What did that teach you early on, you know, at that age? I mean, that's pretty big to have something that you create be published be sort of, like, done, you know, on that scale? What does that, what did that do for you at a young age?

It was really interesting, because it, I think, well, first of all, it made me realize, like, oh, I can write plays that are producible.

I mean, it's, it's very possible to write a play that is impossible, or very difficult to put on, like, something that's very technically complicated or has a huge cast.

And so I think this, it gave me a really good sense of realistically what to start with.

Cause obviously when you're a really, really well-known big name, you can write more outlandish things because people will be, but like when I, when I first pitched nice, normal people, which is this Vietnam war play that I wrote, a jello salad explodes on stage and like, dead flies come out of the walls and all the wallpaper peels down.

And I had a conversation with one of my professors where she was like, our main concern is that this is going to be impossible to do.

And so I had to workshop that aspect of the play a little bit because she just, she said like, it's going to be really hard for you to get this produced.

When did the sword swallowing come into your life? Where did you see it? What made you want to do it? How long did it take you to learn it? And then again, how long did it take you to put that onto stage?