writers because you know find themselves at a period of their time or their writing screenplays we can help support those three things here or so yeah once you're here that's the easy part of the answer the harder part is to answer how that goes through an admissions process but we do the best that we can we try to have people on the committee who are working in unique ways in order to be able to continue to broaden the kind of work that can be supported either you know the playwright or author somebody who author to work in three dimensions I hope that was please follow up if that was clear yeah I think I might say exactly so anything I would add would be for reiteration but I guess I want to underline one part of it which is you know we have and have had layers of all stripes here we have you know several writers who essentially self-produce or work with a company currently a retailer Matt Rich Maxwell, Gene Lee we have wildly experimental writers here experimental opera writers and and yes so the hardest thing is convincing a panel who does not have that other dimension and the easier thing is supporting the work here and that's the one thing I would add to it I only said is that we've been confronting this as an organization and as a community especially for the last decade or so because we draw this which comes out of very different traditions people sitting around tables and then later adding music stands for the development work now as a community of people who are you know a playwright fight director someone who does drag and writes plays people who work with photographers people who work with the animated forms and so on and so our job as an organization as a staff with that separate from the playwrights is how to create spaces that can support work and involves projections sound design choreography fight work for souls you know in a space that's basically this small space where upstairs a larger sanctuary a church that are basically stair spaces with tables chairs music stands and pianos so we're working to create more flexible spaces movable audiences so we can play environmentally adding sound equipment adding lighting equipment which used to be anathema in the old days because it's all about the text the text now means so much more that's for a long time but we've been exploring what that means in the development of the organization so that's another part of the answer in terms of how many people get here and we're trying as the community evolves we try to develop the resources that are available really and then Tom actually that was mostly what you were talking about which is when you have to decide on your name playing I would say and one looks a little bit more like a normal play though it's all a part of the answer but you're talking I'm not going to say I'm just going to say that I'm having one would that be a better any play than the one that starts in the what's called more experimental plays I just want to say too this comes up every year that it is impossible for you to second guess I mean because it changes every year I mean I can guess where they where they will end up so all of you can do as applicants the potential applicants is to go with what you feel represents you the best and hope that there is somebody on that committee that gets it interprets it and persuades the entire the other six people that this is somebody to be reckoned with in that final do you know I really feel like I want to you cannot second guess where they will go so the way I feel like the best thing you can do for yourself so you're not second guessing your choice is to go with what you feel the most strongly about or on fire about the hope that that it makes the community of people honestly it is the only thing because you could sit and fuss about A or B, A or B and then you'll make the choice and then say hypothetically you don't get it you'll be like oh that E question behind you or whatever you just torture yourself and really to reduce that is just to go with what you know because if you want to get in based on who you are you're trying to appeal to a committee and our job is to make sure that the committee again it says why your leadership is he can possibly get in seven people which is a hard situation you said that because I am I'm more experienced in why the more highly terminal stuff it doesn't have people that have to blow up my more experimental for me is one that actually looks you know what I'm saying it's a hard situation but it's also my most recent thing so it's kind of like I'm just trying to figure out which one he is can I answer that? I think that's what Emily said but the committee is what do you feel what do you feel is your best friend that what do you feel what do you feel is your best friend I guarantee you know which is your best friend it's so instinctive that's where it goes I don't answer yes no one knows me thank you Julie so I'm still just proud to see together a sense of how the place will be in the process and I just got out of it and they have the first great meeting where they do a bit of narrowing down to the semi-finals that was a lot of the place well we have a number by one person we've got to describe it and talk about it in the process we're going to do a program that will help somebody to understand what it's like that happens in the finals in the final round in the first round we just took really boil it down to numbers is that in the first round every play that should be read will have everything up have been read by at least one person so that's the sort of first round what we consider the first round is to read by at least one person so again it might be your A and B play depending on whether or not that advocacy comes through within your office community current or alumni person yes, your A play will be read by one person and if you are recommended for rejection you will be discussed at that first meeting anybody who has received a recommendation for advancement will continue in the process is that acceptable so for the second round the committee reads 10 plays every two weeks until each applicant has maybe four different readers on their work so it might be two readers on their A play and two readers on their B play and the reason for that is so that there's more conversation around the person at that second meeting to come up with a list of finalists because the work of that second meeting is to come up with a list of finalists and then anybody who is remaining as a finalist at the end of that second meeting 15 hours later I'll add again that everybody reads both plays for that final meeting in A and then everybody's work is discussed by everyone with the exception of the staff at the facility so is that clear or is that okay great does the committee look for similarity in tone with play A and play B that is again it's no committee and everybody has to respond to that differently and again I think this is what I said is really well covered up they're looking for who you are so there are writers who's playing all that similarity and they go deep into one thing there are writers who are wildly eclectic in their bodies of work and that's what's so amazing about them and so what the work of the committee is is to discern for writer that even the best of that writer and the best of that writer at this moment is strikes on the box at this moment and so and then how they make that discernment is anybody's gas and it's different for every person so some people may hold it against you that your plays sound alike and others may think this is a mature writer who knows what he's about at this moment and then there may be a huge leak I think about somebody like Lucy Herbert who's finished with Dan here whose early plays were really about his there are the same location the same sort of intimate naturalism and then at one point in time there she started writing these plays that just were huge and different and the scope was different and the kinds of characters were different and I can imagine her applying at that moment to break and that would have been a very different candidate because that were almost simultaneously that certainly would that's about naturalism I'm going to go to Nostrum and then I think we probably have time for maybe one more and certainly I just respectful of everybody's time where we need to go and then we can certainly hang out and answer individual questions as well but for the group of Nostrum I wonder if you could tell me just about new dramatists what is the executive committee do and if I had a play and I wanted to do a two-week workshop could I do that here and then have a presentation or two at the end of the day or if there was an amazing book that I thought was everybody should read could we get together and talk about it are those all options? well first we should separate the executive committee and the process I know I'm just wondering I'll skip the executive committee but in essence when we talk to the new director we say this place is a laboratory so the answer is yes yes yes yes except except so that if you actually want to come in we don't do two-week workshops because part of it is what we do is we can do a 29 hour reading so we can do three to five day workshops and in fact the program here is expanded the time I've been here has been a huge expansion of programs and without going through all of them we now tend to the three to five day workshops where we actually pay everybody and we follow equity's 29 hour reading so that basically no actors call longer than 20 hours everybody gets paid 75 bucks a day to participate in that and so it's a way for us to actually and in fact they're probably making more money than they would if their rights were to make 400 to 4 billion but anyway so we do it all and I know for example okay but anyway the point is that we actually do pay everybody but so yes so you can do a three to five day workshop we also you can read the same piece over here so we don't want you to feel like like you being the artistic director of your process means that if you wanted to use new dramas to come in and just kind of hear how your place sounds so we can bring in a bunch of actors for reading one weekend bring in a different bunch of actors so you actually get a sense of what does my place sound like different people whatever it is that you can imagine whatever you can do so if you want to bring in if there's a book that you actually want to do we can figure out how you actually work around that process what is going to be the most effective for you to go to the next level in development of that process so we will try to bring in those collaborators and help you bring them in so it's always a conversation so we do it together we bring in actors, directors you know what it is, designers dramaturges et cetera et cetera but the point is we really do want you to think of this place as an opportunity to come in and really experiment with your work come in the same piece can come back and you can look at it from different angles you can just work on a few scenes if you want this week and then come back next week and work on a full act or just look at the physical life of the play that's what you're exploring three scenes to work on the physical life and then do a more a bigger reading that you may want to do when you fill the play because you can do a big public reading you can do a lot of small bits of private you know you can find it I just want to interject one quick thing that has to do with your question about the book and also it goes back to Tani's question about national residency but for example you could ask everybody to read the same book or you could sort of say onto a listserv it's a very active listserv that also indeed was the entire community local and nationally I just read this book because anybody who read it I need to have a conversation about it and then do something meeting in the building at a big loop where it got on Thursday morning at 10 I thought it taught me something about it you know what I mean so that's another just sort of yes question it's we just spent two and a half hours in the and that was it's a really simple it's really complicated in terms of popular music but I just want to see if I can sort of answer your question in addition to what John Emily has said you come here for seven years you're an artist, you're a human being you're a professional and you're a part of a community and all of those strands are ways of using this so one of those is I'm a person who lives in you know, deep theater and I need to I think this is great to be in New York to be a major event part of it is I'm a developing artist so I want to work on musical I don't want to be directors I don't want to be actors I don't want to do that part of it is I'm a member of the community I really like to work with governments I really see myself as a future leader so I want to be on this community and this community I want to put myself up for over 24 service down the road and part of it is those things are going to change over time so all of those things are available to you here somewhat programmatically described like we do 21 hour weeks we don't do two week workshops you can do an unlimited number of regular meetings and some of them are less prescribed but anytime you want to do a book this is your place for 7 years so you can just invite people in and you can invite your friends or you can invite the other writers or you can invite both you can do it publicly so on one level there are other programs on another level there's the kind of expansiveness of the lab that John's talking about on another level and I've been at one of my meetings for 7 years and helping this really fluid organization with really fluid support and a mail box and a few beds upstairs Feel free to if there are things that are pertinent to get in touch with us if there are any clarification if other questions come up but for now thank you for coming and thank you thank you


IRI, a research and marketing company, released a report this month saying that stores run the risk of having low stock and meat and pies due to the impact of the widespread supply chain challenges. IRI reported that Thanksgiving sales of wet broth stock, turkeys, pie pastry filling and stuffing are up more than 80% compared to a historical average of about 50%. But Bob McPhail, store manager of Foodies Market in South Boston says his store is not having a problem at all. We've got plenty of stock. We've got a lot of stuff coming, fresh turkeys, bellingevans, and also we've got the frozen butter balls and genioles coming, we're already in the building. This Foodies Market shopper is skipping the hassle by getting her Thanksgiving dinner another way. So we're getting Thanksgiving catered from a restaurant in Boston and we're picking it up the night before. The USDA Economic Research Service said in last month's report that August is a key indicator for fresh turkeys available for Thanksgiving. This year was 4% below the net three-year national average. Chestnut Farm, Wilson Farm, and Foodies Market are accepting pre-orders. Reporting from Boston for BUTV10, I am Waylon Walls Parker.


Hello there, my beautiful, lovely, talented, and delightful internet friends. Welcome back to my channel. Thank you so much for joining me here today on Footless Joe, where I am still Joe, and I am still missing a foot. Proof is evidenced right there. I come to you today from a previously unexplored on film corner of my house, and there is a reason for that. The reason is sitting just off camera angle, off screen. There we go, that's the word I was looking for. So I am fully aware of the fact that you do not need me to say this, but quarantine has been weird and difficult for basically all of us. The past six months have been a very odd journey in change and instability and insecurity, but for me, there has been one bright spot that I haven't talked about until now because I wanted to save it specifically for this video. And that, my friends, is a new hobby of sorts that I acquired. So a few months ago, I was perusing my email when I came across a request from a company that I hadn't heard of yet called my garden asking if they could send me one of their things and if I would just do an honest review on it. From the moment I pulled up their site, I was like, yes, sign me up. I would love to do this for you because what they are is an indoor app controlled, which is very important for people like me who do not have green thumbs, fully functioning garden. And I'm gonna let you in on a secret here. Brian and I have tried to garden before. We really have. I tried flowers a few summers ago. That ended horribly. And most recently, this past summer, Brian thought he would grow tomatoes. And well, let's just not talk about how that went. So considering the fact that for the most part, Brian and I have been confined within these walls for months now, I thought, heck, why not try something new? Why not try a new hobby? Why not have something growing inside that's actually alive? I kind of wondered if that would make a difference in my mental health. Spoiler alert, it definitely did. As we dive in today, if you'd hit that like button, hit that subscribe button, maybe ring that bell notification if you're feeling extra generous. It'd be fantastically appreciated and helps my channel. So today is day four. And this morning, I came down the stairs with this little guy and this little guy. We got some kale looking to make an appearance. It's working. So I just got a notification on my phone from Kelby, who is my gardener, that today is the day to add in the plant food. It even comes with a handy little teaspoon. So I'm just gonna pop open the water area here. Something I find very interesting is that the first plants to pop up are not the ones that are growing the fastest. Like for instance, the mustard and the cilantro were two of the last ones to kind of sprout. But look at them now. My little cilantro here is looking quite happy. And then we got green mustard, pretty tall. And then red mustard over there.  This is really fun. I'm really enjoying this. You checking on the plants too, Sophie?  Okay, so we are just below three weeks on a little plant growth development. It's absolutely nuts to me how much these plants have grown in less than three weeks. Also, extraordinarily exciting news. None of our animals have bothered this like at all. It's a little suspicious. I'm wondering if they're waiting for their opportunity to strike or if they're just gonna be good puppies in a kitty and leave it alone. Ladies and gentlemen, we have a freaking legit garden on our hands. Oh, it's too overexposed, you can't see it. Hold on. I think this luscious tower of beautiful greenery. Like, check this guy out. He's so happy. His big leaves here. My personal favorite is down here. These leaves look so like healthy and pretty. They look plastic. Look at that delicious kale ready to put into a smoothie that I'm gonna hate. I don't like kale smoothies, but I know they're good for you. And I feel a lot better who is my own kale that I was eating. It's legitimately even very life-giving to me to know that every morning I'm gonna wake up and I'm gonna see like new life and growth. The world a crazy place right now. It's been mentally hard for I think pretty much everybody and having something new that I can like take care of and tend to and see progress and change and have something living in my home when it's hard to get out of your home right now is just, it's such a gift. It's absolutely delightful and I love it. So I was making dinner tonight and I realized that the recipe called for cilantro and I actually have cilantro that we grew ourselves. This is the first time I will ever be cooking the food that I actually grew. Drum roll please. Ta-da! Look, I have grown things. I have grown things that are actually alive and flourishing and I have consumed. For instance, most recently I made some dill chicken with that dill right up there. Multiple times I have used the cilantro that we see. Just broke that leaf. That was not a great visual. That we see. So as someone who has never really gardened before or been too involved with like having a green thumb or growing my own food, this has been so cool and it's also been an amazing mental health boost for me to see things that are alive and growing and evolving and changing in my house at a time where it can kind of feel like time has stopped because like I said, we're indoors most of the time. We're not seeing a ton of people. We're not involved in the outside world. And so it almost starts to feel like you're stuck in this just chamber where nothing ever changes and every day is the same. And so having something that's a very visual and alive reminder that things are changing, things are growing has honestly been amazing to me. Like especially as things were sprouting, I'd come down every morning excited to see like what the new growth was and which ones had popped up and did this one have a leaf yet? And oh look, cilantro grew like an inch overnight. It's just been really cool and healthy for my brain and honestly my body with fresh things to have this as part of our household. Something that both Brett and I really appreciate about this is that it's pretty much foolproof. This whole system is controlled by an app and a virtual assistant by the name of Kelby who lets you know, hey, your tank's low. You should really fill it up or guess what, it's time to clean things. Also contained within the app, there's a whole plant book that tells you everything you need to know about certain plants and sizes and harvest times and all of that. This whole thing from the lights coming on to turning off to watering it can run on a completely automatic schedule so you don't have to worry about it. So you don't have to hire someone to come watch your plants when you're going away for the weekend. So none of us are really doing that considering it's quarantine but if you were going somewhere, this would take care of itself. You can even check on it with the live cameras that it has. How freaking cool is that? Like if I ever wanted to watch my plants while I was out of the house, don't know where I'd want to but if I did want to, I could do that. So contractually there were no stipulations about like what I could say or couldn't say about that. Like this is honestly my opinion and I just wanted to say that if this is something that sparks any interest or curiosity for you, please go check it out. This has been something that has really brought me a lot of joy and as silly as it sounds, a little bit of purpose over the past month and a half, two months. Living in our very modern world, it's easy to be disconnected from living, growing things, the things that nourish our bodies and to have a little bit of nature inside here with us has really been a mood boost, has really honestly helped. I don't know, it's just been really fun. I really like it. I'd highly recommend it. Now one thing that is very important to know especially if you're someone who deals with any kind of physical challenges or is just not particularly physically strong, I would really recommend having someone else help you set this up. I tried doing it on my own, did not work, so I brought Brian and we were able to get it worked out together but it is a little bit of a process to set up. It's very clear what needs to be done but it is much easier as a two-person job than it would be as a one-person job. With that being said, thank you so much to my garden for bringing this into my life and bringing me some joy and happiness over the past few months which I am certain will continue. As mentioned before, check out all their links down below. With that being said, thank you so much for listening to me talk about this garden here today. I feel like it's like a silly small thing but also it's kind of not. It's been a really cool new hobby to have and something that's really helped my mental health. Thank you to all my patrons for continuing to sponsor me. I cannot tell you how invaluable your support is. Truly thank you. And do you watching this video right now? Thank you so much for taking a few minutes out of your day. Here with me today, you could be anywhere in the world doing anything. You chose to hang out with me for a little bit and I really appreciate that. I love you guys, I'm thinking about you and I will see you in the next video. Bye guys. And her from the sky.


B.C. Parks has established numerous long-term ecological monitoring sites across the province. Staff and volunteers collect data on plants, animals, and habitats from coastal shorelines to mountaintops on a regular basis in order to monitor the effects of things like climate change. This video is designed to help staff and volunteers establish transects and collect intertidal long-term ecological monitoring data. The intertidal zone is affected by both terrestrial and marine conditions. The organisms within the zone will be some of the first to respond to climate changes and sea level rise. Before heading into the field, make sure that you have everything on your equipment list. Check the tide chart and aim for field A that coincides with the lowest tides. At least two people are required for the field crew. If more volunteers are available, then more transects can be completed within a single tide. The ideal sites are those with a rocky intertidal area that contains few tide pools, boulders, cobble, gravel, sands, or mud and are accessible and safe. Also, the intertidal zone is between 10 and 40 meters wide, from the low tide line to the high tide line or vegetation edge. To establish a permanent sampling plot that will be resurveyed every four years, you will demarcate the survey plot by installing four pins into the rock with epoxy putty. Two of the pins mark out a 30 meter long baseline transect that runs parallel to the high water line or vegetation edge. Two more pins indicate the position of a secondary baseline, situated halfway from the primary baseline to the water line at low tide. For example, if the distance between the primary baseline and the low tide line is 40 meters, the secondary baseline and associated pins would be positioned 20 meters down from the primary baseline. The last step before starting together data is to set up your internal transect lines. These will run perpendicular to the shore, anchored every three meters along your primary baseline. The secondary baseline is used to ensure that your transect lines run parallel to each other. For a 30 meter baseline transect, you will have 11 transects in total. Be sure to take photos of your plot, pins, transects, and the site in general, as well as recording the coordinates of the pin locations. Enter this information into the site setup benchmark data form. You will collect data on three types of organism groups using three different methods, sessile organisms using point contact, non-sessile organisms using quadrats, and sea stars using swath transects. To allow for enough time, begin your data collection two to three hours before low tide. For the point contact method, select the appropriate data sheet and sampling interval based on the length of your transect. It's a 30 meter transect. We're going to use 30 centimeter intervals. So at zero, I'm looking down. I've got bedrock. But if I look in a 15 centimeter circle, there's a barnacle. And there's also some focus. Now, within a 15 centimeter radius, what's the next closest organism? Sea dolly. Sea dolly is a barnacle. Okay. And is there another species within that 15 centimeter radius? Looks like it's just more sea dolly. So this is an example of if your pin dropped here, you would record the first organism is a Pacific oyster. The second organism is our thatched barnacle. But it's growing on the oyster. So we would call this an epiphant. We would put a little E above the record in the box, indicating that it's an epiphant. We also have some blue muscle growing on this oyster as well. So if recording this on the sheet would be Pacific oyster first, then the barnacle with an E above it and then muscle with an E above it. Based on the zonation of the organisms, break the study site into three zones, the upper, middle, and lower. The upper zone is dominated by barnacles, the mid zone is dominated by muscles, and the lower zone is dominated by brown algae. Identify all of the non-cessile or mobile organisms within three random quadrat locations within each of the upper, middle, and lower zones of each transect. Place the quarter meter square quadrats on the right side of the transect when facing shoreward. Quadrats should not be placed over tide pools. Move to the next random number. Random numbers can be generated before going into the field or via a random number generator app. With the bottom corner at 14.9, right? So that means that this is going to sit kind of like that. So I'm looking for snails, kites, crabs. I'm kind of going in rows of 10 centimeters. So I'm going to go down this looking. There's another limpet there. Shell hash is hard to find stuff in, but I'm just going to move stuff. I'm not going to search for every little microorganism, so I've got little snails here. Yeah, so I got five limpets, 30 snails, one amphipod. Yeah. Yeah, it goes here. Transect T-12. Yeah. Station 14.9. Right, and the zone is mid. So there's two columns on the sheet. When you use, when you're doing those slash marks, one, two, three, four, five, that's what the first column is for, for those rough notes. So sometimes actually there was another snail, so I'm going to put comma one. So the total is 31, five, and one. So the second column is for your final answer. For the SWATH transect method, use the C-star data form. All C-stars that fall within one meter of each side of each transect line are recorded. We're going to count all the species of starfish we encounter, but we are not, we're only going to measure piaster, and we want to get the location of the starfish as well, so that's why we're going to do it along the transect. The data you will collect includes counting all of the C-stars, recording the health of each C-star, and recording the arm length of 30 disaster C-stars. So when we're doing the starfish, when we're measuring the legs, we only need about 30 measurements. So I've got one, two, three, four, five, six, six ochre stars, and that's a meter, so they're all in. And I'm at station 37.5, so we just, I'm actually, actually 37.5 is right here. So what I do, there's one that's in 37.5, and there's one, and then five in 38, because you go from, the 37.5 goes from here to 37. 38 goes from 38 to 37.5, one meter wide, right? One meter this way. So five are in this box, one's in that box. Okay, so now I'm going to look in the cracks. I got a, I got a leather star right here, and I'm in, I'm in box 36.5. So 36.5 is here, 37 is there, so I'm in 36.5. Count all C-stars in tide pools. Outside of tide pools only count those C-stars that are mostly above the water. You really have to look in the cracks, because the starfish can hide right down deep in the cracks, and there's one in there, and that's less than a meter from my tape. The only way to measure that properly would be to ram it out of there somehow, and you'd do way more damage than it's worth, so move on. There's other ones you can measure. We're going to measure the length of an arm. So we just need one arm, and basically you start at the center of the disc, and follow the arm out to the end. Sometimes it can be quite far back. So this is 11.6 centimeters. It often takes more than one day to complete all of the transects. Plan ahead to target the lowest tide and the largest field crew available, and start your survey two to three hours before low tide. If there are more than two people on the field crew, C-star transect surveys and non-SSL quadrat surveys can be done simultaneously, after the SSL point count method has been completed. With one team walking behind the other in order to beat the tide.


Organofluorine compounds are widely used in many different applications due to their unique chemical properties. Fluorine substitution can confer useful molecular properties such as increased stability and hydrophobicity, while also influencing the conformation of organic molecules. These properties can be exploited to create shade-controlled functional molecules through the use of stereo-specifically introduced fluorine atoms. This article was authored by Luke Hunter.


Hey John here and I'm going to be going over how to create a mindset of success for yourself. Now I've been able to create a business that did seven million dollars last year with zero employees and one of the most important things that I've learned comes from improv and it's the concept of yes and and I'll be explaining it in this video. Yes and how the heck does that like actually help me do anything? I'll explain to you. So yes and is a concept from improv improvisational comedy meaning just kind of off the cuff. What this concept is I speak about this in pertaining to a mentor. If you found yourself a mentor or a teacher or somebody you look up to that you trust and that gives you advice utilizing this concept of yes and is going to be the most important thing you ever do and it will not only strengthen your relationship with your mentor but it'll also help you be more successful in business. Now how do you use this concept of yes and when you have a mentor and it gives you advice? The way you use it is for instance one of my mentors came to me and said hey I'm doing some TV ads. I think this would work great for you would you like to do one too? I said yeah sure you said yeah the cost you'll have to be willing to spend up to $250,000 to actually go through the whole process of getting on TV the production the editing the media the lawyers the everything and I said okay great yes and how else can I work with this? So I did yes and now at the time when I was getting on TV $250,000 on a test sounded crazy to me okay my first instinct was thinking to myself that sounds nuts what if it doesn't work right that's $250,000 just threw down the drain $250,000 what if it doesn't work and guess what the success rate is? I was given a 95% chance that I was going to be throwing a quarter million dollars down the drain really bad investment strategy right but I went with it because once again this is a person I know I trust and has helped me a lot in the past in fact this mentor of mine got me into affiliate marketing in the first place over 10 years ago he got me into affiliate marketing he told me to do this and I was able to become very successful doing affiliate marketing said do TV ads yes and trust your mentor right this is part of trusting the second part of this is go above and beyond I give a lot of videos out there where I try to give advice to folks that are looking to start an online business 99% of people actually don't do anything I suspect a few people you know try out whatever I'm doing and then they stop go above and beyond when you get advice from somebody you trust and once again find a mentor that you trust it doesn't make any sense to get advice from somebody you don't fully trust that's a really hard thing because this takes us to point number three which is this is going to be uncomfortable and that's perfectly normal in fact oftentimes the best advice almost all the time I'd say in my experience the best advice has been uncomfortable it doesn't feel right and that's because you're at your growth edge if you're not where you want to be in life and you're sticking within your comfort zone that's the problem whatever you've been doing is not working or it's not getting you there fast we need to get out of your comfort zone that's why it's important to find a mentor you trust and it's going to be uncomfortable sometimes but that's important now when my mentor approached me and said you know this is last year quarter million dollars it was very uncomfortable for me it was extremely uncomfortable to put down a quarter million dollars on something that had 95% chance of failure I was tearing out my hair I was like what am I getting myself into again I went all the way with it I put down a quarter million dollars and it just failed miserably my tv ads failed miserably that 95% chance I was talking about it happened I spent a quarter million dollars and I got back almost zero return I got back a hundred dollars that's how many sales we made from our tv ads if I had just been going by yes then I would have stopped there I would have never gotten to the point where I am today where I have a business that is just making money hand over fist but what I did was I did yes and and I thought to myself how do I go above and beyond my mentor gave me advice he told me where to fish I'm going to go fish there and I did yes and I said okay this failed but maybe it will work what would I do next and I went out learned from my mistakes and I put out another version of my television affiliate marketing ads and lo and behold the next version of my television ads performed 50 times better one two three four five 50 times better and in fact I almost broke even on the amount of money I spent putting up the ads I spent one 100 of the price that I originally did I said I'm just going to put up a tv ad I'm going to spend 2500 dollars on the production whereas before I put up a quarter million a hundred times more I spent and I got far better results because I did yes and I continued through with my mentor's advice and now we're on version four of my television ads where I do affiliate marketing and they're just outstanding once again it's completely it just runs I do affiliate marketing on tv this is something I haven't told many people about but it works very well and it's national and it's harder for people to copy there's more of a moat none of you are going to get into tv advertiser but it was very uncomfortable in the beginning notice that I lost a lot of money up front but I didn't lose it because I made it all back eventually I did yes and and think to yourself where are you getting defensive in life maybe it's with your spouse maybe it's with your significant other or your girlfriend or your boyfriend maybe it's with your parents if you look up to them maybe it's with your boss or your mentor think to yourself yes and I know many poor quality employees they hear something from their boss and they think oh I'm just going to do the minimum amount that's acceptable wrong never do the minimum amount acceptable always say how can I go above and beyond how can I do more what else can I do if your boss tells you to prepare a report on the you know the growth or the marketing campaigns don't only prepare a report go above and beyond what would be the ultimate thing that your boss would want from self you know if I say post 25 messages a day for a week think to yourself I'm going to post 100 messages a day for two weeks that's the sort of thinking that creates success the sort of thinking that doesn't create success is thinking to yourself okay I trust John and he's telling me to post 25 messages a day for a week well I'm just going to try it out for one or two days and I'm going to post 25 messages a day I'll post 20 for two days and I'll see what happens that's not going to get you to where you want to be in life go above and beyond be a winner winners go above and beyond now I hope this video has been helpful for you I hope you've learned something I hope I've encouraged you to expand your mindset and understand where this comes into play is when you start getting defensive when you start thinking to yourself there's that little part of your brain that thinks to itself how is this guy wrong if you're listening to somebody you trust if you're listening to a mentor you have to learn to quiet that part of your brain how is this guy wrong why is this guy full of BS and instead flip it to being how is this guy right how can I go above and beyond what even he's stopped the spin you can't trust all of your thoughts emotions are part of our brain that blow like the wind they're not always conducive to business make sure you understand and start noticing when you're getting too defensive especially around people who are teachers and instead think to yourself instead of thinking why is this guy why is this wrong think to yourself why is this right and you'll flip everything and when you find a mentor if you already have a mentor your relationship will shift completely and you'll move towards success much faster thank you for watching if you enjoy these videos that are not going to be very popular with the youtube algorithm please give me a like and subscribe and also leave a comment let me know where you're from and how this was helpful to you thanks for watching