Waste of Time

 

“You wasted $150,000 on an education you coulda got for $1.50 in late fees at the public library” Matt Damon in Good Will Hunting.

I wasn't born with raw talent - for anything! But I acquired talent over the years. I was shy and stuttered, but I eventually became a public speaker and once spoke at the same conference as First Lady Barbara Bush. We were both in the speaker's lounge, and I wanted to talk to her, but when those big guys with guns started toward me, I hurried back to my own couch area. I'm shy and afraid of everything. I'm like the Gorginites in Small Soldiers; my greatest ability is to run and hide.  In addition, my mother said that I was so uncoordinated as a kid that I could trip over a bobby pin in a shag carpet, but I became a certified yoga teacher. I believe in attacking things with everything that I've got to succeed. I went to college to get a degree in International Agriculture with a goal to teach the world how to grow food. Lots of things diverted my path, but I ended up changing to agribusiness, then business, and finally accounting and computer science. How I got from designing accounting software to screenwriting is for another blog; this one is about education and screenwriting. Do you need a formal education to be a successful screenwriter?

If you have talent, raw talent, and a great idea, run out and buy a book on screenwriting and learn screenwriting software. My first book was by Cynthia Whitcomb, who I'll talk about in another blog, and I have probably read a dozen or more over the years. Of course, my favorite is written by my manager, Alexia Melocchi, An Insider's Secret: Mastering the Hollywood Path and after reading that, I decided I needed representation, but I'll cover that in another blog. This blog is about whether or not an education is important if you want to be a screenwriter. So, even though I was a highly educated CPA and computer programmer when I took off this path, I wanted to learn screenwriting from the best - and I did.

I found out that UCLA had an online screenwriting program.  Jack Sowards (above left,) who wrote Star Trek – Wrath of Kahn and Jim Schmerer (center,) who wrote for some of the most popular series of the 1970s and ’80s, including MacGyver, CHiPs, Vega$, Fantasy Island and Starsky & Hutch, were my instructors.  I met a friend online, Dana Biscotti Myskowski (right,) and when we graduated from the Advanced Program and attended our graduation ceremony at UCLA, Jim and Jack took Dana and me out to dinner.  These two wonderful gentlemen told Dana and me that we were the best writers in the class which gave us both a lot of encouragement to continue. I had acquired talent with education.

I think UCLA is the best, and I have the t-shirt to confirm that. UCLA's School of Theater, Film and Television combines theory and practice, with students learning both writing and production. I'm with a lofty group;  Francis Ford Coppola, Alexander Payne (Sideways, The Descendants), and David Koepp (Jurassic Park, Spider-Man) all studied here.

Of course, the USC School of Cinematic Arts is considered the premier institution for screenwriting - by some. Their Writing for Screen & Television program has produced writers like John Singleton (Boyz n the Hood), George Lucas, and Shonda Rhimes (Grey's Anatomy, Scandal). The program emphasizes both craft and industry connections, with many students getting represented by major agencies before graduation.

When I won the Native American Media Alliance Fellowship, my instructor, Matt Black (Umma with Sandra Oh), was also a lecturer at AFI Conservatory, which offers an intensive two-year screenwriting program. While smaller than some other programs, it's produced by writers like David Lynch, Darren Aronofsky, and Sam Esmail (Mr. Robot). The program is known for its mentor-based approach and small class sizes. Matt was a huge fan of David Lynch and even has an ear tattoo on his arm in honor of Lynch's Blue Velvet. It is a movie I hate.

NYU Tisch School of the Arts has a renowned dramatic writing program that covers both screenwriting and playwriting. Notable alumni include Kenneth Lonergan (Manchester by the Sea), Tony Kushner (Lincoln, Angels in America), and Donald Glover. The New York location gives students unique access to both film and theater industries.

Columbia University's Film MFA program has a strong emphasis on dramatic writing fundamentals. Kathryn Bigelow (The Hurt Locker), James Mangold (Walk the Line, Logan), and Simon Kinberg (X-Men franchise) are among its graduates.

Interestingly enough, one of my two favorite screenwriters, Aaron Sorkin (The West Wing, The Social Network, Newsroom, American President), was actually a theater acting major at Syracuse University before turning to writing - but I think he drips with raw talent. But my best is Chuck Lorre, who dropped out of Suny to pursue a career in songwriting and got his break when he co-wrote the soundtrack to the 1987 television series Teenage Mutant Ninja Turtles with Dennis Challen Brown. Chuck jumped right into TV and is the best TV writer of all time, and I'm sure his investment banker agrees. Lorre eventually received an honorary degree from the State University of New York at Potsdam and gave a keynote address at a graduation ceremony. I hope he paid his library fines first!

So, how would I answer the question about education? Obviously, for some - it isn't necessary, but if you have the time and money and, like me, a quart low on raw talent, go for it. If you're young, spending some time at college can help you grow and make lifelong connections that I didn't have. If you're not in LA, then an online class or fellowship will save you hundreds of thousands of dollars. The answer to that question is in your head – did you wake up this morning with an idea so amazing that you must get it on paper? Buy a couple books, read a couple scripts and buy Final Draft or get the free version of FadeIn and start writing! 

If you want to build a career, get Alexia's book, learn about Hollywood and move out there. If you like going to school, pick UCLA (just kidding) or check out your local college and see if they have a screenwriting program. What I don't recommend is getting an MFA and learning creative writing. Screenwriting is creative, but it is mostly writing about life and is about people speaking and reacting through action. I'm not sure learning about Shakespeare and 14th century poets is the way to get good at screenwriting. But when it comes to writing, that quote in Good Will Hunting is right - and that script won both the Golden Globe and Oscar for best screenplay for Matt Damon and Ben Affleck.  Like Matt Damon's line, "education might be a terrible waste of money."

Nobody Knows

 

I finished a TV pilot this month with an old friend, Mark, and we entered it into SeriesFest to see if we could get some bites - or bliss. It is a pretty interesting story. Mark and his wife, Arlene, moved to Mexico to find their bliss. In this picture (left) is our cousin, John, Mark and his wife, Arlene. Our TV pilot is based on Mark's comedy book Nobody Knows the Spanish I Speak. I got the coverage on it back this month, and it is fantastic!

"The writer has created an absolutely fantastic premise. The concept of Americans (from Portland) moving to Mexico to realize some idealized dream that is far from ideal is great and will provide endless setups for future episodes. I could see this done as a single-camera or multicamera show, though the format is very much a single-camera show. It's a concept that also has wide audience appeal, especially depending on how much you dig into cultural discussions and commentary.  I also love your three main characters, Charlie, Marty, and Adele. The dynamic between Charlie and Marty feels reminiscent of ALL IN THE FAMILY, though with completely different archetypes that fit contemporary audiences. They each have a very distinct personality with its own quirks, positives, and negatives. You do introduce a few locals into the pilot, but it would be great to see them even more so we get a sense of the regulars within this world that our central family will be interacting with from week to week."

Getting back to Mark, decades ago, we found that we liked to write and were both going to the Willamette Writers Conference that summer. We agreed to meet in the big tent for lunch. When Keith and I walked in, I said, "Isn't that your cousin, John, sitting next to Mark?" Yup, in Portland, a town of 2 million+, the only two people we knew - were friends with each other!  Mark and I stayed in touch over the next few decades, and it was Mark who told us when Cousin John died this year. John was an LA lawyer who moved to Portland to find his bliss and write plays. That is also Mark's bliss, writing plays, although he's quite the accomplished comedian and has written for shows like Leno. But his book has been on my Kindle all these years and has been my "go-to" book when I'm feeling sad - which has happened a few times this year. After I read it again this fall, I knew it could be a TV pilot and convinced Mark to take a leap of faith with me. He gave me the option on it and agreed to co-write the pilot.  

I changed "Mark and Arlene" to Marty and Adele - fictitious characters and then merely told Mark's story. He and Arlene have moved to San Miguel de Allende three times! They are now back in Portland. I made a fictitious city, too, to protect the huge expat community in San Miguel "where if you swing an artist, you'll hit a writer and if that writer ducks, you'll hit a jazz musician." In addition, the locals speak Spanish with the speed of a particle accelerator.
So that is what I've been knee-deep in this past month. Here's the Nobody Knows Pitch Deck.

Now, I'm starting on a horror movie, writing it with a famous artist, Guy Vasilovich, based on Edgar Allan Poe's last living relative, titled Last Poe —more on that next month!

Tap, Tap, Tap

 "Tap! Tap! Tap!" Those are the first three words of the new hardback book that I got for Christmas. It was Nancy Drew 16: The Clue of the Tapping Heels. I don't know where my mom bought it, but I remember that it had that new book smell and it was mine! I didn't have to return it to the library.

Escondido didn't have a bookstore back then before the Escondido Mall was built in 1964. I asked where my mom could have bought it new on a Facebook Group page, "I Grew up in Escondido." Mom isn't around to remember. The consensus was the Hardy Boys and Nancy Drew could be purchased at drug stores, grocery stores and even through the Sears catalog, which was a big thing at our house. I'd get my new underwear each year from that catalog and maybe one new school dress (we sewed the others.) 

 

But a new book was a treat, and I still remember this first new one about Nancy tapping out Morse code to get out of a basement. She was a smart girl detective, and I decided to become a detective after reading that. It was a short-lived goal. I was a farm girl, raised out in the countryside of Escondido and belonged to 4-H. I loved animals and wanted to be a large animal vet. My dream college was CalPoly, and I stayed on that path until one revealing day when my lamb got sick, and I needed to give it a shot. 

I woke up after fainting, and being the logical person that I was, I switched to plants and decided to focus on teaching the starving world to grow food. During college, they started killing Americans in Central America, so I changed from International Agriculture to Agribusiness and then to business with a focus on accounting and, later, computer programming. But I never forgot Nancy and my dream. My first solo novel was Murder in the Magic Kingdom, which combined my love of everything Disney and mystery. That title was taken, so it was published as Pixie Dust Death, A Wilma  Wallaby Genius Girl Detective Novel. 

This month, I signed an agreement with a UK production company that wants to develop Wilma Wallaby into an international kids TV show.  As a modern-day Enola Holmes, Wilma Wallaby is an aspiring kick-ass detective who thinks her bully of an older brother is always trying to murder her. You might remember a previous blog where I shared my childhood struggles growing up with a tyrant of an older brother. I still have a cap on the broken tooth from one of our fights that he won. I had a tiny closet in my room, and he'd stuff me in there for hours when my folks weren't home and lock me out of the house at other times. I hated being home alone with Stan. He'd hit me hard and threaten to do worse if I told Mom and Dad. He's dead now (no, I didn't kill him,) but I spent most of my childhood wishing I was an only child.

Getting back to Wilma Wallaby, there was one problem with my book; it was set in Disney World. Trying to get Disney to sign off on a murder mystery set in the happiest place on earth would take years. This month, I had to rewrite it to be set at a fictitious theme park in Florida, which I called Castle Country. It was fun; I invented rides, lands, restaurants, and hotels. There is Medieval Castle Land, Fairy Castle Land, The Swiss Alps and rides like Troll Trek and Screaming Sleds through the Swiss Alps. I think my Viking Cruise trip starting in Switzerland through the Rhine River castles last year finally paid off.

The new title is Wilma Wallaby Castle Caper - A Genuis Girl Detective Novel.

You can read for free with Kindle Unlimited or order it on Amazon. It opens similar to my favorite Nancy Drew - with a tap, tap - enjoy!

Amazon Link - https://us.amazon.com/dp/1736034863

"It had to be snakes," from Indiana Jones

I like snakes. When I find one in the yard, I follow it around, making a lot of noise so we both know who is the bigger animal. I grew up with good and bad snakes. The bad were the rattlesnakes in Escondido. My dad showed me how to always put my bicycle in between the snake and myself to catch the strike in the spokes and to watch it coil. Like a hurricane, a rattlesnake lets you know that it is coming. Lots of warning as It rattles its tail and coils into a tight circle – ready to strike.

A few months ago, my manager did an episode of her podcast, The Heart of Show Business with with Andrea Crosta. The Italian-born, Los Angeles-based Crosta is the founder of Earth League International, a small conservation NGO that operates like a mini-FBI, using undercover operatives to infiltrate wildlife trafficking networks while feeding information to law enforcement about the key players and their modi operandi.

At one point in the podcast, Alexia mentions how Andrea looks like Leonardo DiCaprio - and I remembered how Leo was a villain -- who becomes a hero in the movie Blood Diamond.  Leo also produced Netflix's documentary 'The Ivory Game' about Andrea's work. A few days earlier, I met James Fox during Heidi’s Hage Saga's Virtual Workday https://hanesaga.com/2024-speakers and read James’ series opener, Revolution - The Sol Saga Book 1, where the evil Silas kills his targets and takes over their body and lives -  and thought, what if someone envied a person so much that they decided to take over their life?

Python Pursuit is about a handsome, passionate wildlife conservationist who breaks up one of the biggest exotic pet trade enterprises and creates an enemy that not only wants to take away our hero's life but his identity, too, in the most gruesome way possible. Yes, it had to be about snakes.

My manager is very excited about the script, but I got worried. I'm not a thriller/horror writer. I like writing about Christmas, love, kittens, soccer, and history. Uplifting stuff, funny, with happy endings. In addition, my new friend, Melissa, who is producing Hijacked (last month's blog,) is trying to get the film rights for one of my favorite books -- a SciFi. Over the past year, my manager has acquired coverage for my scripts from Heidi Stangeland, a former book editor – turned screenwriter. She writes Thrillers and SciFI. In addition, I've discovered that everything that Heidi says about my scripts is "spot on." I call her ideas –  the "magical touch" that my scripts needed. Then, it came to me. Why not partner with Heidi?

One problem: I don't like partnerships. My hero, Steve Wozniak, wrote in his book, iWoz “Artists work best alone. Work alone.” I was able to get him to autograph his book with this quote for Keith's birthday and he added…"except with Sandi." 

“Artists work best alone. Work alone.”

― Steve Wozniak, iWoz

How can I consider having a writing partner who isn't the guy I married to? Simple, I figured out that it is a lot like programming. Rarely do programmers "collaborate" when programming. I decided that this could work in screenwriting. We'll get ideas from our manager or a producer who has an existing project or book option that we'll adapt. We can also use ideas of our own. Next, I'll do the the outline, using one of the best structures for the story like Save the Cat or the 8-sequence method that I learned in the Native American fellowship last year and write the screenplay. Then off it goes to Heidi, who will add what the story, characters, or dialogue needs. Character and dialogue are my weaker areas, and Story and Structure are my strong suits. The key in our process is that when I'm finished with the first draft – that is it. Heidi will make all the changes she wants without asking me. No collaboration or committee discussions. I like the saying that a camel is a horse designed by a committee.

Our process will greatly improve our timeline and hopefully prevent creative differences. My hope is that the next time I see the story is on the screen, I want to move to the next project. Speaking of projects, my screenplay from last month, Hijacked, has taken on a production company, Autumn Bailey of AB Entertainment. She produced On a Wing and a Prayer with Dennis Quaid and has been looking for another faith-based airplane movie. This happened by chance. I use a listing service called Inktip, where I have my scripts, and various producers put out "leads" of scripts they are looking for. With 12 feature scripts and another 7 TV pilots, I respond to about 5 leads a week, and finally, someone contacted me and asked to read one of my worst scripts! Yuck. 

But when I responded to her, I thought I'd do a little research and maybe find something nice to say to her - to make up for sending her a vomit script. Well -- I found she produced On a Wing and a Prayer, and  I complimented her and gave the link about Hijacked and told her I used On a Wing as a "comp" for our movie. She immediately emailed me -- "Call me!" I did - right away, and we spent an hour on the phone talking about Hijacked. She always gets asked by Netflix, Amazon, and Apple+ - if she has another airplane/faith movie. I connected her with our Hijacked producer, Melissa and my manager, and a lovefest started. Everyone was in a buzz - but the hold-up was the Coverage for the script. That is when the dreaded reader decides if my script is a Pass, Consider, or Recommend.  It came back as a Recommend (from Heidi) the best! She made some suggestions that I took before sending it off for the WeScreenplay coverage that Autumn likes. I think you can see how this came full circle as Autumn is now a producer of Hijacked, AND has 3 of my Christmas/faith scripts in a 6-month shopping agreement.  Fingers crossed that it will be a very Merry Christmas in a few years!  I have to end this blog and get back to my Python Pursuit - and yes, "It had to be snakes!"

 

 

YOU ARE REPRESENTED!!! - I read the email a few times. Could it be?  Since I sold my software company and started writing full-time in July 2022, I had a "phase two" goal of getting represented. What was "phase one?" That is easy - write something worth watching or reading. I've been spending the past two years learning, writing and rewriting.

I won two Native American Media Alliance fellowships in 2023. From Cari Daly in the NAMA Writer's Lab, I learned how to write a TV show.  I wrote my first "from scratch" TV show with the help of my mentor, Kris Crenwelge (staff writer on Spirit Rangers and True Lies.) Technically Soccer is a Ted Lasso-like dramedy about women's soccer and Artificial Intelligence. Didn't think those two topics could be one story, huh?  I often come up with ideas by thinking of some of my favorite stories but then adding, "But what if?"  For example, the Ted Lasso series is about the struggle of an American football coach trying to coach in the UK premier soccer league - but then I thought, what could be worse than being someone who knew nothing about soccer?  What if the person knew everything but wasn't what Ted had going for him? What if the coach wasn't even human?

As with every new venture, doubts started creeping in when I learned about the "writer's room" of a network TV show. First, a new writer is often considered a "gopher" or secretary - only allowed to take notes and get coffee. Trying to get onscreen credits can take YEARS!  The pay is amazing - especially after the writer's strike. A beginning writer hired to be on a sitcom staff might start at $7,000 a week - yes, per week!  But the hours can be long, and there is a good chance you won't get to write any episodes. After you have paid your "dues" and get a few onscreen credits and story editor/producer credits - it doubles to $14,000 a week. Growing up, my best friend wanted to be a flight attendant - but I wanted to be Sally Rogers, the funny writer on The Dick Van Dyke Show. Why didn't I pursue this earlier -- after completing UCLA's two feature screenwriting programs? Personal tragedy led me to become a programmer and software designer for the steady income, but I never stopped writing. My business meant flying over 200,000 miles a year - and I've written three young adult books, four new scripts and five TV pilots from some of my previous scripts and two original TV pilots. Whew! 

I'm a contest junkie and entered some of them in contests and was a Nicholl Fellowship and Austin Film finalist with five different scripts.  Recently, my feature scripts have been doing well - I've gotten two requests to "read" my scripts, and one of them, Last Woman, was a semifinalist in Final Draft's Big Break 2023 contest.  But TV? I've entered most TV writer's fellowships: Disney, NBC, Warner Bros, Fox, and CBS Paramount+. These are mostly diversity programs, but I haven't even gotten an interview. I think my age is a red flag - even though my Young Sheldon script had a good enough scorecard to boost my Coverfly rating. Who wants a grandma in a writer's room? Doubt set in - maybe I can't write TV?  So I entered my Young Sheldon in Scriptapalooza TV and won 2nd place!  Wow, my first time winning money!!! I knew it was a good script - it is about Sheldon's father dying, which should happen soon, according to Big Bang Legend.  

During the past year, I've gotten coverage for my scripts, taken three workshops from Carole Kirschner, including How to Pitch a TV Script that Sells and recently written software, SmilingPitch.com, that enables me to track my submissions and query producers. What is phase three?  Yup, sell something. I'm ready, I'm prepared. I'm proactive and aim to send out 5 queries a week to producers. I have about 20 projects, 14 of them have Accolades on Coverfly - and three have made the Red List. I'm ready.

All doubts are gone. I'm a TV writer. I'm a feature screenwriter. I'm a young adult novelist. I'm represented!!! I'm earning income writing. The back of this mug, which I purchased at my first writer's conference, says - "A professional writer is an amateur who didn't quit."  That's me - a professional writer! Never give up, never surrender!

Wolf Clan

 Happy New Year!

I can't believe my new writing career is now two years old. If I had stayed on my original screenwriting path, I'd be about 26 right now - but since the women in my family live into their 90s - I'm right on schedule for a long writing career! Sure, my brain is filled with a ton of programming code after a successful technology career - but I got out early by selling my software company so that I could write. A huge part of my work involves my Native American heritage, which is odd, because I didn't find out I was Cherokee until Grandma Cook died, and I asked, where? My dad said she went back to the reservation.

I immersed myself in everything Cherokee, joined the tribe, applied for the Native American Media Alliance Fellowship and traced my ancestors back to North Carolina - finding out we were part of the Wolf Clan. I then wrote a script about the reintroduction of wolves into National Parks called Nature’s Way. 

I wondered - what if we all returned to the reservation - not to die, but to live? Then I thought, why not reintroduce us to the National Parks like wolves?  Imagine a futuristic virus-infected world where corporations are the governments, AI runs the world, and humans are stuck in their homes, monitoring the robots that grow our food, maintain the elderly in rest homes, and for kids - their education and relationships are online.

Reintroduction of Humans is about a Cherokee woman in a futuristic world, who convinces her family to participate in the reintroduction of Native Americans back into the National Parks to find her son, who was taken from her family because he was obese. A scripted Survivor!

My idea expanded after my AFI instructor, Matt Black, showed us Blade Runner's Voight-Kampff Test scene during my Native American Media Fellowship.  The writer's strike was going strong and a big issue was AI - Artificial Intelligence.  I put these three ideas together and wrote this as a short. I have no desire to be a filmmaker - I'm a writer, but one of my cohorts in the Native American Medial Alliance fellowship - Derek Quick - is an aspiring filmmaker.  He has an award-winning short, Camping, that is making the festival circuit. There was a short fellowship that was sponsored by Indeed with the theme of getting a job - so I wrote the first ten pages and he submitted. Our short didn't win, but Reintroduction of Humans was still in my head - so I had to tell the story and I made it into a sitcom.

I wrote a scene similar to the clip in Blade Runner but made it funny. AI is confused - and it knows that she is Cherokee and must understand why Native Americans would shoot arrows into trees. She goes home excited - instead of monitoring robots that kill pigs, she will monitor the National Parks! Plus, she thinks this is where their son has been taken, and she might see him on the screen. But when 3 radio collars arrive, she realizes the job is much more - they have been selected for the project to reintroduce animals into the wild - including humans. Again excited  - but the rest of the family is not, especially after their first orientation lesson. Kill their food? Possibly be the food?  Seriously? The theme is survival - at first.

After the pilot, each episode involves another challenge. In the first season, it is all about survival;  how to get water, what to eat, and most importantly - how to avoid things that want to eat them. They have lived in a world where they rarely encountered animals and their food was piped into their house and formed by a replicator oven. They must enlist the help of the other Native Americans living in the parks. In the second season, the survival concept changes as history repeats itself as there is fighting amongst the various tribes for territory and resources. The conflict moves from within their tribe to the other tribes.  In the third season, outside forces threaten their existence. The AI ruling program wants to terminate the program and return them to "civilization," and she thinks her family will be delighted - but she's wrong. 

The story engine is driven by each of the problems they encounter and the conflict from disagreements on how to solve their problems. For example, the daughter doesn't like in-person relationships and insists that another Native American boy leave "texts" - or carvings on trees to communicate. The pilot is titled Not Food and ends with the wolves and Cherokees being chased by the Apaches. Next is Training Day. The family starts their training on the reservation - and they learn about Derek. Then there is Flunked Out. Both Talitha and Alex want to go home, but Natalie insists on staying to see Derek again, and Episode 4 is Moving Day. It is time for the family to enter the park with other members of their “tribe.” Episode 5 is Bad Water - the new tribe finds out the hard way that there is good water - and “bad” water, followed by Run Faster. Alex is sure that something is stalking them - wanting to eat them and then Berries and Bears. Talitha convinces the family that bears can live on berries - but the bears are not happy with humans eating their food. The first season ends with I love you, Deer.  Victory for the family when they bring down a deer, but this attracts the attention of the other tribes.

Characters

Natalie is in her (30s) - our fearless Cherokee protagonist who wants to find her son and a better life for her family - but at what cost?

Talitha is a skeptical teen about 14 or 15, a passionate animal lover, but hooked on technology and being vegan. 

Dakota (17) An older teen, he's their Native American guide and teacher to help them survive in the wilderness and find Derek.

Derek was originally obese but is now 13; he's spent the past year in the wild and is now fit but concerned for his family.

Alex (30s)- is a Navajo hypochondriac, afraid of everything - especially bacteria and things that can eat him.

Like The Good Place, which made death funny - this dramedy maintains humor with exciting survival situations - for example, the pilot ends with Derek and Dakota being chased by a rival tribe - wearing radio collars and getting zapped, which is funny. But full of Indian culture, like Reservation Dogs.

View on YouTube - https://www.youtube.com/playlist?list=PLx_8Ja4anZU7427aV5A98VQUPYtmdfWJc 

Canva (my entry for SeriesFest in May 2024)

https://www.canva.com/design/DAF3szItxdU/LJF6EVCDBLPZVh07bmqaDQ/edit?utm_content=DAF3szItxdU&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton