I want to tell you how I actually work with the Foolscap method in the real world here. And I will make a one-page Foolscap exactly like this where I answer all the questions, genre, hero, narrative device, etc., etc. But beyond that, I'll have a file for each one of these things. And the file might be 30 pages long. And I'll have a file for genre, a file for inciting incident, a file for setting a file for hero and villain. And I'll really get into the weeds on it, you know, because a lot of times it's hard to know who your hero is or who the villain is, is the villain inside the hero's head, is the villain some societal force like racism or homophobia or something like that. So I will really, like I say, get into depth in a file that might go page after page after page, but on the actual Foolscap page, I can bring it down to just one line, genre, western, genre, detective story, that kind of thing. But then I'll get into the full real weeds of the thing. For instance, in the inciting incident, one of the principles that we know, the inciting incident is that the climax is embedded within the inciting incident. So I'll get into a great depth of that as I'm writing out this file. For instance, in the movie Taken, when the phone call comes into Liam Neeson, and he says to the bad guys, I have a special set of skills that are going to be really bad for you when I'm coming after you, we know embedded into that is the climax, which is Liam Neeson catches up the bad guys and wipes them out. But I'll get into that in great detail in this file. At the same time, in the inciting incident, we also know it's the moment where the hero acquires his intention. So I'll ask myself, I have a scene in my mind that I think maybe my inciting incident. So I'll now get into that scene in the file, and I'll ask myself, does the hero really acquire his or her intention in here? And if so, what is that intention? And so on and so forth. So I'll get into the real nitty-gritty of all of these things. The all is a lost moment takes, can take page after page, because you have to then come up with the answer to the all is lost moment. How does the hero rise to his or her to the occasion to solve the problem? Anyway, that's how I work with that. I have a file for each one of these things, and I go into great detail in that file.