The daily with syl stein

Good evening everyone. Today begins the first editors on editing meeting, which I had talked about for a while now since last year, I think October, maybe sooner than that, that I wanted to get this going for, you know, because we've been working on the writers devotional by the amazing author Amy Peters, and this is a wonderful book that she's written, and we've been able to, you know, talk about it and be able to work on it, and we haven't done so lately, but I wanted to bring the editors on editing section because she does have a section on there in her book, and on a good note, today I'm going to have the first editors on editing meeting with our first guest, which will be Mark Anthony Rossi. He's an author, amazing author, and he's also an editor, and he's going to come talk to us about editing tonight. So be sure to check out the Daily with Silverstein here on Anchor, and we'll get started in a little bit.

I hope you will join us. Thank you. Have a happy, happy Monday. All right, so good evening.

Hi, Mark. This is Silver from the Daily. I'm glad you're finally able to connect. I don't know what technical issues we're going on, but they seem to be happening a lot lately.

Thank you for joining us tonight on the Daily with Silverstein for the first editors on editing. I'm excited to be here. Thank you. Thank you so much for taking the time.

I know you have a busy schedule and everything, but for those listeners, they didn't get a chance to listen to you last time you were on. Can you please introduce yourselves before we dive into the editing? Sure. I'm Mark Anthony Rossi.

I'm author of about 15 different books. I'm also a playwright, and for the past five or six years, I've done some associate editing of various management publications. And over the past year, I have my own publication, the Aerial Charter, which I've been other than chief and bringing in new writers sometimes for their first petite. Well, that's quite a repertoire of things that you do, Mark.

As always, like last time you do it all, like writing, playwright, you know, and also which requires editing in itself. And now you have this whole department of where you also edit that. So that's quite important to have you on. Thank you for volunteering to come on the show to do that.

Because you've told me this a long time ago. I would like to come to the show and talk about that and I do appreciate that. And I do as well, I've only had a few opportunities to talk about editing. Normally I'm speaking about the books or plays or just writing in general.

That's good. That's good. No, and I appreciate that. So thank you again for being on tonight on the Daily with those signs.

But what I wanted to let you know is that because if you listen to the show on the Daily, I talk a lot about a book called The Writer's Suvotional, which is a book written by an author named Amy Peters. And she talks about writers on editing, writers motivation every day. There's a difference during the week. So this is why I wanted to do an editing, editor in front editing.

Because it's important to talk about, like you said, you don't have so many opportunities to do that. But the main reason that I was motivated to do it was because I've been talking a lot about what writers should do, motivating a writer, a writing prompt. So I wanted to bring experts that could talk to us about editing. So you're the first one here on anchor to come to the show.

So what I wanted to ask you first is what does editing first of all mean to you? Well, editing means to me a lot like the process of being a single adult for a number of years. When you work on yourself and then when you finally get married and have children, that's the opportunity to do things outside of yourself. So bring your information and your knowledge and what you've learned in the world to that next generation.

And editing is a lot like that. You don't get to be a writer as much as you have to now supervise other people's writings the direction they might want to go, what's good and what's bad according to what you've learned. So it's a way to give back to an artistic community. Wow, that's a very insightful way.

I mean, the way you did that analogy, I never thought of it that way, but it makes perfect sense. And I love the answer. This is why, you know, when I was thinking of questions to ask, you know, I didn't know quite what I was going to ask. And you know, I'm curious to know what the rest of the editors will say, you know, you know, and get every editor has their own insight.

So this is really a very good answer. Thank you so much for sharing that. No, you're welcome. I mean, obviously, it's just my viewpoint of how I go about things.

But I try to do things very differently. I'm very sure it's where the folks can leave, not just with a credit on a resume, but maybe some additional information or or path that they hadn't considered before. Yeah, exactly. That's, you know, it makes perfect sense.

And then like I said, I love that. I hope that I can quote you on it when I share the, you know, because I'm not about to share the initially I share the show, but I'm trying to work on where I when I can get some time to add a caption to the show, because it's a little bit of quotes from what you said during the interview. Well, that'll be great. Well, is that I'm sorry?

That'll be great. That's a wonderful idea. And you certainly have my permission from that. It's I think it's important that just as an editor to be able to add, you know, your own two cents to this, because I'm very sure from working with many editors in the past, both as a writer and as an associate editor and then as an editor, that you can have 25 editors in a room, you can have about like 17,000 different opinions on how to go about things.

Yeah. And doesn't necessarily mean that mostly morongies. No, exactly. No.

And I've worked with different types of editors and different types of fields, like whether it's a journalistic piece or a fictional piece or a nonfiction piece. I didn't add this to your question, but I'll ask you feel that that adds a different element of editing or do you feel all editing is the same? I don't think that all editing is the same as all because you can be an editor in the technical sense of you simply trying to be a guardian of the English language or whatever language you're editing in. And it's just be that and then simply say, I'm not here to worry about, you know, the other things that are happening in your life and I'm not interested in what you're going on through publishing, I'm just here to make sure that we don't make a lot of grammatical errors.

And that's it. And you could be that kind of editor and there's nothing wrong with that kind of editor, but it's not the kind of editor that I want to be. Okay. So what kind of editor would you describe yourself as?

I think I'm more of an editor that that wants to be like a student. You want to be able to protect the language that they're writing in and you want to be able to help them to write better. But you also want to be able to find things that they're doing right and cheer them on. There's so much rejection out there from their family, from other publishers, from other editors and friends.

Why answer that? Try to give them something positive. So you want to be more like a mentor, because obviously you're a mentor to these writers, but you also want to be there to cheer them on. Not always because there's a lot of, like you said, there's a lot of, you know, to be a writer, you have to grow really thick skin because, you know, a lot of the people aren't always kind.

And you want to be also that other type of, you want to share that other element of the editing site that also offers positivity in what they are doing right, correct? And you can do this, I say, even in the rejection process, I can't tell you how many times I have written extensively to a writer and saying, listen, this piece is not going to fit my magazine. It doesn't really reach the quality that I'm expecting. Here's some ideas on what you can do.

Try again, send it back over to me. I will look at it again. It's not like we're rejected forever. At the moment, this is not going to work for me.

Give them some points. It's given something positive about what's good and what's bad. And let them work on it. I've had some people come back and it was really great.

Now, the time's you never hear from them again. But I like that kind of editing more than just, you know, this thing can have a good day. Yeah, exactly. If I could feedback here, you're giving them constructive feedback so they can work on what they can and then maybe they try again, then this time they get in, correct?

Yeah, exactly. I just on my, I'm the poetry editor, the size of chief editor, and I literally had her come on board with the same philosophy of you're going to give people who you reject some pointers. We're not going to do a form letter ever. Everyone's going to get a personal response.

If that's not something you want to do, then this is not a place for you. I've got to turn people away because I don't want to do that. That's not my job. Well, in this place, it is your job.

I found somebody who did that and that's great and she does it with the fiction. I do it with the poetry and we believe it's a way to give back to the community and then we make people better. Exactly. And I love that.

That's so great that you mentioned that because it's also very important. So Mark, what is your editing process and do you have one? Yes, I definitely do. Speaking just about the poetry because that's mostly what I deal with.

The first thing that I tell poets is, and this is what I always confounds in sometimes, is your title in many ways means even more than the body of the poem. It's your advertising tool, which your banner about what's going on. It makes no sense to have 24 great lines and then your title is absolutely horrible or something I have seen 20,000 times. This is my poem, Mark, and it's called Nature.

Really, I just got 20 of those last week. Are you kidding me? So I always look for that. I want to know, do you have an interesting title?

Have you thought about that? That's a real advertising piece. And then I go from there. Oftentimes, I have to reject poems because the title is horrible or it's simply too boring and not creative enough.

Yeah, exactly. And it's good to have a process. And did you always have a process or did that come with you growing as a writer and as a mentor? Did that come?

Did you always have to be able to come upon it with the writers that you've worked with or what you've learned? Well, I found that as writing poetry that oftentimes there's not enough information or time to really consider what the poem is about. Sometimes people just write a poem, they believe it's a good poem, and everything else is an ethical. And that sort of ruins things.

And it ruins your chances out there, because most of the times, no one's going to spend any time telling you anything about what's wrong with that poem. You're just going to get a rejection letter. But by using that philosophy, I said, hey, as an editor, let me just talk about some of those things that I am concerned about. That might be able to help them give them another chance.

And that's worth it. We've gotten a lot of folks who return to us with something better. And that's what I like about what you've been trying to do. When I had to last time and you spoke about what you do for writers and what to give back to the community, I think that's so important that you take the time to write feedback that helps these writers.

You know, you say some of them come back, some of them don't. But just the fact that you take the time to give them pointers to where they need to go. Not everyone does that. You know, we know that's why we were hoping that by doing that, not only can we add something new and something beneficial to the artistic community, but also in a way, even in the marketing type of sense, it helps to stay in that little bit compared to another literary journal.

Exactly, exactly. That's really good that you set up on that. So why do you think in your opinion, why do you think getting it editing is so important or should be important? Well, I believe that if the editor is going to try to be some kind of partner with the writer, because that's ultimately supposed to be, even if you don't take my mentoring approach, you can just take a straight black and white hardline English grammar approach, you're still supposed to be some kind of partner with that writer imparting on to them something useful that they could learn.

So maybe they can submit to some place else because now they've improved on something or they saw something they didn't see before. That's really what editing is supposed to be about. More than I think a mentor or supervisor, they're really supposed to be the captain of that ship. And the captain of that ship, everybody needs to listen, because they have a lot of experience to know where to go right and where to be wrong.

Yeah, like kind of steering you in the right direction, right? Like captain does? That's what I think that we should be doing as an editor. Yeah, exactly.

I agree. I agree 100% on that. Now, as I said before, I've been using a book called the writer's civil channel by author Amy Peters. And in there, there was a quote that Random House had that talked about when you, you know, when you write or describe, basically it talked about aiming for vividness in describing.

Like when you write dialogue, you're supposed to aim it to use colorful words and expressions for your characters and make them more believable. In your case, when you look at poetry, what is it as an editor that you can kind of give us a feedback on as far as you think that it's more believable when you add colorful expressions or words to what they're writing or depends on what they're working on? Well, I kind of think that it's important, but it's only important if they're trying to talk about a subject that's been talked about before, they're trying to use different and interesting and more unique expressions for it. If it's just about, hey, I just do a whole page of colorful stuff over here.

I think this is great. Well, that might not work either. No, exactly. So can you give us an example?

Of course, you know, you can't give somebody's workout, but as far as what as you as an editor, Mark, you know, because you're, you're a writer and you're also an editor and you're a playwright. Now, what is it? Like, do you feel like you have to put all thinking caps on when you're doing your editing, somebody else's work or your own work? Do you feel like you have to be the writer and the editor?

Or how do you go about that? No, it's a lot like an actor. Some actors feel that the best way they can encourage the role that they're going to play is the kind of piece of clothing or something that that character would wear and put it on because it helps them understand more and it also helps them learn the dialogue better and maybe some of the mannerisms and that's really the same way with being an editor of a play or a poem or a fiction piece or whatever is. Oh, this is that role.

Now, I need to be able to put myself on the poster role maybe next week. I'm going to pull myself in the playwright role because they do require different different eyes. Exactly. And they do.

And they do now, you said you work on the poetry side of your magazine. Yeah, the literary journal we have on the internet. Ariel. Okay.

Can you spell that out for us? Yeah, it's two words. It's Ariel, A-R-I-E-L, and then chart CHA-R-T. Okay, Ariel chart.

And it's a literary magazine that you have. Yes, it's an international literary magazine that's on the internet. And we only publish short poetry and short fiction from people around the world in English. Okay, now, that's wonderful.

So, those of you listening, you want to check that out. Be sure to reach out. Is there a way to reach out to you? Because I think you mentioned it last time, but for those that were not listening at that other interview, is there a way to reach out to you or can they just reach out to you through the magazine?

Yeah, they can easily do that. Once you put Ariel chart into Google, it automatically comes up to that and you'll see in the contact pages how to reach me. Because that's out here, at www.chA-R-I-E-L, so it's very easy to do. Okay.

Now, I was going to say, when you work on the poetry, you have the first important work in fiction as an editor. What is the, do you go more into the grammar side of things first, or do you look more at the content of what they wrote? Well, that's actually a very good question because you have to approach the poem, in this case for me. To me, it's all about the content.

Because if the content is something that's more unique or something that's not written about a lot, you can give some more leeway to how they're writing it and how they're presenting it. But if they're just giving you another love story about, yeah, I love this girl and I haven't talked through it yet because she's across the side of the room and blah, blah, blah. Well, that's so a cliche thought that actually requires a far better poem, a far better vocabulary that you're using. Something that's old needs something new and vice versa.

Okay, yes, and that's what I was going to get to. Because I'm more of a fiction writer and what I was trying to say in the element, that was a very good description of what you said. But I was going to say, for the fiction side, it's a type when, I don't know if you ever heard a Walter Mowley, he's an author that wrote a book this year, you write your novel, and he very blunt, just the way you're saying things, you know, it's the same directly. And he said, you know, it's like when you're reading a story, and then all of a sudden the person is whether it's the person's not educated, that's just an example.

And all of a sudden they use this big word in their dialogue when they're talking to someone else. And he says, why is that not correct in the story? Because, well, first of all, the person is throughout the story, you're listening to him not being educated. And all of a sudden, when he's having a conversation with a friend of his, he starts throwing out these words that doesn't make sense to the story.

So you get where I'm coming from. So that's what I was going to ask you, do you find that a lot of the pieces that you get or the picture of the other editor who does fiction, do you can't, you know, I can't speak for them. But I'm saying, do you find that sometimes that's what you have to look at first to make sure the fluency is consistent because I know another author I know mentioned consistency in the story. Do you feel or in a point, do you think that should come through more in your own opinion when you're editing than grammar or why or why not?

Well, I'm not thinking consistency in that same way. I'm thinking more about being authentic. And really what I think Walter Mosley is talking about. I mean, you can't have a character that has a fifth grade education, selling drugs on the street in some crime-driven area.

And he's speaking like Shakespeare and just making sense. He's just throwing the whole story. Exactly. I love that.

That's exactly the example that what you just said makes perfect sense because that's what he was trying to establish that you can't have somebody speaking, you know, it's like, you know, all of a sudden, the guy becomes a poet and he, you know, he's over here with great education. I think that people who don't get an education can't write poetry, but when this person, you know, is being described that this is their life, this is what they did and they're having a hardship. All of a sudden, they go, you know, like, you give the example of Shakespeare, that just doesn't really happen. No, it doesn't.

We get a number of, I don't know, maybe 10, 15 percent of poets and a lot of them from around the world, but they have a more academic setting. And because they do, they tend to write in that same kind of boring fashion. I usually have to reject that and remind them, listen, if you're using words like surreal at the other sentence and plethora and all these other words and drugs of position, all these boring, please, say academic words. I already know you're not being serious about this.

You just throw in words in there to make a look at it, but it doesn't look good because I've seen it 15,000 times right. I'd rather take the fifth grade person than that. Yeah, exactly. Everyone writes poetry in a different manner.

There's the academia, as you said, but then there's those people that are writers that are natural with a poetry like, I've met people all around that. Some of them are poets in their natural right. Some of them just love writing poetry and some of them don't have the same academic style, but yet they come up with these wonderful, wonderful poems that I get to read. And you would think that they got published already because of their work.

You know what I mean? I do. I really think that it comes down more to anything else about being authentic to the subject you're writing about or at least being true to yourself because I don't mind taking a poem from some girl who's a junior in college. If she's writing about something that's real to her and she's trying to make it sincere and she's trying to make it happen, we might be able to even help her.

But I can tell right away someone like that versus someone who's playing a game with words. A poet is not a word player. It's really a person that sees in words to build something new, to express that that no one else has done before in that type of manner. That's what they're supposed to be striving for.

Exactly, exactly. And then there are those that do both. You find the editor, you're also a teacher. You feel like you're a mentor, you're an editor, but you find yourself at when you edit.

That you're also teaching the right way. Not that you're trying to tell them what to do, but you're kind of pushing them. I get that a captain to see the ship, what you know, towards what they need to do when they're with their work. But do you also feel like a teacher in a way?

Sometimes you don't have a real choice with that. And I've actually had a number of ugly situations where a professor from a writing program in college would send me their work and the work is horrible. And I wonder, and privately, how can you be an English professor and give me this? But then publicly, I'm sending an email about, listen, I can't take this kind of work.

It's pretentious and it has profanity. And we don't even publish profanity. I go, this is not helpful. I don't know if you're trying to be young again, they're trying to be hip with the students, or if this is just the way you're talking and right, but it's just not acceptable.

And you get a lot of times they don't email you back to being mad. I run this magazine now. I'm a college professor 30 years. I'm like, that's all great.

But you're making my point here. Why do you need to use five first words in a poem that's 30 lines? I mean, that's crazy. Well, everyone has their own style, but yes, you make a good point.

So you even have to reject, you know, like you said, people that have been professors, but the work is the quality of the work that you're looking for. If not, they're correct. It's not. And I'm wondering what it's teaching because this work is horrible.

So everyone, like I said, this is why I love, you know, wanting to work with this show for editors on editing, because I want it writers, or people are listening in that have, you know, to get a different perspective of what it is to not just be a writer, but also the editor insight. Like you said, you don't get too many opportunities to share this kind of insight. So it's kind of, you know, it's always great to get different types of feedback on it. What the consensus is, you know, and I agree because I think if a writer in particular, with the listens of four or five of these interview programs with people with these different viewpoints, you know, it'll help shape about maybe what direction they want to go to understand, you know, what's out there and generally what's expected.

Exactly. Exactly. Now, as far as yourself, as a now, what are the like, as you were moving forward in your work, what is it that your besides your literary magnate, which congratulations on that. What are you else, what other projects you have coming and are in the works for you?

Well, I have my own little publishing company called Soma Publishing. And I got I got back the rights or got the mother company, some of my other manuscripts. So I've been putting those put those out in electronic form, you know, putting new covers on them and some new information and you know, kind of updating them, putting those out there. And I even have a new writer that I published a young lady who's done a great, great poetic work.

And this is the first time she ever got published in a book form. So I'm really about that. Because it's also wonderful to read or to help publish a woman because that's another another side of the world that men don't always get to see in an experience as well. For me, yes.

Well, that's good. That's good. That's good that you're able to do that and mentor and also give advice to to this new author and that you were that that carries, you know, give them a push towards what you know, what we want to do. Yeah, she's been writing for a long time and got a lot of things out there published, but never could really get a hold of somebody to put together a book of her material.

And that happens more and more these days than it's, you know, it's sad. But sometimes the best way out of this sort of thing is to try to create some other avenue yourself. Sometimes that's what all this electronics is about is, you know, creating new ways for us to get our material out there and get a voice heard rather than just waiting for some ancient publishing establishment that seems to leave more and more people behind. Okay, yeah, that's a very good point you made.

So what is one piece of advice you can give a writer or any writer you have worked with? Like, as an editor and author and author, could you've done it all? Well, I think that the one thing I would tell writers and that I often tell them is it's not necessary to completely know who you are as person. Sometimes they could take years for somebody to really know who they are, but they should not be writing without having an established point of view.

Period. You need to have a point of view about things about the world, even basically about yourself. If you don't even know that, it's extremely difficult to write and try to be original. You're just going to be a word slinger and that doesn't really mean a whole lot.

I mean, you might as well just go into rap music then. If you look at the the writer, you've got to have some kind of point of view. Whether it's I'm into women's rights or I'm into saving Africa from the diseases or I believe the space aliens out there or I think I should write in a modern way or I think I have a real question. Viewpoint about romance.

Have a point of view. And that's a good start for your writer. So would you classify that as like know your target audience or who you're trying to speak to, correct? Well, you can know your audience and start writing towards that.

But in the end, if you're running against who you are, that doesn't really help. It is somebody who really, really hates westerns. It's really hard to write a western for western people. So you still have to know your own point of view.

I mean, I give example. I know a young lady that was a very conservative young lady and she was given the assignment I published. It's a write about a young lady's trials and tribulations after having an abortion. Well, she found it's often extremely difficult to do the research and try to get into that person's head and she was somebody that was steadfast against that sort of thing.

So she couldn't really bring the life to it or the authenticity to it. So it's not really a project she should take because now that she understands her own point of view, that wasn't a project for her. That's not really a good or a bad thing in terms of abortion is good or abortion is bad. But it is a good or bad thing artistically about what you can really do versus what you can't say.

So basically be comfortable also with what you're able to write. Like of course, you know, writers, I believe, who pushed themselves but never in a place where they feel their integrity is being challenged, correct? That's an excellent way of putting it really. They keep telling us and I keep saying that this is wrong.

That writing is a lot like acting. It's not really. There's a couple comparisons here and there but they're really different forms. As an actor, you could be all kinds of characters.

You didn't have to be an alcoholic in real life to be an alcoholic in character. But that's not the same thing as a writer. A writer who's an alcoholic who's recovering, they might find it really difficult to write an alcoholic character and have all kinds of problems because that's something that should be against and that's something they should be always fighting to save themselves from. So they're not really the same thing.

Sometimes you can't go where you shouldn't be. Yeah, it depends on the writer and it depends on the story. But yes, there's some it depends on a lot because there's a lot of people that have been able to write about their own experiences and their own personal story or they put it into their own fictional writing. There's people that can channel it into a positive thing.

Some cannot but it's just a different variety of what you can do. It just depends on the writer and what they're trying to say. And I totally agree but it definitely goes right down to just having a good inkling about something about your stuff. What line you want to cross?

What stuff? And you don't want to. So you don't have to know everything about yourself but you should know some basic things. Exactly.

Exactly. Like I said, it's always wonderful, to have you on the show. I really appreciate you coming to speak to us about editing. I know it wasn't a lot of questions but I just wanted to get a general idea of what editing means to you and represent.

And my goal for this, you know, once I get more editors for your interview will be available in a little while since it's on anchor. And I'll be sharing that. But what my goal is is when I have time this week, I would like to get some quotes from what you said to play some for the show so that we need to get more people to listen in and that you could also share it on your own paid author pages that you have. That's great.

And that's a great honor. Thank you. No, no. Thank you for being patient for working with me through.

You know, one of the things about Mark is that he's a family man. He knows about family. I have my own family too. So, you know, he's very gracious to whenever I think I know I can't do it now.

He's very understanding about that. Because he's had his own, you know, his children, you know, with illness. I hold everybody's well now for you, Mark. That's definitely, you know, my daughter finally recovered.

It's always one thing or another. Life happens and we have to take care of family. And I agree. And I tried to address that to other writers to that.

We still have lives besides just being writers. Sometimes you have to put that on hold just a little bit. You get something else done and there's nothing wrong with that. It's not like you retrade the art or, you know, compromise your values or something.

Part of our values is making sure that we take care of the people we love. Exactly. Exactly. Now, it's always wonderful.

Now, are you working on any play? You're a playwright. Are you doing any of that now? Yes, I am.

I'm doing I'm trying to work on a play to get it done here shortly because it'll be the last play I'm going to write for a while. I'm going to take a break from playwriting to get onto a couple of other science books that I wanted to finish up on. But I'm writing a play about a man that has hidden the fact that his mother was gay. And he did that from his father and his father had divorced the woman always think that he was at fault for some of her disappointments and never realizing that she was gay or whatnot.

Now that he's dying of cancer, I decided in the play to say, listen, if you're not going to tell him the truth, then I'm going to have to because this is simply wrong that he's going to die never knowing and having that regret on him. It's just not fitting him. Well, because it's almost like he's out of you could say he's kind of outing his mother, but he wants to let his father know because he's going to. Yeah, that's that's pretty much what's happening.

But he's trying to give her a last chance to out herself, but it might have to be that he has to do it for her. Wow, well, let me know how that you know once you you know have it. I don't know if you're going to. Are you going to be having people act on it or try to produce it into a play that you get people get to see or?

Well, yeah, I'm going to send it to a couple of theaters. I've done a number of plays with all kinds of characters that I'm not a popular Spanish characters, black characters. I've never done anybody with day characters before, so I'm going to send it to some theaters that do a lot of day plays and see what they think. I don't know how controversial it would be because I'm not trying to be controversial, but I think it's an adult topic that they might be interested in, but you know, it's called outing mom.

So it's not like it's going to be a mystery of what that's about. But hopefully they'll be interested in it. And I'm interested to see how that's going to work out. Well, you know, it's you know, every I think everyone has something to say, you know, all of us have people, you know, it's like they say love is love.

Everyone has their own opinions, but you know, it's good that you push yourself to write different things, even though sometimes not everyone's comfortable with whatever it is. But the whole point is to get people talking about it. You know, I'm hoping that's going to be a fun thing and something that's successful, but it'll be my last room for a while. I'm happy to put that down for a while.

And you know, some of the projects I want to do because writing plays is it's a lot more difficult than even writing an entire book. Yeah, like I said, writing plays is like before, Broadway, a lot of these musicals, you know, they start off from something really dark, either taken from a book, taken from a book, taken from a book, you know, even though everybody goes to the Wicked Witch and stuff like that. But a book that Greg and McGryer turned into, you know, into a novel about, and it was all about the Wicked Witch of the West. And then people had an obsession and then they turned that into a musical.

So I mean, everyone takes different things, you know, they add into different elements. And a lot of times, you know, people write about real life, you know, people, you know, it's like the different things, you know, like some of them are happy, some are sad, some are, you know, and also real life, you know, her plays, you know, it's always like people have real, you know, characters that are, you know, are going to either cause something to talk about or cause some type of emotion. And that's what you're going for. Yeah, I'm excited anyway, because it's not dark.

Some of my plays are more serious. This one is a little less serious. I'm trying to have a little bit of fun with it. And it's still coming from love because he loves his parents.

He's trying to do the right thing. And that'll come from it because it's not about Jay Rice's. It's so much about his love and your parents. Well, that's good.

And that's what everybody has different, a political stand. So that's why I don't really talk about that. But yes, I understand where you're coming from as a writer as well. So thank you for sharing about what you're working on.

And thank you for coming to talk to us about the editing site on editing. And I want to thank you for sharing your insights with us tonight. And it's always good to have you on the show. And I hope you have a wonderful, wonderful evening.

I appreciate that you too. Thank you for being out there for all of us. No problem. And this has been Mark Anthony Rossi.

He's an author, playwright, editor. He does it all. He has a literary magazine. As he said, you can reach out to him at Ariel Chart and it's online.

Correct Mark? Yes, it's online. You can find all the information and it's at arielchart at email.com. You can reach out.

And when you look it up online and you can connect with him. And as always, thank you for joining us here on the Daily Heroine Anchor with Phil Science. We really appreciate you having you on. Thank you.

Have a great evening as well. Take care. Bye bye.