Ep. 94 Your Story Makeover

Hey, Mark Brown, have you seen on TV all of the makeover shows? You know, the makeover, the house, Flip this House, and then Pimp youp Ride.

Pimp youp Ride. That's right. An extreme makeover. Yeah, that's right. We've seen those programs.

Well, hey, you know, if you have stories that maybe you've been telling for a while or maybe a new story you're working with, we are here to help you pimp your ride.

Anyone can give a presentation. Few deliver unforgettable presentations. What's the difference? You're about to find out. Welcome to the Unforgettable Presentations podcast with your hosts, world champion speakers and coaches, Mark Brown.

Mark Brown, your life tells a story, and there's someone out there who needs to hear it.

And Darren Lacroix. And Darren Lacroix.

Stage time. Stage time. Stage time.

Ready for some powerful presentation? Ahas, let's dive right in.

So, Mark Brown, we did an episode that was so much fun. Episode 68 unforgettable movie moments. And we're talking about the movie moments. And when Mark and I were chatting in the green room, getting ready for this, we came up with the idea of just what do you do? Like, if you want to react, revamp your story if you want to give it a makeover. And we came up with this tiny little process, but we believe it's very powerful and will help you pimp your ride.

Yeah, very often we have stories. Many of us have stories that we've told for a long time, and we know they work. We have our own special signature stories and so on. But maybe it's worth our while to revisit our stories and ask ourselves, what techniques can we use to make the story even better? So the next time we tell it, people are going, oh, I didn't see from that point of view before. So let's talk about how we can help our listeners, our friends, and our fellow speakers have their own story makeover.

Yeah. So here's step one. So we're gonna give you three quick steps, but we think it's critical, and this is the essence of the story. And we're gonna start off with identify the shift. Step 1. Identify the shift in the character, the emotion, the new perspective.

Yeah. You know, a story is more powerful. When something happens to a character, they think differently, they act differently, they start doing something, they stop doing something. They have a realization or a revelation. And the characters are key for our stories to connect with us and the audience, because the audience needs to identify with the character. But if the story is linear and nothing really happens, we're like, okay, so why is that story important? So it's important for us to revisit the character. What happens to him, her, or them? Is there some kind of shift in their experience that we can look at again, maybe improve on magnify and drive home more significantly to make the story that much more meaningful?

All right, Mark, I'm cracking myself up.

So.

That'S why we're here. That's one of the reasons. So I think of it as a go kart story. If you ever drove go karts, you know, when you were little or with your kids, you get in the go kart, you're all strapped in, it's exciting. But you step on the accelerator, and it's just got one speed. You know, there's no shift. There's no shift. You don't go from first to second. You go from stop to go. And we've seen a lot of stories that they go, but they don't really advance. They don't really have that shift. And so step one, again, look and see if you can take the story you already have or the new one you're considering. And we're doing something different tonight. Mark, on the Stagetime Core 2 call, where someone's coming and being coached. And if you're listening to this, you're a stage time member. You know what we do if you're not a stage time member? We have these live calls where we coach people. And we. We have one person we're coaching Phil, and then we have another person, Erica, that we're coaching, that she actually is just starting to put the story together. So it's gonna be a conversation about the story. So I love what we do and the feedback we get to give, but this is kind of one of the things we look for is step one, where's the shift? If you don't get clear on the shift, which is the reason. And this is what differentiates us from, say, an entertaining speaker or a comedian. So their purpose is to entertain, to get us to laugh. So the punchline is what they gear the speech around. Say they build the routine around the punchline. You know, they got to set it up and the punchline, and then there's a tagline after. So same kind of idea where instead of the punchline, though, it's the shift line. The shift moment. You know, on episode 68, we talked about critical moments in movies. Well, this is the moment in your story. So we've got to identify. Mark, two stories that come to mind that, you know, sometimes we talk about the Mark Brown story forever because it's a classic one. So we're not going to talk about that. That's in episode 68. Go check that out. But I had one where my valet story, which was my semifinal speech, but it was also a critical part of my Laugh and Get Rich keynote. When I did that, when the valet. When all of this tension was created and I was stressed out, my head was ready to explode. And the valet looked at me and said, next time you come here, we park your car closer. And he cracked me up. And I went from this stressed out, freaking out, new emerging speaker panicking, to all of a sudden, my whole body shifted, My mindset shifted. So in that story was the shift. And then in the keynote speech, I had another story. My family reunion story, where I was meeting Tanya, my girlfriend, at the time I was meeting her family, but it wasn't just meeting the family. It was meeting the whole family.

Oh, I was serious, and I did.

And the tension. Yeah, Trial by fire. The tension built. But then I did this really naive, silly, ridiculous thing, and I went to tell her what happened. And instead of getting mad or upset, she just laughed and she thought it was the funniest thing ever. And that changed my mindset. That shifted me and taught me a valuable lesson. So when we look at your stories, if you're building a new one too, what's the lesson? Because we're trying to deliver that lesson, but then the lesson was learned in a certain moment, and that's what we're talking about now. The shift.

Yeah. When characters go through some kind of shift, you have to be aware of how significant these can be. Because I've learned that sometimes a character has a moment, but we're so focused on some other part of the story, we don't realize the significance of that particular shift in that character. And, you know, when a story takes us on this journey and we go, ah, okay, I can relate to what happened to him or her in that situation. You're saying, okay, what happened? That was the shit. It could be a lesson that they learned. It could be about, relax, don't take yourself too seriously. It could be the realization that I was getting all stressed out for no reason whatsoever. It could be a realization that, you know, I need to make a different decision here. You know, one of my stories has to do with my competing in the Toastmaster speech contest. Unless anyone think we're only about the contest. No, but the contest does have some interesting backstories. You know, when you were competing in the World Championship, you have back in the day, in the previous millennium, when it was all black and white, right, Darren. We had to prepare not one, not two, but three different speeches. And we had maybe a couple of months between June and August to get our masterpiece ready for the world. And I had spent six weeks on my speech. It was going to be the one to win me the title. And deep down I knew that speech was just not good enough. It was that realization inside that prompted me to make a decision to drop the speech with fewer than three weeks to go and go back to the drawing board. What people thought it would have been an absolute crazy risk to do back in 1995, to abandon almost two months of work with only two weeks to go, that was kind of crazy at the time, but it was a decision I had to make in order to. To be the best that I could be. And people often see that Mark Brown worked hard and he became the world champion. How great that is. But that part of the story, the shift, the decision to take a serious risk and abandon what I'd worked on and do something else for 14, 15, 17 days to prepare for the speech of my life, that's really a significant part of the story. People focus on, oh, he was a young man who didn't place in 94 and he won in 95, was the only guy to go back. It was amazing. But, yeah, that part of the story, that shift, that decision, that risk is significant. So is there a shift in one of your stories that seems to get passed by because you didn't emphasize enough the importance, the significance and the magnitude of that shift? So number one for me is to revisit your stories, as Darren said, or look at a story you're currently working on. Is there something in the story that you're maybe glossing over, not attaching enough significance to that will not only show a shift in the character, but could very well shift the way your audience receives it. If you look for the shift, if you identify the shift and say, ah, what can I do with this? To kick into a different gear and to move the story forward.

Nice. Well done. Well played, Mark Brown. So step one, again, identify the shift. It may be in there, maybe it's not in there, but clearly can you identify? You're the storyteller. It's your job to take that time to identify. So Mark made a decision. Mark took a risk. That's part of the intrigue of it. That's the scary part. But that's when things changed, when he made the decision, he probably thought about it. But the true part of the story is when he made the decision. So step two is then setting up the shift. So we got to identify the shift, and now we're going back. So we've got to set it up so we know that the character is one place, one feeling, one time. And this is in a movie. It would be the day in the life. What's a normal day in the life before the shift happens? So what is that day in the life? How can we get that across? What's the feeling? What's the thought? You know, for me, in the family reunion story, I was trying to impress the family by helping out any way I could to prove I was like a good guy. So I'm trying to get that across, and how do I get that across? So that is part of setting up what happens in my valet story. The pressure is escalating because I was trying to prepare. I was trying to do everything right, but I was making all these mistakes. I was being forgetful. I left things in my car. I had to run back to my car just a couple minutes to get some of my crucial props. But because I was freaking out. So freaking out, I have to show that in order to set up the shift.

Exactly. And what people don't know in my story is I had been to the Toastmasters World Championship in 1994, and I did not walk away with a trophy. But here's a setup that people don't often don't get because they don't often give it, is that I made a decision after I lost that contest. Two things. One, I will try to win the contest one more time. If I don't, I'm done. I'll go back to computer programming at Reader's Digest. No problem, man. The other was I had an idea for a speech about integrity. And I said, if I ever get back to a final, I'm going to write, I'm going to prepare this particular speech and deliver that speech in the final. So it was in my head from the previous year, 11 months earlier. I know if I get back to the final, this is going to be the speech. So I was ready with it, but the realization that it was not good enough, I had to face that. Now, some people in a situation like that will say, okay, you know what? I'm going to soldier on. I've invested the time. No, there's no turning back. I will burn the boats and the bridges. I'm going to push forward and make it work the best that I can. But the setup is 11 months earlier. I made a decision. If I ever get back to a final, I'm going to give a speech on integrity. I have an idea for my stories I'm going to tell that I was committed for 11 months. At this point, it was September to August. I was committed and it was like August 1st. I changed. But if I don't tell the audience I made that commitment 11 months earlier, I'm going to give this talk on integrity. I know what stories I'm going to tell. I'm going to rehearse, I'm going to make it great. I gave practice speeches. And you know what? I'm going to do this. It's. I'm on the road, I'm going to my destination. But then I realized it's not good enough. And I asked myself, okay, what else can I tell the audience to set up the significance of the change? I could tell them I had an email, sorry, a letter, a faxed letter, exchanged a fax. In 95, a fax machine was a device resembles Nevermind. Okay, I had a fax exchange at my coach about my progress when I had to face the realization this was not good enough. I told him in my letter, an actual letter. I told him, you, my audience, my family, and my God deserve better than this. And this is not my best. Now, if I don't put that part in, the setup is weaker. So I got to make sure the audience understands why, how the shift came about, all the backstory. I won't give you a 10 hour backstory, but enough backstory for you to understand why the shift becomes that significant. And if I do it well, it will prompt the audience to think about their own lives, their own path, their own journey, and times when they maybe should have made a shift but didn't. Or maybe where they are right now in their lives, they're pondering and contemplating, do I make the shift? And by giving the setup and showing my shift, it could be that little spark of inspiration to help them make a different decision or even make a decision. But I gotta set it up with enough backstory so when the shift comes, boom, it becomes that much more magnified in their mind and that much more meaningful in their hearts.

Yeah, it's the critical element. We don't have to tell too much. We have to tell enough of the backstory. But the right backstory, the right critical elements, there's a lot you could tell about it, but most of them aren't significant for that story in that way to make that point, to set up that shift. There's just. Sometimes it's challenging, which is why a coach is helpful to be able to help you identify what it is. Because we're so close to our own stories, we don't necessarily see it or understand. What do I need to know? So, Mark, we've all heard the old adage, somebody tells a joke and you say, I guess you had to be there. Or they tell a story and you say, I guess I had to be there. What that really means is the teller left out the critical elements. So I understood the shift or I understood the punchline. So make no mistake. The setup is incredibly important to your whole story. So again, step one, identify the shift. Step two, set up the shift. And then step three is prove the shift.

Yeah. Before we go on and prove it, I just want to touch back on one thing about the setup. Because your background, Darren, is in comedy and humor. I've learned punch lines. When they land, man, the audience loves you and it is great. You can do callbacks, all these cool techniques, but they don't work. If the setup is unsuccessful. How many times? I shouldn't say how many times? I can recall several occasions where people have said to me, give me a story or a joke. And I go, oh, no, I told it wrong. I missed it apart. And. And you've been there, right? Oh, I missed that.

Talking about the first five years of my standup career.

But a moon chain? No, but seriously, I think we've all had someone heard someone say that, or perhaps we have said it ourselves. I missed the lineup. Oh, man, I missed. I'm going to start over. Too late, too late. It's lost. Because the setup was unsuccessful. So it is selecting the right things to say to set it up. And then after you set it up, we've got to prove that a shift took place and in the mind, the heart, the life, the actions, the decision. What did the hero of the story do differently? Start doing, Stop doing. We got to see that the change was there. In my case, again, there's more details to my story. How did I really arrive at the decision? I could go into more detail about going to Delaware for a meeting, driving two and a half hours at night to go to test my speech out and get the decision. I could go into all of that. But you don't need all those details. As Darren says, you want the salient significant points are set up and the proof has to show in what is the character like afterwards? You know, you could look at my story and say, well, Mark made a choice to change. As a result of the change. He gave a better speech, he won a trophy, and his life has been on a different trajectory since August of 1995. That might be an extreme example. The proof need not be extreme. It just has to be evident.

Yes.

I'll say it again. The proof need not be extreme. It just has to be evident. And it's funny when Darren, you mentioned you relieve your tension story of being at this engagement, parking your car so far in a parking lot, rushing to coincide. You're forgetting material, you're forgetting your projector, you're forgetting your flash, you're forgetting your clicker, you're forgetting all this. And you're getting all hyped up because you got to go present in a few minutes. And this guy gives you one line. And it was so significant a change that you actually called the speech title rmt relieve my attention. Because it did just that. It wasn't dramatic, but we could see the significance of the change. Again, it need not be dramatic. It just has to be evident.

Yeah. Mark, when you and I teach storytelling, we have a five step process we go through. And one of the things we say is you gotta witness the change.

Yep.

The. The actual story listener must witness the change.

Yeah. And the thing is, what do you see? Is it in how they behave? Maybe it's how they speak. Maybe. But if we can't see a change in the character, if we can't see that the shift took place, then we are missing. It's almost like not quite having the punchline in the humorous bit or the joke or the routine. That's right. Give it Darren bit routine. Is that right?

Whatever. Whatever you want to call it.

The set. But we've got to see evidence that there was a change again in Darren's story. He said he actually made me laugh. He relieved my tension. All the weight was gone. In my story. I had the realization I need to be different. I need to change that. I did. I changed my approach. I gave a different presentation. I became a different presenter as a result of going through that process. Because I realized it's okay to make changes when they become necessary. Hmm. It's okay. Because so many people, you know, again, I'm committed to this. I am. I'm all in. I'm not gonna change. Full speed ahead, whatever. I'm gonna do it. But maybe the one change is I'm willing to make a different decision if it's the best thing for me to do in that situation.

Yeah. One of the things that is one of my strengths is showing the character change, showing the body change, body language. So this isn't essential, but somehow, some way, we need to see a shift in character. Maybe they stand up a little straighter. Maybe they have some humility, like the Mark Brown story. But if you notice in the valet story, in the family reunion story, which we've been talking about, both of them are around stress and tension. Well, my keynote was laugh and get rich. It was about relieving that and remembering to laugh at yourself. So both are in the same keynote, but they come at 10. The message, the premise from a different angle. So we need to see. Okay, when we're giving ourselves a story makeover, the after effect, the post shift, there's the pre shift, the setup and the post shift, the proof of shift, kind of like proof of life. We need to see the proof that it's changed, that you are different, or at least your perspective is different, that we see things differently. The character acts a little differently. It doesn't mean their whole life changed. But there has been in one area a significant change. The lesson was learned.

Yeah, I think of idea of makeover. I know in these makeover shows, this one was called Extreme Makeover Home Edition, I think it was called. And they say, wow, the whole house is different. You paint my ride. Oh, wow. It's so significantly changed. I understand dramatic makeovers, but the key for us to understand here is this. It doesn't have to be a totally revamped, overhauled, unrecognizable shift or change. It just has to be one that we can see and say, you know what? That person is different. Their outlook on life is different. Their approach is different. They live differently. I mean, look, you could have so many different kinds of stories to talk about. They could be humorous, could be fun, it could be dramatic. It could be almost tragic. Stories is about my brush with death back in 1993, when doctors found clots in my lungs and my heart. And how did that change me when I recovered? When the doctor told me, I asked my doctor, my heart, my cardiologist. I asked him, why am I still alive based on what I've gone through? And he said to me, I have no idea. Perhaps it's the grace of God. This is a professional man who saves my life. And he said, perhaps it's the grace of God. And that shifted the way I view my life. It shifted the way I treat people. It shifted the way I see my purpose in this world, which sounds Very dramatic, I know. So there are big stories and there are small stories. Some are humorous, some are poignant, some are painful. Some have to do with loss. But how has the loss changed the main character in your story? We have to see when someone says, you know what? My son lived the best life he could, but he was taken when he was early. I now decide. I now decide I'm going to serve. I'm going to give money towards research, I'm going to go in a walk, I'm going to do all of these things because my life has shifted. I realized something happened, and the shift is now made manifest by what they do and how they live. So think about this. There are stories you have in your life about your family, your loved ones, yourself, your friends, people you interact with, whose stories may be run the gamut of humorous, funny, poignant, painful, tragic. But they are changed as a result of some experience, some revelation, some lesson learned, some nugget of wisdom offered to them by a guru in their life. How have they been changed? What evidence do we have that they made a different decision? They're walking in a different way, they now view life. Are they laughing more? Smiling more? Are they more pensive? There's so many different ways to show a shift in somebody's life. I'm going to ask you to revisit these stories, revisit the characters and ask yourself, how many different ways has this character changed what would be most meaningful for the audience and how can I make this story over? So when they, pardon me, move the bus, move that bus and see the new house, so to speak, they go, ah, I can see a change in that person. It's evident and it's wonderful.

Yeah. Reactions tell the story. Reactions tell the story. Mark, you know this. If you're listening, this may be a reminder, but I, for many years, was trying to find my signature story. Trying to find it. I would get this, try it, find it, find it, find it, find it. And I would test the new ones and I would tweak it just a little. Tweak it just a little. And Dave Fitzgerald, my mentor, said, darren, stop trying to find that story that will launch your career. And instead, take the stories you already have and make them so good, someone will pay to hear them. Make them so good, someone will pay to hear them. And this is what we're saying. We're asking you to reevaluate. It might be a good story. It might work. Okay. How do we make it unforgettable and it may not be this massive? Makeover that's why we didn't call it extreme makeover. It may just be a moment when we see the character. When we see the character have that revelation, and then they stand a little different, they show a little different. Maybe it's just a line that somebody else notices their shift. So it might not even be that character showing that shift, but somebody else from the outside says, I don't know what you did, but you're different, or you have more peace in your life. Sometimes other people notice. So it could be another character. Could be we see your body change. You know, in mine, I was stressed out. He said that. And I just, like, my shoulders dropped. The smile came on my face. So for you, we're just asking you to make your story over and see if there's a way to make it from good to great to unforgettable by identifying the shift. Step. Step one, identify the shift. And then step two, set up the shift. Do you have the right elements? Could you make it a little better, a little clearer, a little stronger? Could you escalate the conflict that leads up to the shift? And then step three is, prove it. Show us the proof of shift. What was it? How does the audience know? Mark, you know, we're looking at Michael Haig when he talks about goals, the goal of the character, that desire of the character, what do they want? But when he was coaching me in my script, he's like. Like the audience, not the character. The audience has to have that visual that the character describes that when we see it, we know that they achieve their goal. For us, telling these stories, the purpose is to deliver the message, to deliver the lesson in a transformational way. So we're asking you, for the sake of your audience, for the growth of your career, to take a few minutes and take one of your stories and just work with one story. If this works with one story helping you out, okay, now go and apply it to another. But trust us on this. Taking the time to step back and actually making sure this is the best story delivered in the best way for your audience, for the benefit of your audience.

Yeah. And you mentioned Michael Haig. If you're new to our podcast, Michael Haig is a story consultant out of Hollywood, and he's father of our faculty at stage time, and he is the story master. And story mastery is his game. And he does dispense wisdom on stories. Now, Darren, you yourself, in our programs, often ask our webinar attendees, do you ever have story envy? Would you want to pay ten grand to get this great story and make it your own and you get paid to use it. The reason why I mentioned that is some of it we may have story envy, but others we don't think our story is powerful enough or dramatic enough or intriguing enough to draw the audience in. But we have to remember our audience is basically us. Our audiences aren't the ones who walked on the moon or flew in space or, you know, got to hang out with Jeff Bezos, or our audience aren't the ones who broke the 10,000 meter world record last week. Our audience are people just like us. So our stories will connect with them. If we have a mindset that says, yeah, they can relate to my story, so think first of all of the power of your own story. And then secondly, how can I make it even better? If we can do this and we can perform a story makeover on a story we may think is insignificant, you could transform the impact you have on the audience. And please remember, remember one of my Mark Brown isms. My Mark isms, right? One person's mundane is another person's magnificent. One person's mundane is another person's magnificence. So you may think it's just my story, what's the big deal, you know, but to the audience it's what? Are you kidding me? And here's why, and I've said this before, I think on the podcast, we are so close to our own story. We have lived that life. We have lived with it our whole lives. It's our normal, it's our benchmark. And I'm guilty of that too. People read my bio and they say, Mark Brown, he left Jamaica for the USA at 18 with only 40 bucks in his pocket, two suitcases and a dream for a better life. Now he's a pro speaker speaking coach. He's traveled all over the world and they go, wow, how you go from an 18 year old kid with 40 bucks from a foreign country to world champion certified speaking professional, traveling all over the world coaching speakers. What? That's amazing. And to me I'm thinking, yeah, that was my life, so what's the big deal? Please bear in mind what I'm saying is you may not think your story is worth telling or even making over. I want to tell you, I disagree. I believe if you look at your story and try to do so from the perspective of a listener, not from where you live, you might begin to see why they're intrigued. Now, okay, they're intrigued. What intrigues them? What about my life? You think from being, being 18 with 40 bucks to being a world champion and coach is a shift. You think it's a 40 year shift, but it's a journey. Look back on your past experiences. What does your audience, what do your friends see when they hear a particular story? And what is a turning point you can identify, work on, really make even better for your audience, your friend in conversation, but then your audience, who's going to hear you speak and hopefully pay to hear you speak, you make these stories even better, then you become memorable, then you become unforgettable. But the stories are there. Use this process.

Yeah, this is not the good Enough presentations podcast. This is not the It's My story, it's good, you know, podcast. You know, we didn't name it that. Mark, you prompted something I heard recently that I never thought of and it was brilliant. But it was a documentary about Jim Carrey and he said that he spent the first years of his career trying to prove he was different. Now he's spending his career trying to prove he's the same as everybody else.

Interesting.

Yeah. So please take the time. This is about you. And by the way, I would be doing a disservice to our listeners if I didn't bring this up. We want you to work on your story. We want you to make it over for the benefit of the audience. But if you truly want, want to make it unforgettable, one of the best ways you can do that is to get a coach. I'll be serious and honest because it was transformational in my life. I would not be the same speaker had I not gotten David McElhaney, my first coach, who brought me to Mark Brown. But please consider at some point, because in my opinion, this may sound harsh, but look, we're here to help you. We're here to give you the truth. There's two kinds of presenters. Number one, those who never see the value or pursue a coach, okay? Those are people who will never, ever reach their full potential in their storytelling. And then there are those who seek advice from people who are where they want to be. Mark, you know the famous line David McElhenney, when he introduced me to you. David had been to the regionals before now called the semifinals, and he didn't place. And then he realized once he helped me get to the semifinals, he introduced me to Mark and he said, darren, I can't take you where I have never been. I can't take you where I have never been. And it's equally important if you're trying to DIY it. I get it. Take the courses, but please find somebody to coach you. It changed my career, changed my life. So. So go check out getaspeakingcoach.com getaspeakingcoach.Com you can work with any of our stage time coaches, including Mark, or check out Stagetime University. Go to masteringpublicspeaking.com and join us and get some mini coaching on one of the coaching calls. Very affordable way to do it if you can't do the one on one coaching. But please, please, please. The fastest way from good to great to unforgettable is to get a coach.

Yeah. You know, you mentioned the DIYs, the do it yourselfers. You had told me several years ago a statement that Mike Rayburn, hall of fame speaker, guitarist, maestro, he's just amazing. He told you that. The problem, if I get it right, the problem with being doing it by yourself was it now coaching yourself is the teacher's not that great.

Is the teacher's not that great. Yeah, exactly. Yeah. Oh boy. Going to Ikea, bringing it home, putting it together and not reading the instructions and you wonder why there's a couple pieces missing and a coach will help you find those couple pieces. So your story makeover, identify the shift, the setup, set up the shift and then prove the shift. And if it's at all possible, we encourage you to get a coach to help you with this. If you're struggling, if you're not exactly sure, truly it will change the way you tell that story forever. And the cool thing is it'll impact the rest of your career and what you learn working on that one story. What I learned from working with Mark bled over to all my other stories. So even though we worked on one, it changed the trajectory. It was a shift in my career. Mark Brown, take us home, Listen, get.

Your story, make it over and you know, be in touch with us, like us, like our podcast and if you can contact us and let us know what happens when you make over your story because we want you to go from good to great to unforgettable. See you next week.

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