I also run a creative writing workshop at the library in McLean. And you know, it's a really small library, we just have a very small group. So I always bring my own work in there. And so instead of being the teacher in that group, even though I facilitate the group, I'm just one of the writers in the group. So I have been able to use that to my advantage. I work with some really great writers that I really respect the feedback that I get from them, and I feel like they've have helped me make better books. I can bring a chapter and get chapter level feedback or when I have a full manuscript and I'm like, Hey, does anybody want to read this? Something like yeah, definitely, you know. So. And that's something that I know a lot of writers struggle with, is finding that community to work with, because we all have different perspectives. And we think we know who our readers will be. But at the same time, we want to appeal to a wide range of readers. And you know, there's so many things that you have to think about what your readers might be bringing to the story. And it doesn't matter how good you are at filling in the gaps in what you want to write, the readers will always bring their own Outlook to a story. And so it's almost like every novel is a different, completely different novel for every person when you think about it. But for me, after I finished a manuscript, I look at it and, you know, my first thought is always, this is great, nothing needs to be fixed. And so I always I actually, part of my process is to put it away, because if I'm sitting there thinking a first draft is great. They've got the rose colored glasses on, and I'm not saying a lot, I just, you know, you just have to be open to that and know that, you know, even Stephen King says that first draft suck, you know, so it's like, do I think I'm Stephen King, you know, do I think I'm any of these other great authors that say that their first drafts are always awful. So I put it aside, and I work on something else. And then when I come back to it, I can look at it with almost, it's like you, when you're writing, you use one part of your brain. And then when you're coming out of work as a reader, you use a completely different part of your brain. So it's like, you have to consciously find a way to switch, flip that switch. So when I'm in writer mode, and I'm just finished the manuscript, and I think I've done everything I can, that's when I know I need to put it aside and kind of let it sit and also work my way into flipping back to the reader side. So when I come at it from a reader perspective, then I start to see things, and I usually fix everything that I can, and then I take it to my workshop group, and they always find a whole bunch of other stuff. And then once they start pointing things out to me, then I really start to see a lot more for myself, it's really easy to get stuck in your own brain. And everybody forgets, I think that what you see of the world or the world that exists as you believe it to exist, it's all relative, you know, and so the world that you're living in, across the desk from me, it's probably completely different from the world I'm living in. And so reality is, does, you know, doesn't even exist. It's all about the stories that we tell,