Alright. It's nice. Hey Cody. Hey John, how's it going? Good morning. Good day. A little rainy morning. It's going anyway. Um. It's getting lifted here while I start walking. So yeah, I'm walking down the rope now. And, um, looks like I'm lucky I don't have to go to umbrella up. But, uh, overcast and it's like it can be a day of rain. Not one of those days where the clouds are. One of those days you can be low-nimbed. They're small and short rains like in Texas. So anyway, um, I'm trying to decide whether or not the story is. Um. The story of basically from basically trying to both tell the discovery of a story and, um, the, yeah, the, the, the, the, the, the story. So let's look. In some way, the discovery of the story should be just as exciting to the reader as the story. So, um. I'm not sure if it's the one that is. Well, because it's the discovery aspect that I want the reader to. Um. Understand. Um, because, yeah, it's my story. Not a parent story. So it's like a, like it actually described in the scene. It kind of sums up the whole approach. It's some guy who's clearly been a part of an amazing event. And all he wants to do is talk about. What happened to him. And the reason for that is, that stories leave other stories. And so, you know, Adam's going to drop hints at what he learned. And, um. The reader's going to feel like that story is much more interesting than his story. And that's why his story is going to seem, um, typical and cliche as someone who, you know, he's going to be that, that tourist who, um. Never feels comfortable. You know, at the, uh, the site which is visiting, visiting. I mean, there's amazing stories to be told with those types of things. All he can think about is the film story. So what? How do you tell that? He's going to be open to me. So I'll believe it's a truth and say it's mine. Um, you could also tell it from the other side. Because of someone who's, uh. Heard it so many times that things are boring. And wants you to hear about his own story. And he's going to have a couple of these. So, again, that's the structure, okay? The conflict is that in the end, I really don't know the story. So I can't finish it anyway. So I'm not going to be talking about it. It's also a story that could be told because there's someone who. Who didn't want to kind of reach a danger. He's on predicament because of being the result of that story. And he would feel like there was a solution to a side story. So I'm going to be talking about the story. And I have it in some ways, maybe, as to the desire of the tragic over the triumphant ending. And I think it makes more sense to him. I'm going to be talking about the story. I'm going to be talking about the story. I'm going to be talking about the story. Yeah. Yeah. Yeah. I'm going to be talking about the story. The tragedy that would normally start the story. The story actually begins this one. The tragedy is good. Maybe that the reader will hate that. And that's the whole point. The story is good. The story is good. What else is there? The story is good.