Special PUBLIC Episode – Tesla Collaboration – First Meeting (video, transcript, show notes)

Show Notes

This is our very first story meeting about a new Vella collaboration. The working title is “Tesla,” after Nicola Tesla, although we both agree that will change. Patrons will get continuing access to watch us develop this story together!

The video is out of sync. Sorry.

Support us on Patreon at https://patreon.com/revisionwizards

The Revision Wizards are at https://www.revisionwizards.com
V.E. Griffith’s website: https://www.vegriffith.com
Miss Catherine M.H.’s website: https://www.scribes-pen.com


Note: This transcript has not been edited or verified. Errors are certain to have occurred.

V.E. Griffith 0:00
Hey, wizards, ve Griffith here with another special episode, Ms. Catherine and I received feedback that several people in our audience would like for us to write a collaboration together, and to walk them through the entire process as a learning exercise. So we’re going to do it. patrons will get a ringside seat to see how our collaboration goes. They’ll get access to some drafts, the opportunity to give feedback, access to our recordings of our planning and writing sessions as we go through this. And any other neat stuff we can think of will sometimes share things on the main feed. And of course, we’ll let you know when we publish. But the bulk of the project will be done on Patreon and in our Slack group, the audio will go out on our patron only feed into podcast players, and the video will go up on YouTube and be available exclusively through Patreon. We’d like to share this first story in world building meeting with you. In it, we pick up a story Miss Katherine has had in her head for a while, but hasn’t really developed. If you’re not interested, that’s perfectly fine. We’ll continue with our regularly scheduled episodes. Every two weeks. Like always, these are just going to be a bonus we put together for our patrons and for our development as writers, editors and collaborators. If you find it helpful or entertaining, though, and you want to see what comes next, you can get access for as little as $1 per regular episode at patreon.com/revision. Wizards and now on with the show. Okay, there we go.

Unknown Speaker 1:38
Doo, doo doo doo, doo. Anyway.

Miss Catherine M.H. 1:44
I barely have any voice over here.

V.E. Griffith 1:48
Yeah, I don’t know what the deal is. With that. It’s fine. I can hear you.

Miss Catherine M.H. 1:51
Okay, so long as you can hear me, because I’ve moved the mic closer,

V.E. Griffith 1:54
I can hear you. Now it’s fine. So here’s so we’re talking about how to do this. I’m thinking you’re you’re gonna do we will do better with you as a first drafter.

Miss Catherine M.H. 2:09
I kind of agree with that.

V.E. Griffith 2:12
Okay. I mean, and I know that you have as much experience co writing as I do. So, you know, we’re gonna have to find our way it’s kind of the blind leading the blind here.

Miss Catherine M.H. 2:26
Okay, now, what kind of genre would you like? Because that’s important to me

V.E. Griffith 2:40
I would prefer something that doesn’t require a lot of research.

So, I mean, I’ve been I’ve been writing something that’s, I’ve been writing something that’s a little it’s sort of 50 years, isn’t it? 50 years ish in the future. Something modern would be fine. Some kind of modern fantasy would be, you know, right up my alley. I don’t know. We could do I mean, I don’t have a particular objection to swords and sorcery. I’m not as well versed in historical stuff. So that would require more research for me. Or for me, so it’s kind of that’s kind of what I’m thinking. Okay.

Miss Catherine M.H. 3:34
So, sci fi is out for you.

V.E. Griffith 3:40
We could do sci fi. Um, what did you have in mind?

Miss Catherine M.H. 3:45
Well, I don’t so I’m not sure if you want to start completely like a brand new or pull from stuff that I’ve started or not? Because I do have those like I’ve started lots of stories. So that’s why I’m trying to ask like what are you interested?

V.E. Griffith 4:04
We can pull from one of those. That’s fine.

Miss Catherine M.H. 4:08
Yeah, but I have like everything.

V.E. Griffith 4:09
Yeah, we could pull from one of those.

Miss Catherine M.H. 4:13
Have like zombie apocalypse. I have cyberpunk. I have I have my space opera. If you wanted to attempt to do the which one?

V.E. Griffith 4:33
The cyberpunk.

Miss Catherine M.H. 4:35
It does deal a bit with magic too. Are you? Well, not really magic but like technology magic.

V.E. Griffith 4:45
Well, it reminds me of what Arthur C Clarke said that any sufficiently advanced technology will have the appearance of magic Okay, which leads to its corollary any technology which does not have the appearance of magic is insufficiently advanced. So there we go.

Miss Catherine M.H. 5:11
Gotcha. So the cyberpunk that I’ve started so I’ve started like to pretty much they’re both the same story. There are people and this takes place like years into the future. So we can make up whatever we want. Okay, for technology was but um what I do know is that they like humans and computers are starting to like they’re not cyborgs. Okay. But they’ve developed the ability to communicate with technology. So they read electrical patterns. I nicknamed them Tesla’s see now this sounds really stupid. It sounds great in my brain

V.E. Griffith 6:08
it’s not stupid. All stories are stupid when you start.

Miss Catherine M.H. 6:13
It’s true. So it was also like a detective story. It was a police police detective kind of stuff. So I don’t know if that’s something interesting. Okay. Like I’m dingy like Batman detective style but cyberpunk Tron like

V.E. Griffith 6:40
okay, are we is our protag a professional cop? If if he or she is that introduces that turns it into a procedural? And I’m sort of less interested in doing your procedural

Miss Catherine M.H. 6:57
um I’m not really like I’d never really went in to Oh, wow. Okay, am I still live in here? Hello. Yes. Oh, okay. Cool. My computer just went woof for a moment. You’re good. I thought I lost you. Okay. So,

V.E. Griffith 7:19
okay, you’re you’re you’re lagging but you’re okay.

Miss Catherine M.H. 7:23
Okay, what else is new

All right, so I know that what I call them Tesla’s right the people who can read electronics and they will team up with investigators and I had it more of like it was a military almost world so I guess more militaristic police was how I had it and they team up for like an undercover which is like, okay, but that’s as far as I got. I’m a pantser What did you expect from me? All I know is that they were hunting. Oh my god. Okay. I’m trying the term that I was trying to come up with. There’s there were Tesla’s there are. Oh, my God, let’s collectors. There’s Tesla’s collectors and then there was the in between that are

V.E. Griffith 8:35
restless Honda’s and Chevrolet’s.

Miss Catherine M.H. 8:39
I chose Tesla because they really liked Nikola Tesla and his electric stuff. So with him the the character Orion Thorne was the idea I had in my head is is both a collector and a Tesla. They’re on the rare side because usually they don’t mix. Tesla’s are very logical because they literally can hook up to like the internet hookup technology. They can read people’s minds because our mind is electric. And they can like manipulate thoughts by interrupting electrics like gets, does that make any sense? Okay. Are you following yet? Or am I talking too much?

V.E. Griffith 9:28
Yeah. Okay, so here’s my question. How does one learn this ability or is it natural?

Miss Catherine M.H. 9:35
That’s it’s something you’re born as. So you’re either born as a normal you’re born as a Tesla or you’re born as a collector and the collector are pretty much the opposite of Tesla’s they like went Empath and went deep into like human emotion and can feel or manipulate people’s emotions.

V.E. Griffith 10:00
I know which one I am.

Miss Catherine M.H. 10:02
I think you’re the Tesla. With all of your tech guru stuff

V.E. Griffith 10:11
I don’t do that emotion shit.

Miss Catherine M.H. 10:14
Okay, well it is a rare occurrence. Exactly. A Tesla who will mate with a collector and get kids. Okay, are you able to do but

you got a question?

V.E. Griffith 10:35
Okay. Let me ask a practical here, what kind of length are we writing for? Are we writing at a short story, which in your case is a novella? Are we writing 100,000 which in your case is 200,000? What’s what’s what’s our target length here?

Miss Catherine M.H. 10:57
That is a great question for you because I can attempt whatever you want

V.E. Griffith 11:12
Well, I’m happy to I’m happy to see where it goes knowing you’re a pantser and I know that you’re not going to be proprietary about it. If we’re if we’re doing something very short. We probably don’t have enough room to do in a story in a B story, or in a b and c story. And we need to stick with an A if we’re doing something longer we could do an A and a B. And what what I can do is take your take your first draft and then reverse outline it and see where it lands would that be helpful?

Miss Catherine M.H. 11:56
Yeah, we could do something like that. Which also brings so did you want to try for sure see where it goes

I mean it’s me

V.E. Griffith 12:15
Yeah, I think so. I think what what we know I am I understand it’s you and we’re gonna you know short for you is 50k I think that I don’t I certainly don’t want to do right now anything as long as scandals pin you in unless it absolutely has to be that long but I don’t see I’m not hearing anything that that does yeah so you know if we shot for in the neighborhood of 30 to 50 just as a as a trial balloon to see if this works between us and if we can get along to get along you know I think that’s good. What’s our publication goal? Are we just publishing for patrons are we are we actually going to like put it up on Amazon or KDP or something?

Miss Catherine M.H. 13:12
So you’re already ahead to the publishing part. I was still in the story part but that’s okay. So publishing i

V.E. Griffith 13:20
Well, I understand I’m, I’m I’m sort of I’m the direction I’m going is what are we looking at in terms of an agreement you know, sort of before we start what are the parameters because the story is the easy part. Sure.

Miss Catherine M.H. 13:39
So I could do a few different things if you want it to I can either write an entire thing out and we can go from there for however long it takes me to I guess write it out for us we could do a serial fiction which means that we could have some of it ready edited and going out while we write the rest or we can attempt to do just like a short story as here’s something we

V.E. Griffith 14:15

Um Would you want to put it up on Bella?

Miss Catherine M.H. 14:27
I’d be down for that. That wouldn’t bother me Valerie,

V.E. Griffith 14:34
oh, there’s a problem with Valley you got to be exclusive, which means we might not be able to give it to the patrons

Miss Catherine M.H. 14:46
is it exclusive

V.E. Griffith 14:48
for so maybe what we want to do just as a trial balloon is? Yes. Yes, Ella has always been exclusive. It’s like KTP in that way or not? KDP but, but can you,

Miss Catherine M.H. 15:02
they’ve talked about how you can have stuff up it has to be paid for. You can’t be giving it away for free. I’ll double check that with JP and Christine, but

V.E. Griffith 15:14
okay, we’ll check. I’ll check the TOS. I’ll check the TOS

Okay, yeah, if we can, because we can certainly put it behind the paywall at Patreon, which would be sort of my, my whole goal here is to do something for our patrons so and I feel like we might publish some parts of it for or some of our sessions on the main channel, you know, on the main feed for everybody, but I think the bulk of the work is going to go to our patrons so if we could put it up on Patreon behind the paywall, and do the you know publish it on Vela? I think that would be fun.

Miss Catherine M.H. 16:02
And then another thing we could do is have it where we’ve posted it on patron or Patreon and then get some feedback and then go and post the the newest or like the revised if we revise them on to Bella. So give it like a certain amount of time and then we’ll start doing them on Bella. Okay. If you wanted and Okay, let’s see if yonder is still closed doors. Yeah,

V.E. Griffith 16:34
I think that one and that actually would work.

Miss Catherine M.H. 16:37
Because yonder man Okay, the drought the little writing that you sent me already. If you put that up on yonder it would be perfectly fine. Like when I’ve read through I’m like yo, they really need some editors and a lot of it is because it’s coming from different countries. So it’s the translation so like half of the book Korean and they’re translating them into English and you’re like losing something and that translation somebody’s not I don’t have an editor clearly

V.E. Griffith 17:16
so Okay, um

Miss Catherine M.H. 17:24
so we’ll look at all three and if we can put it up on Patreon

V.E. Griffith 17:29
and so the goal would be a serial publication kind of thing then

Miss Catherine M.H. 17:34
yeah, if you like that I mean that might be quicker I could get you probably okay a chapter episode a week

V.E. Griffith 17:46
okay, and I’d want to I’d want to bank six or eight of those before we actually put them up but I mean not necessarily bank and for the patrons but before we before we put them up on on Vela or wherever

Unknown Speaker 18:07
Yeah, I’ll look into

Miss Catherine M.H. 18:10
the SEC. So I want to say I already have four chapters written of one and I was writing it for Vela though the character was female in that one but I’ll we’ll get into I guess that part in a little bit because we still have to go over the rest of it so

V.E. Griffith 18:37
yeah, I’m I’m good with a female MC. So

Miss Catherine M.H. 18:42
what about ages What do you like for ages I don’t want to write young adult I prefer new adult but I could try adult

V.E. Griffith 19:00
I’d like to do adult it gives it gives you sort of more more freedom with with language with sexuality and with with theme, I think.

Miss Catherine M.H. 19:15
Okay, so ages What are you thinking of the characters then?

V.E. Griffith 19:26
30s Maybe. Okay.

Miss Catherine M.H. 19:35
So definitely a dolt, then. That will be interesting for me. I’ve never written I don’t usually enjoy writing older characters. My characters tend to stay in their 20s with like the men like Mr. Fach. 30s To 40s Hmm,

What did you say?

V.E. Griffith 20:06
You like Mr. Thatch? Yes, but

Miss Catherine M.H. 20:08
he’s mentor.

V.E. Griffith 20:13
You like Mr. Thatch?

Miss Catherine M.H. 20:16
Yeah, but he’s the mentor.

V.E. Griffith 20:19
Oh, okay. All right. I think we should probably switch to zoom because your lag is getting worse.

Miss Catherine M.H. 20:27
Yeah, I’ve noticed

V.E. Griffith 20:37
Okay, let’s go ahead and do that and I can splice the recordings together

Miss Catherine M.H. 20:45
Wait, I lied, I’m not ready

all right, so we’re talking about CO writing? No. Yeah, still. And from the the jumble of notes all over that page, I have written out a neat organized section that I can fill in the blanks to that I can send to you. Okay. All right. So I’m just going to read off the questions I have written on the page, and then we’ll go back and fill them in. Okay. Okay. I have who’s doing what? The timeframe? Where are we publishing? What are we doing about the money? What type of story genre character types. Austin’s I know, are sort of genre I put in how much technology point of view and outline slash mind mapping. Okay, so let’s go back to

Unknown Speaker 21:52
who was doing what?

Miss Catherine M.H. 21:55
Okay, if I am going to first draft it for us.

V.E. Griffith 21:59
Yes. There is. Another question. What is? And we can sort of work this out as we go. Are we writing in? Excuse me, I need to vomit, Google Docs.

Miss Catherine M.H. 22:20
I was like, please don’t do it on film. Oh, we could do it on Google Docs. We could also do it in OneNote.

V.E. Griffith 22:31
OneNote is harder to share. I was wondering, I was wondering if we shouldn’t use an online tool like like campfire? Have you messed with that?

Unknown Speaker 22:42
I have not messed with that at all. Okay.

V.E. Griffith 22:46
You can take a look at it. I have a fully paid account, perpetual account. And a collaborator can use it for free. So you know, we can put it there. It will also it’s also very flexible. Let us do our story Bible.

Miss Catherine M.H. 23:08
I kind of covered story Bibles. But you know, whatever. Actually, I could probably take a look at what they do and see what I can learn from it. Yeah, I’ll

V.E. Griffith 23:17
send you the link and you can take a look. What I’ll do is I’ll go ahead and create a project and give you access to it so you can screw around without having to pay.

Miss Catherine M.H. 23:32
I mean, I like Google Docs, I’m going to write it down anyway as an idea. Just as we’re throwing them around. I don’t quite like the idea of having to send word files back and forth to each other.

I mean, Google Docs is how I use it with my alpha readers.

V.E. Griffith 24:00
Okay. Um, the thing about Google Docs for me is just managing Google Drive and all the links and shit. That’s one thing that’s really inferior about Google Drive, or Google Docs.

Miss Catherine M.H. 24:20
And you wouldn’t be able to do collaborations with Scrivener either. No.

V.E. Griffith 24:25
Scrivener does not collaborate.

Sharing a scrivener file is a fantastic way to lose all your work.

Miss Catherine M.H. 24:39
I do know that Google Docs allows us to see it at the exact same time. We can both be in there seeing something

V.E. Griffith 24:50
okay. Yeah, we can go ahead and try it. I’m gonna be super anal about document organization though. So um, And we’re going to need because especially if we’re writing lots of episodes for this, you know, then we need to do, we need to do real file management. So,

Miss Catherine M.H. 25:16
I mean, with my longer pieces in Google Docs, I even have a table of contents where you can click to go to sections.

V.E. Griffith 25:24
Yeah, that came back came across in the Word documents you sent me, I’m just thinking from a from a, from a post production standpoint. Um, you know, after we get it written, and then we need to prepare it to put it into Vela, or wherever, it’s going to be easier if each section is a separate if each episode is a separate chapter, or a separate file. So we’ll have we’ll have to have a Google Drive folder that we share.

Miss Catherine M.H. 26:01
So chapter one is written, and then you start a new document for chapter two.

V.E. Griffith 26:06
If we’re doing this as a valet, yes, that’s the way it’s, it’s gonna need to be. Okay. Because otherwise, what’s going to happen is I’m going to have to copy and paste out of out of the whole document to get it into into a Latin design program like vellum, so that we can produce an ePub for it.

Unknown Speaker 26:31
Okay, I see what you’re saying.

Miss Catherine M.H. 26:34
I mean, we could do a simple solution for that. With Google Docs, you just do a new email, we can use like my revision was or Gmail, or something like that, and open a new one. And then I share it to you. Or we both have the same password for this one email that we use. Like evidence, like we co writing bitches@gmail.com? Like

Unknown Speaker 27:05
That sounds fun.

Miss Catherine M.H. 27:07
Yeah. And then we would both have that password. And we would both have access to that email.

V.E. Griffith 27:13
Do you know how to do two factor authentication? Yeah. Okay. Do you use the little app? Or do you use? Or do you usually

Miss Catherine M.H. 27:24
go to my phone? But we could also just take like a security question. Okay. Not that we would tell the people what the answer is, but like, this is the answer.

Because I mean, I set one up for the the YMCA kids that I worked with. So each one of them and they still use them, I’ll still get little dings that somebody has access to the, the, and it makes my heart beat so fast that they access the Google account because they all write their little stories inside the Google account. Okay. Yeah. And so that each one had like, their name, and then their document, or then they also had the chat box. So they would write notes to each other. And then there was real cute but yeah, so we could do something like that if need be for Google Docs, but we can also look into campfire. Okay. And then as a safety backup, I will also create a OneNote file. Backup stuff, just in case Google Docs, you know, decides to fuck itself over.

Unknown Speaker 28:30
Okay. Okay. So if I’m writing the first draft,

Miss Catherine M.H. 28:43
what are you doing?

V.E. Griffith 28:47
I’m waiting on you to finish now.

Feel like my role is going to be sounding Well, three basic things, sounding board. Tightening, and editing, you know, second draft. I’ll probably wind up doing the technical layout and design stuff. Um, and I figure we’ll probably have forged with either three or four drafts before we publish something. We may get so far behind that. We don’t have time for that. But I was thinking your first then I’ll edit it and then you’ll go back over it.

Miss Catherine M.H. 29:42
Yeah, that works for me. In Google Docs, what I can also do is I can color code that okay. So this way, like first draft is always done on a blue page. So like when you’ve gone through it will then be sitting on it. Read and then final copies, like on a white,

V.E. Griffith 30:02
you don’t want to just do track changes.

Miss Catherine M.H. 30:06
So I’m really bad at understanding how to work track changes. Which is ironic because I was gonna have you show me how to do that later on, then you actually have me back my work. Because anytime I’ve ever tried to like be like, Yeah, sure I’m just going to accept it, it messes the entire document up and I usually will just copy and rewrite and paste. So like I go through a lot.

V.E. Griffith 30:33
That’s a bad way to do it

Miss Catherine M.H. 30:44
I mean, we can go over that part later a little bit. We at least know that we’re gonna have three drafts. Yeah. Okay. I would like to outline together.

V.E. Griffith 30:59
Okay. Did I Wait, wait, wait, wait, wait, wait, wait. Are you sick? Are you ill? Do I need to call an ambulance? Do you even have ambulance service where you live?

Miss Catherine M.H. 31:13
Horse and buggy quick.

V.E. Griffith 31:16
I’ve lived in places that do not have 911 service.

Miss Catherine M.H. 31:21
But no, there is. But what I’m thinking is if we have a doesn’t have to be super detailed outline, I think, Okay, we have something enough where you know where the story is going. In case I’m like, Hey, this isn’t working. How do I work this around? And then we can sound bored off knowing the same idea. Yeah. Or abouts where I like to? Even if I don’t know the ending of something. I like to know what the climax is. Okay. So that’s why no matter what I’m working up to that point. Okay. Yeah, that makes sense. Okay. So we’ll outline together. Okay.

V.E. Griffith 32:04
We’ll record those. Yeah.

Miss Catherine M.H. 32:08
Okay. So then that brings us to the next question of where are we publishing? I remember going to look into the vellum of rules on that.

V.E. Griffith 32:18
I asked. I asked him the channel. And

Unknown Speaker 32:25

V.E. Griffith 32:28
the answer from lon, was as long as it’s behind a paywall. You’re golden.

Miss Catherine M.H. 32:33
Okay, so we can do both

Unknown Speaker 32:38
Patreon and Ella. Cool. Um,

V.E. Griffith 32:48
okay, so I’m thinking okay, now that I know that I think further your draft my draft. You go back over, we published a Patreon. Take feedback. Okay. And if there is no feedback, and we’ll we’ll do a deadline because we got to keep moving. Yes.

Miss Catherine M.H. 33:18
So you as my editor from scandals pen. You don’t know my sci fi voice. You only know my my steampunk voice.

Unknown Speaker 33:29

Miss Catherine M.H. 33:33
I wonder if my if my sci fi voice is closer to yours? We will we’ll find out. We’ll find out. Yeah, I’ll look and see I have I want to say two versions of the story. Like I’d said I’d had where I had to mail camp main characters, one male, one female. So I will look and see which one there actually is. I know I have them handwritten places too. But and then I can send you something I’d be like, do we go based off of this or do you want me to start from scratch scratch?

V.E. Griffith 34:12
Okay, I’m I had a I had another Brainwave. Which is always dangerous because it sets my hair on fire and smoke comes out my ears and it’s not a good thing POV

Miss Catherine M.H. 34:29
I was getting there. You okay, you’re jumping? Okay, that’s

V.E. Griffith 34:32
fine. As long as it’s on the list. It is it’s

Miss Catherine M.H. 34:35
on the bottom. It’s over here. Okay. Okay, so do you want moneywise to be on this recording? Like, I don’t know if this is going up for Patreon. Um, or if we talk money off of this.

V.E. Griffith 34:54
Yeah, this will go up on Patreon. I don’t care. I mean, if we I’m I’m happy with just splitting the revenue Okay, that’s that works. I mean that’s that’s fine I don’t expect that there’s going to be a great deal of revenue okay let’s let’s put it this way if there is a great deal of revenue that’s a happy accident

Miss Catherine M.H. 35:23
All right, so what is the story type I don’t I didn’t originally have it being a love story. It was much more a friend’s faced I think that was my challenge for this one if I was doing a male and female to have it be a partnership and not a romance

V.E. Griffith 35:52
reminds me actually have a mystery series that I was involved in in the beginning by an author named Deborah crumby and she writes British murder mysteries and she’s up to like 14 or 15 now but her her two lead characters did not kiss until like the third book. They know at least know at least the fifth book they didn’t kiss until at least the fifth book so

Miss Catherine M.H. 36:26
yeah, so in my mind it would definitely be if we did something and enemies to lovers if that

V.E. Griffith 36:33
enemies to lovers or can we just do coworkers to lovers? Yeah. Because you know, you have the professional line there and you don’t want to get fired for sexual harassment like I’ve been many times so

Miss Catherine M.H. 36:49
I do know that in so I do have some character like development we can also change this so anything that is there can get changed.

V.E. Griffith 36:58
Of course he

Unknown Speaker 37:00
got what is his name? Why am I drawing a blank on his name? Dude,

Miss Catherine M.H. 37:07
yeah, so I know he does not like Tesla’s he doesn’t like that. They can read minds that they can manipulate images by shifting you know, electric synapses he does not like them. He believes that they are just tools that have to be used she’s like we’re still talking people You asshole like so I do know that there was originally that where when he does treat her like a person it weirds her out okay, it’s like he does finally like in his head be like oh yeah, like I guess you are like a person and I probably should treat you like a human and not an object so there was that but we can also shift that so that’s fine. Okay. So we’re open to if it became a romance partnership to start off with

V.E. Griffith 38:05
Yes. Although if we decide to move it toward romance I would kind of like it to go faster than Theo and Eleanor

Miss Catherine M.H. 38:22
Okay, look buddy when I was writing scandals ped D the thing that’s also in all of my like first outlines and everything and it’s like in huge words they do not fall in love this it was like supposed to strictly be a partnership.

V.E. Griffith 38:44
Yeah, that didn’t work.

Miss Catherine M.H. 38:46
No, my characters fell in love behind my back and by the time I realized it I was like those motherfuckers did this to me I was like dude, now I have to give you a date scene which you read already and then ripped apart my trade but that’s okay. The first trade was real bad this is draft for remember so yeah. Anyway, so partnership um, I did have it where like I had said originally it was that very militaristic government style. Okay. I don’t know if that’s something you want because I did I like I was telling you I was very much like Batman, didn’t you detective investigator mixed with like Tron.

V.E. Griffith 39:35
Okay, is are these investigators freelance or are they part of a government?

Miss Catherine M.H. 39:50
I didn’t get that far. So what would you like? Like do you want this to be a mystery?

V.E. Griffith 39:58
We can be a mystery Free but I want it to be if they’re if they’re not cops it gives them more freedom unless they’re going to be bad cops which are going less bad cops are the norm which would set off my political ranting so

Miss Catherine M.H. 40:23
which is fine I don’t mind political ranting and trying to like point things out

V.E. Griffith 40:31
having read most scandals pan, I can certainly see that but I don’t I don’t want to. I don’t want to I don’t want to make this one a political commentary. Okay, okay. I’d like to do this as just a fun story. You know, if we want to come up with a with a story hypothesis we can and I don’t think that’s necessarily a bad idea. But I would like to it doesn’t necessarily have to be or unless it sort of naturally grows that way. I don’t want it to be something as obvious as BLM and me too. You know, and want the reader over the head with that. Does that make sense?

Unknown Speaker 41:19
Yeah. So

Miss Catherine M.H. 41:23
I think they were undercover for my section which is kind of why he does whatever he wants. But what would you like would you like them freelance Do you want them not even part of something?

V.E. Griffith 41:35
Um yeah, I’d like him to be freelance I think that that’s the better way to go. Excuse me Yeah.

Miss Catherine M.H. 41:48
Okay pretty much investigator um, did you still want this world setting for at least this government style militaristic? So would he have served military so he’s like ex military at this point? My my thing in my head had originally been that at a certain age everybody had to serve Yeah, you can you can

V.E. Griffith 42:19
do compulsory service I mean, the Israelis do that

I don’t have a problem with you know, with compulsory service or with some kind of compulsory public service where you’re not necessarily in the military, but you can be you know, you can do some kind of public work you know, as is your as your as your service and so you do it at 1819 20 That kind of timeframe. Okay,

Miss Catherine M.H. 42:57
all right. So genre. We’re going with the cyberpunk. Yeah. Okay. Do you want it to be neon punk or just strictly cyberpunk Okay, um, have you seen Tron? Yes. Okay, that is cyberpunk. Okay, neon punk I’m trying to think of the best way to describe it would be if you took if you took Tron and then put neon lights in it so like you get those

V.E. Griffith 43:32
red neon lights? What are you talking about?

Miss Catherine M.H. 43:35
No, like, I mean, like all the colors and so the difference really changes the outfits. So cyberpunk you get that sleek, leathery This is our outfits in neon punk you can get more of those modern mixes with these bright weird colors and like it’s still plasticky looking but not it’d be really good idea if you just Google or Pinterest

V.E. Griffith 44:06
Okay, I’ll do that but my but based on your description my Lean is toward regular cyberpunk.

Unknown Speaker 44:17
Maybe I can tell you otherwise.

V.E. Griffith 44:21
What did you say?

Miss Catherine M.H. 44:22
That maybe I can convince you otherwise. Neon punk is really fun. I just like messing with the bright colors. Okay. Maybe we can mix it a little bit. Put a question mark there. Watch us write our own selves into it. You being like, No, all of these colors just do technology. And I’m like, put all the kind of all right so character types. I think for this, I had only had, like, six characters I wanted to actually have named in the story. I know we’re so before doing more of a freelance, how many people work that way? Because like, they’re going to still need connections? And if that’s the case, how do they get a Tesla to work for that? Um I guess that’s all questions for plot stuff that we can get here. But yeah,

V.E. Griffith 45:46
I mean, if you’re gonna, if you’re gonna pass it, pass it, you know, see how it writes? You know,

Miss Catherine M.H. 45:54
what is your max of characters? I guess I should ask because you know, me. You could have as few as scandals, pandas, or you can have as many as my space opera, which is 42. And but what?

V.E. Griffith 46:07
No, I think that’s, that’s way too many, especially for Avella. Because we’re doing we’re doing something that’s that’s short. That, or at least is short in segments in that has that has I would, I would probably say no more than 10. Okay.

Miss Catherine M.H. 46:38
That makes sense. So I know that we have the main guy, we have the main girl. Other than that, that leaves us eight other people that we could technically filter on it. So I know biology pretty well. I like playing with genetics and that kind of stuff and how humanity could go that way. So I don’t mind knowing the research on that side. So knowing how electric could like shift one’s brain has always been fascinating. So that part, I don’t mind. The technology side. I don’t mind if I hand off to you. So if I sit there and I’m like, describe some futuristic phone here. Okay. Do you be want to do that?

V.E. Griffith 47:29
Yeah, we could we could do that. I mean, that’s part of what it’s part of CO writing is about. You know, give me an idea. I wouldn’t, I would have trouble with something like, make up cool technology. That’s, that’s a little broad. But, you know, tell me what the technology should do. And we can do that.

Miss Catherine M.H. 47:54
Yeah, okay. So I can leave like a note being like there at this. I’ll give you a little bit of description. If you think that that’s good, then we’ll go with that. And if not, you can take it okay.

My dreaded question.

Unknown Speaker 48:20
Point of View. What would you like to do?

V.E. Griffith 48:25
Third close.

Unknown Speaker 48:31
really challenging. Can it be past? I don’t want it to be present tense. Yes.

V.E. Griffith 48:39
Yes. Third Person past tense, close.

Miss Catherine M.H. 48:46
Okay, I can give it my hardest to make sure it stays that way.

V.E. Griffith 48:50
Well, if I’m if if we’re agreeing that that’s the direction that we’re going, you don’t have to be perfect. That’s part of what I’m for. Is to catch those. Okay, and catch those head hops. So I’m it’s scandalous pen is hard for me, especially when you have four people in a room. And you’re going between all four of them.

Unknown Speaker 49:17
At least I give you a paragraph breaks. Yeah. So

Miss Catherine M.H. 49:26
you can ask Dawn, Dawn saw the version before you got this version? Oh, boy. He read all the way up to the stabbing scene.

V.E. Griffith 49:35
Oh, did he and that’s when he gave up.

Miss Catherine M.H. 49:38
That’s when stuff just started happening. Oh, like his book. Like he really needed to dive into it. And I was like, yeah, no, that’s fine. Okay. And then like the business is career like, you know what I’m talking about? Yeah. Okay. So third person, close past tense. I actually think I wrote the three chapters that way. Okay, so that shouldn’t be too hard.

V.E. Griffith 50:05
And I am not. I’m not opposed. I’m not opposed to multiple viewpoints. If the viewpoint shifts makes sense. And I think if we’re writing, if we’re writing at a target of 2000 1500 to 2000 words per segment, then we need to do no more than one POV per segment. Unless you have a really good reason. Yeah. That’s fine by me. Okay.

Miss Catherine M.H. 50:41
I’m totally cool with that. So for outlining. What would you like, what is your idea about mining? Because maybe I should ask what you do for outlining. I don’t even know if you outline Sure you do. Like outlines.

V.E. Griffith 51:01
I try? Well. I try to outline and my problem is that I always get stuck in the mushy middle. I’ve written I wrote the tones, which is the one that I’ve been struggling to work on forever. I’ve been working on tones, really without an outline. But that’s because I I know the story well enough. Or I know the story up to where I’ve gotten well enough. I feel like I feel like the bigger question becomes, since you’re doing the first graft, what do you need, and let’s provide that. I mean, I feel like if we’re doing a vela it’s okay, if the story wanders, as long as, as long as we get the cliffhangers in the right place. So it’s like, if you’re doing conflict, choice consequence you’re gonna do, you’re gonna do conflict, choice, break consequence, conflict choice break. And so we need to write it that way. Because otherwise people are gonna go on and see that story, or that’s, you know, we got a resolution, I’m good. So we want it to, we want each section to end unresolved. Within that, if you want to, you know, if you want to paint your way through it, I’m okay with that. The, the big thing that I would want is to make sure that we keep aware that we pull a gap in a job, and we keep very aware of the three C’s. Because those are going to those are going to signpost our, our episode breaks

Miss Catherine M.H. 52:59
okay. Then I’m gonna, I will need you to definitely make sure on that on my end, because for me, I don’t write to the three CTS which is weird, I guess. But I write the chapter or I guess I write the episode. And like, I have a feel of like, who right here is where this needs to cut. If we’re doing the cuts,

V.E. Griffith 53:31
that’s fine. I mean, we can you can graft the three C’s on top of a you know, on top of the draft so you know, and that’s that’s part of what my what that’s part of what our joint responsibility will be I’m I’m less concerned about what the first draft looks like as I am about what the published draft looks like. That’s what I care about how we get there you know, that’s how the sausage is made you know? So I’m, I’m less so you’ve heard me say it I am less concerned with process and more concerned with product okay.

Miss Catherine M.H. 54:14
So, in that case, what are some things that you are definite you want in the story versus not like these are things that you would you would prefer? If we went with us?

V.E. Griffith 54:29
I would like

Well, let me ask you this Do we want to do some kind of a, of a hero’s journey or a double hero’s journey, or a hero’s journey for him and a heroines journey for her? I’m at least for the first season.

Unknown Speaker 54:55
I don’t know because I’ve never written to them.

Miss Catherine M.H. 54:59
I’ve also never We’re actually studying. Okay. I know what they are. Yeah, it’s just a matter of I’ve never. I’ve never written to it like to try to like, oh, hit the spot. Ooh, hit that spot. So like, I don’t even know what scandals pen is. I don’t know if it’s heroes if it’s heroin, if they’d like, smashed itself together and was like these.

V.E. Griffith 55:25
Yeah. scandals, pin is kind of like, taking some of the tropes, hitting them with the hammer and seeing where they fall. That’s kind of what it’s like, bang, bang, bang, bang, you know, hit it, hit it over the head, and whatever lives lives, you know. It’s okay. Yeah. So what, here’s what, here’s what we can do. Let’s let’s find. There, you can read the books about hero’s journey and heroines journey, and they are, you know, gargantuan and I don’t want to, I don’t want to put us through that. But if we can find with either Dr. Google or Dr. Amazon, some inexpensive resources that will give us basically that cheat sheet outline of what the beats need to be. For each of those stories,

Miss Catherine M.H. 56:18
actually, you can Google that no problem there. Yeah.

V.E. Griffith 56:20
Yes. The circles

Miss Catherine M.H. 56:27
I’ve looked them up.

V.E. Griffith 56:30
I don’t need to I don’t, I don’t think that we need to be an expert in heroines journey to write a good story. But if we’re using that as our signposts, you know, I think that’s a, that’s a place to go.

Miss Catherine M.H. 56:45
Okay. So do you want to do something where we write out the outline ish, and then see which of those works, what it followed? Or what it’s missing?

V.E. Griffith 57:07
I think we’ll wind up getting there when I do the reverse outline. Okay, okay. And I take your, I take your first draft, I reverse outline it. And then if we need to massage it to make sure that it’s hitting the tropes that we need, then we can do that

Miss Catherine M.H. 57:34
is there anything else you are like steadfast, you would like this to happen.

V.E. Griffith 57:43
Um, I would like us to end on not an ambiguous note, but a note where we have the opportunity for it for a season two, if we choose to. Let’s say this goes well, we enjoy it. We want to we want to keep writing together. This will give us the option. I don’t I don’t necessarily want everything tied up with a bow at the end.

It’s, it’s like you can Google a document called Rumsfeld’s rules, if you ever heard of Rumsfeld’s rules, okay. Don Rumsfeld was, I believe, Chief of Staff to Jerry Ford, and then later Secretary of Defense I think maybe twice. Anyway, he wrote sort of a guide to working in government at a high level called Rumsfeld’s rules and one of his one of the rules was basically to keep your options open for as long as you can because you may need to exercise one of those options it was couched in what you know keep the President’s options open. But you know, for us keep our options open. So, I would like an ending to a story that is satisfying and if the reader chooses to walk away or we choose to walk away we’re not going to be disappointing legions of readers like you know, George RR Martin but I also want to you know, hey, season two and somebody you know, in the reader goes,

Unknown Speaker 59:34
Oh, yeah. Okay, okay. Anything else?

V.E. Griffith 59:50
I do not want to immediately foreclose, I want to see how it writes. I do not want to immediately foreclose a romantic relationship between our leads. Right now. okay

if it does, if it doesn’t write that they need one, that’s okay.

Miss Catherine M.H. 1:00:18
Okay, anything else?

Unknown Speaker 1:00:23

V.E. Griffith 1:00:26
That’s what I can think of. At the moment. You can see I’m really wide open, here

Miss Catherine M.H. 1:00:34
you are. Can we make her like 25? I know that you’re like 30s. But I don’t know, it just feels really weird to me to write somebody that much older, I guess it’s maybe because I’m younger. And I don’t know what it’s like to be in my 30s

V.E. Griffith 1:01:00
The only thing that comes to the only thing that I can think of in that, that I would have an issue with, is sort of street smarts. Um, because kids in their 20s tend to be dumbasses. And that’s not you. That’s just how they are. That’s a developmental stage. And so in this kind of a situation, somebody who’s older might be wiser. On the other hand, somebody who’s younger, might be more inclined to get it or more inclined to do things that will get them into trouble. Which will drive conflict.

Miss Catherine M.H. 1:01:39
Yeah, I don’t mind making him older. Like, that doesn’t bother me. But if I’m writing from a bit of her perspective, I don’t know it just seems strange to me to write a female lead. And the third is also I’ve never done it. So it’d be like weird for me. I don’t know why.

Unknown Speaker 1:02:02
Okay. How old would you like him?

V.E. Griffith 1:02:10
He can be mid 30s. That’s fine.

Miss Catherine M.H. 1:02:13
Okay. When you say that 30s. What do you mean by that? My mid 30s might be different from your mid 30s. I don’t know. I’m thinking like 33 to 35.

V.E. Griffith 1:02:24
Yeah. 35 To 33 to 37 is what I think it was mid 30s.

Miss Catherine M.H. 1:02:30
Okay. So if we throw that 33 and her about 25 ish. That gives you an eight year difference. Are you okay with that?

V.E. Griffith 1:02:44
They’re they’re both adults. It’s

Miss Catherine M.H. 1:02:45
fine. Yeah. Okay, well, you know what, some people get really weirded out by age. Differences. Age like doesn’t really matter to me as long as she’s not 25 And he’s like 17 or like younger than that gets into weird territory. Ya

V.E. Griffith 1:02:59
know, if he’s 35 and she’s 12 That’s a problem

Unknown Speaker 1:03:13
okay okay what else would I prefer Okay, so I do

Miss Catherine M.H. 1:03:44
I do like to write with a bit of imagination, it I don’t think everything needs to have like, readers have to have a leap. So I don’t think everything needs to be just arrived. Like it can be just be normal for that world.

Unknown Speaker 1:04:07
Does that make sense?

V.E. Griffith 1:04:09
We’ll see how it writes. I mean, I’m, I’m not I the one that I do want to stay away from, you know, in in descript, or nondescript, talking heads in a white room.

Miss Catherine M.H. 1:04:26
Oh, yeah. No, I’m just talking like I don’t want to do hard science. Okay. Like some of it can just be this is what’s normal for the world. Okay.

Trying to think of anything else that I’m like, would like to have in there Are you ok writing dark? I don’t know why I tend to write dark but I do.

V.E. Griffith 1:05:09
Yeah, I think I think dark is good. Especially if we wind up with a story hypothesis that is something about some kind of low level social commentary.

Unknown Speaker 1:05:20

Miss Catherine M.H. 1:05:25
any cliches you want me to avoid?

V.E. Griffith 1:05:26
Tell me what you what you mean in this context

Miss Catherine M.H. 1:05:39
no idea. My brain like, soon as I asked the question that had stuff. Okay. I guess like any tropes, you really are like, No, we should stay away from that, like cliches like that.

Unknown Speaker 1:05:54

Miss Catherine M.H. 1:06:01
Like, I know you’re not a fan of calling like good versus evil or light versus dark.

V.E. Griffith 1:06:08
Yeah. Yeah. The other one that sort of bugs me is is the teenage angsty unrequited love thing? That doesn’t necessarily mean you can’t do that with adults. But the motif is different. It comes across differently. It’s not just sort of, you know, hormonal hankering it’s closer to it. It’s it’s more adult and darker. You know.

Miss Catherine M.H. 1:06:50
Speaking of dark, I would prefer not to glorify race.

V.E. Griffith 1:06:54
No, that’s not okay. I think that would get us I think that would get us in content trouble.

Miss Catherine M.H. 1:07:02
Um, yes. And no, a lot of books glorify the, like the rape side.

V.E. Griffith 1:07:12
I’m not opposed to having somebody be sexually assaulted if that’s necessary. But I don’t think that you can, you can write it so that it’s a horrible experience. Or you can write it off camera, and then, you know, the after effects are horrible or something. I don’t necessarily say that we should stay away from the topic, but it needs to be a negative.

Miss Catherine M.H. 1:07:34
Yeah, I’m just mentioning it because we’re talking like dark is fine. Yeah. But I also don’t want it to be that she’s been raped. So that must be like, the only way that she’s able to overcome something. Yeah. Like, you don’t need to be raped. To be able to be a strong female character. Yeah. So that cliche is, uh,

Unknown Speaker 1:07:59
yeah, that’s bad. Okay. Okay.

V.E. Griffith 1:08:06
On the other hand, the flip side of that is that if the story needs that behavior, I don’t mind her growing from it and becoming stronger through it. But that’s not the only way you do that.

Unknown Speaker 1:08:22
Yeah, that’s fine. Okay. Okay, is there any other

Miss Catherine M.H. 1:08:31
tropes cliches something you don’t want to do while writing or like something you would prefer to avoid while writing?

V.E. Griffith 1:08:41
I don’t think so. Nothing comes to mind off the top of my head. I mean, in my understanding of how Bella works anyway, is that a lot of this shit is just sort of kind of freeform anyway. Now and so you know we can change midstream if we need to. Okay,

Miss Catherine M.H. 1:09:09
I do want to introduce you to some neon, though I think it’d be really cool.

Unknown Speaker 1:09:15
Okay. Or at least show you because also I guess

Miss Catherine M.H. 1:09:23
Okay, are we done with the big stuff should we start world like throwing ideas that you are you done with that for now?

V.E. Griffith 1:09:34
How much do you How much more do you need to start a draft?

Miss Catherine M.H. 1:09:39
Oh, nothing. I can go off of all of this. That’s fine. The I was hoping to get at least a few like outline points for you. But I also want to let me okay, I’m gonna put you over to the side while I go and look up. The What did I even name it?

It is it Tesla I might have just named it Tesla I get real creative with my story names are

Unknown Speaker 1:10:15
Kendall Bella Tesla see I started off as a game developer and I currently have how many chapters more than two, I think that’s more than two okay, so yeah, I have

Miss Catherine M.H. 1:10:57
a chapter. Technically, I’d like to send you the first one. And I know that the first piece takes place in the middle of the book.

Unknown Speaker 1:11:09
Okay. So it’s one of those

Miss Catherine M.H. 1:11:15
flash forwards is that what I’m thinking is

V.E. Griffith 1:11:18
the term? Yeah, if it’s if it’s happening in the future, then it’s a flash forward. Yes.

Unknown Speaker 1:11:22
Yeah. Okay.

Miss Catherine M.H. 1:11:25
You do not need to read chapter two.

V.E. Griffith 1:11:30
What is chapter two?

Miss Catherine M.H. 1:11:33
That would be like how that how it got started. So how their partnership started.

V.E. Griffith 1:11:36
Okay. We can use it as a lead magnet later

Miss Catherine M.H. 1:11:43
well, no, because that’s that’s how I’d had it start. So like you start with like, oh shit, this stuff’s going down. And then you go back to build back up to it. Is how I was originally writing

Unknown Speaker 1:11:56
it. Okay

Miss Catherine M.H. 1:12:02
I know you could read both chapters. It’s fun. Chapter Two is literal shit though. That’s that’s one of those where I sat there and I was like, I don’t I should probably outline something

Unknown Speaker 1:12:17
but yes

Miss Catherine M.H. 1:12:27
so yeah, um, I know I did. I have a startup ascribes codecs for it. So I can also send you that where I have photos of what they look like

Unknown Speaker 1:12:40
stuff like that and I can ship those around to

Miss Catherine M.H. 1:12:44
based on other talks that we do

Unknown Speaker 1:12:47

Miss Catherine M.H. 1:12:53
I don’t have to take a look at their ages I will have to I think I have to age them up which is fine by me. Song sent up to age

Unknown Speaker 1:13:06
you don’t have to read that right now. either. I just sent it to you. But chapter one was definitely fun to write and you can see a bit of the

V.E. Griffith 1:13:22
Okay, I’ve got a coming up that I use. Oh, I need access. Um, here’s the I created I created a here we go there we go. I went ahead and requested access.

Unknown Speaker 1:13:44
So I should be able to just look it up

V.E. Griffith 1:13:52
I don’t want to read it while we’re recording but I will read that out. Do you want to patent Do you want to publish it?

Unknown Speaker 1:13:59
So I want to publish what

V.E. Griffith 1:14:01
this first chapter to Patreon

Miss Catherine M.H. 1:14:04
I’m not until we know what we’re doing. Okay. Sorry, guys. Yeah. Well, I mean, like we definitely can after I just want to figure out if this is like the version you want or not, because if not, I can go back to the drawing board over there. Now you should have access to just open it with that revision wizard.

V.E. Griffith 1:14:29
Yes, I do. Okay. So

Miss Catherine M.H. 1:14:37
but yeah, so definitely, we should probably maybe read over that. See if that’s the direction you want or even if that’s the characters you’d like, Okay. And then if not, I can scratch I come up with new stuff.

V.E. Griffith 1:14:51
Okay. What I’m gonna do, I’m I’m gonna make a A new

I’m gonna use Google Drive on and I’ll send you the username and password for that for that for that email address and so we’ll keep everything in all of our notes in the in the on that Google Drive. And so I’m going to copy this document into there.

Unknown Speaker 1:15:33
Okay okay it’s I mean, I’m sure I have let’s see

Miss Catherine M.H. 1:16:02
Oh, her name is diode. That’s right. I switched it from Orion although maybe I call the other guy Orion. Think I called the other guy all right. Way to keep the names. But ya know her name was diode. Okay. So she’s a Tesla collector. So I think it’d be cool to have an amplifier. I don’t remember what it was. Yeah, no, I think I called her an amplifier. I think that makes sense. codecs, because cool. I can send you the codecs too.

Unknown Speaker 1:16:36
Okay. Okay, one of the

V.E. Griffith 1:16:48
Okay, what other questions do you have? Where do you put it?

Unknown Speaker 1:16:53
I didn’t send you the codecs yet.

V.E. Griffith 1:16:54
Okay. What are the questions you have before you want to start drafting?

Miss Catherine M.H. 1:17:02
Well, I’d like to make sure that you will a, we should know what timeframe we’re looking at. I would like to make sure that you’re comfortable with the characters, that the style is sort of working for you.

V.E. Griffith 1:17:21
Okay. I mean, aren’t you I feel like you’d need to draft something for me to be able to make those judgments. So if you wanted to write a first, you know, a foreseen you know, 2000 words or something? You can put that together pretty quickly, I would imagine.

Miss Catherine M.H. 1:17:45
Yeah. Well, I sent you what I would consider the first scene.

V.E. Griffith 1:17:49
Oh, okay. So you want so you want to call that the first scene and see and see what I think. Yeah, is what I’m hearing you say? Okay,

Miss Catherine M.H. 1:17:56
yes. So that’s, like I’d said, in my head, I had pictured that first grabbing section to be bam, you’re starting in the middle of this book. And now you’re going to see how they got there. Okay. But we can shift that. Okay. Um, all right. And then from that, once I know, if a you like the idea of how it is already, be you’re comfortable with the world, I can spit out you. With all of your, you know, changes and corrections to it. And then from there. If you’re good, I can have I think we could do one at least a week, have it completely finished where I’ve written it, you go through it. We check it over, we posted to Patreon. Okay, with like, probably a weekly update. Okay.

V.E. Griffith 1:19:04
Um, let’s not promise our patrons that it’s going to be

Miss Catherine M.H. 1:19:08
well, no, I’m just saying I think that’s what we could do.

V.E. Griffith 1:19:12
Yeah. Yeah, I would agree with that. Okay. All right, that’s fine.

Miss Catherine M.H. 1:19:21
But I guess once we get into a pattern, what would you like the timeframe to be?

V.E. Griffith 1:19:26
Once we get into a pattern every week or every two weeks I think would be good. It might be every two weeks. And if we’re going to do it every two weeks, what we need to do is get at least halfway through before we start posting develop. I mean, I think posting to belay is going to be sort of a last thing that we do, obviously, but if we finish an entire season before we start posting develop, I’m perfectly happy with that.

Miss Catherine M.H. 1:19:55
Yeah, I’m okay with that too. I would actually kind of prefer to be almost completely done with it. Before we start posting,

Unknown Speaker 1:20:01

Unknown Speaker 1:20:05
yeah, I guess I guess that’s it. Okay.

V.E. Griffith 1:20:10
That works for me. Okay. All right, then we will sign off from the recording and figure out what we need to do next.

Unknown Speaker 1:20:20
Sounds good. Okay.

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