Ep11: Is 'Yes And' Sufficient For A Scene?

The most well known rule of improv is 'Yes And' but is it enough? What are the alternatives to 'Yes And'? And find out why our new merch features the catchphrase 'Don't Be Limited By The Word 'Limit'!'

Have a question or Improv related topic you'd like to hear us discuss? Send a short email to LindaTellsJames@gmail.com

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Transcript

Speaker 5 0:00

Improvises. Nugget. Nugget wants to say something. Yeah. Yeah.

Speaker 0:07

So maybe here is where we don't 'yes and' Nugget.

Speaker 5 0:09

Yeah.

Speaker 0:10

No, we do. Oh, we do.

Speaker 5 0:11

Well, she's got a point.

Speaker 0:12

Okay.

Speaker 5 0:12

Um.

Speaker 4 0:22

Is anyone there?

unknown 0:23

Shh shh.

Speaker 5 0:25

James, are you there? Linda. I'm across the table from you. I can see. You can see me. I can see you. Oh, there you are. I don't know why we're playing this facade. Hi, Linda. Hi, James. Hi, everybody. Hello. Um, welcome back, those of you who have been here before, or welcome for the first time, those of you who have never been here before.

Speaker 0:45

Yeah.

Speaker 5 0:46

Welcome, to Linda tells James he's wrong about improv.

Speaker 0:49

Yeah, we're the we're the incredible, amazing duo that you've all heard about. Um, that you talk around the uh water cooler about. And we talk about improv. We kind of take a statement or an idea. Um, Linda tells me how wrong I am, and we um chat about it. About improv in particular.

Speaker 5 1:07

We do. So um yeah, and in an endeavor to um uh I don't know, inspire, entertain, yeah, hopefully.

Speaker 1:15

Yeah, you learn and are entertained, I suppose. If you just learn and are not entertained, that's fine. If you get entertained and don't learn, that's also fine.

Speaker 5 1:23

That's pretty good.

Speaker 1:24

Um so you can email us.

Speaker 5 1:28

Yeah.

Speaker 1:29

At lindatellsjames at gmail.com.

Speaker 5 1:30

It's a well thought out introduction where we just randomly. Well, I mean, you're not following the script, Linda. I know, I'm sorry. Uh yes, if you have something you want to just us to discuss, you can um shoot us off an email at lindertellsjames at gmail.com.

Speaker 1:46

Just read the script. Just read the script we have in front of you. Well, because you said Yahoo one time and then that's haunted me ever since. Um we also have a Facebook page.

Speaker 5 1:56

Haunted by Yahoo! Your email address is lindatellsjames at gmail.com. Facebook, eh, look it up. It's linda tells James. You'll find us, you'll see us our little furry faces. And you'll go, oh, that must be them. You can leave a little message or a little comment or whatever, whatever. Leave something. For God's sake, please. No one's no one's running anything. No one's running anything. No one's sending us any emails. We get no feedback, we're just like voices shooting off into the distance.

Speaker 2:23

We've been in this cave for months.

Speaker 5 2:25

We've been in this cave for months. We're out here in space, and no one cares.

Speaker 2:29

Is everyone in what out of there? Did anyone survive?

Speaker 5 2:33

Okay.

Speaker 2:34

Um, I've got a statement for us.

Speaker 5 2:37

Okay.

Speaker 2:38

Um I guess it's I guess it's pretty straightforward.

Speaker 5 2:41

Um, I'll be the judge of that, James.

Speaker 2:44

Okay, okay. I'm already wrong. Yes and is insufficient.

Speaker 5 2:49

Yes and, which is, for those of you who don't know, is a um what would you call it?

Speaker 2:55

It's a uh principle. Heuristic.

Speaker 5 2:58

Heuristic behavior, rule of thumb, all of those things for improvisers. So it basically means when someone makes an offer or offers an idea or whatever, whatever, scene start, you you um uh you what's the word? You yes it. You're not yet accepted. You agree, you accept it, thank you, thank you. You accept it and you um uh develop upon it. So that's what yes and means. So you're not blocking is when you say, no, I don't accept what you just said. Um, for example, oh here you uh honey, I bought you these bunches of flowers flowers.

Speaker 3:32

Oh no, you're you're a fire, you're a firefighter. What are you doing in my house? Yes, you Jeff.

Speaker 5 3:37

Yes, which is blocking, or or I'm not I'm not your wife, and those aren't flowers um for a very obvious block. So you're not saying yes to that offer and you're not then extending on it, which would okay.

Speaker 3:51

So that's so I'm my contention is yes and is insufficient.

Speaker 5 3:54

Is insufficient for what, James? Uh for improv. For starting a scene for no for life yes, yes, it is, yes.

Speaker 4:05

I mean, well, I I for for as i i as a rule of thumb, okay. Let's say with let's let's start with a scene, because I guess a scene is what I was originally thinking about. Yes, and is insufficient for a scene to uh sustain itself and to be interesting.

Speaker 5 4:25

I agree. There you go, end of the episode.

Speaker 4:28

But I thought okay, but I thought you were gonna you were gonna disagree, so I guess I'm still wrong.

Speaker 5 4:35

Yeah, wrong about that. Yeah, but but uh I agree with you. I do think I think it's um I think it's fantastic for starting a scene off. Sure. Um, but even then it's not it's necessary 99.9% of the time, but it isn't necessary that for that 0.1% of the time when you're working with two people who know what what else to do. They've got another angle on their performance. Um but and and the reason why we treat it as a as a rule as such is is really to train newer improvisers because it's it's yeah, it's really that. It's really to train newer improvisers, and even then when I say train, I mean work with it for two or three years before you get to s to messing with it. You know, it's that old adage where um get good at the rules and then once you have had more experience, you can mess with the rules, you can break them. Um but I think yes and is is is absolutely necessary to begin as an improviser, yes, for sure.

Speaker 5:42

Well, I mean like would you say it's kind of like training wheels?

Speaker 5 5:45

Yes.

Speaker 5:45

Yeah.

Speaker 5 5:46

I agree.

Speaker 5:47

But okay, then okay, then my question is what is that 0.01% then? If it's not yes and what is it?

Speaker 5 5:53

It's um it's a it's yes but maybe. Or it's it's never a no completely or I won't say it's never a no, maybe it can be, I don't know. But I've definitely done scenes where it's been I've messed with the yes and and then you can feel all the new people in the audience kind of like how can this possibly go on? She didn't fully accept that offer. And and I agree with them. Sometimes it's it it doesn't work. It it it does uh it doesn't work when you were doing it with people who don't who aren't used to you being that cheeky kind of player. But when I'm with people who are used to me being that cheeky kind of player, it it it'll it'll turn into something very quickly. It won't the scene won't end, it won't die, but it'll it'll yeah, it'll turn into something.

Speaker 6:49

Well I think it's because at that learning stage they really need structure to grapple onto, right?

Speaker 5 6:55

Yeah, absolutely.

Speaker 6:56

It's it's kind of a this totally foreign land where it it's very dangerous. So when if they know that I say yes and this other person's gonna yes and me, I know I can predict that structure and I can rely upon it then to build further. Yeah. So I think, yeah, I I yeah, I totally understand um that uh part of it. Um because when I guess what why I guess my other question is why is yes and insufficient?

Speaker 5 7:27

Um because there are new there aren't there are nuances. Um and I think to to adhere strictly to yes and means you're not giving space for the nuances of that. Um one of those uh nuances, I'll say that word again. Nuances. Um how many times do you get to say that in a day? Never really. This is only the only time. Um one of those things you can do is um you you progress from being a yes and person with the training wheels on to realizing that um, and I think I've we've mentioned this before, is uh the the actor performer can say yes to the offer, but the character can say no to what your character has just said to me. I can say no clearly to that, and I think there's the little gasp you hear from sometimes from young uh younger, I say younger, but I mean you know early on in their improv learning, um, is that thing of like I've heard the word no and it's and but the word no isn't isn't me rejecting the offer or that James has just made to me. I'm accepting it. My character is saying no to that suggestion, but I'm still gonna play my next play in the scene is that I that I've heard what you've said and I'm taking it on board and I'm using it and it's it's colouring my character, and it'll it'll then it'll become an and I'll develop on it or I'll store it and bring it out later. But it's there, it's it gets used now. It'd be a block if I said no and then moved on and never used it ever again and never referred to it. Yes. And suggested something completely different. But but to say so. That's what I think. I I mean, I think that that is a nuance.

Speaker 9:25

Um I think there's also nuances in the way that things are extended, I think, right? So I I think of like a very um uh basic scene, right? It's like, oh, um uh you know, let's go to the ice cream shop, yes, and you know, we can also go to the cheeseburger shop next to it, yes, and when we come back, we can do this, right? But I think those extensions are uh kind of they they they then they're not they're within that same kind of world or scope of what the original offer was, right? Yeah, they're they're boring, yeah. They're boring. Basically, you're just making a list of places that we can go, yeah, exactly. Right. So the ex but the extension can be um something far more interesting and something far less connected directly to uh that original offer, right? Um uh so I guess like, hey, you know, let's go to the ice cream shop. Um uh you know, uh yes, and I um I'm I I need to um buy a whole bunch of this one flavor because it's it's only there for a day, right? So I think these these extensions as well can then uh I guess they're the things that I think of when yeah, is those kind of interesting extensions is what can is why yes and is kind of insufficient because it needs those kind of bigger, more interesting moments that often the and kind of limits you to.

Speaker 5 11:06

Yeah.

Speaker 11:07

Yeah, does that kind of make sense? Am I expressing myself okay? Yeah, I think so.

Speaker 5 11:10

Is he, ladies and gentlemen? Tell us in the comments.

Speaker 11:14

Undetermined.

Speaker 5 11:15

Yeah, I um yeah.

Speaker 11:18

Because I think about I think about like what what I encourage people to do is take things personally. Yes, absolutely.

Speaker 5 11:24

So yeah, have an emotional response to something.

Speaker 11:26

Yeah, and and I guess often I don't really think about having an emotional if for me having an emotional response as being an extension on somebody else's offer, right? It is, I guess, I guess at a fundamental level, I'm kind of taking your offer and then I'm saying, oh, what's my uh emotional attachment to it, or what's my thinking? Um, whereas I guess I don't know, maybe it's just the way I've been trained or the way that I've done in the past. I just always thought that and anding something was about making a new offer out in reality based on that original offer rather than thinking, I don't know, yeah, emotionally. Yeah, I you know, like I don't know, I don't know. That's just my initial thought is when I think about yes anding, I always think about it's it's is it ending is making a new offer. Well, no, no, no, not making a new offer, but like kind of um That's really wrong, folks. But putting out another building block of the same kind um as the offer that I was given.

Speaker 5 12:26

Yeah, okay. Yeah, that's when it gets tricky.

Speaker 12:29

Ah because maybe because I'm a bit literal, I guess because when I think of the word extending, yeah, I think of building onto the thing you've already made and literally like making more of it.

Speaker 5 12:38

It's got a I think sit to simplify it, yes and well at least in my brain, yes anding is me hearing what you just said, and what how do I feel about it? What can I add to it?

Speaker 2 12:51

That's it.

Speaker 5 12:53

Um how do I feel about it? What can I add to it? And so and I don't even necessarily think about that. Um I just go, ooh, there's a thing, ooh, let's mmm, let's play with that. Um but if it's if you get too um literal or technical with it, I think it just you stumble. I think it just stunts what's possible. I'm not saying you necessarily, but I but I definitely know that's that's many people have told me it was stunted, yeah. I know there's many improvisers, and we've and we've seen improvisers who um really take yes and on, literally, and it's a series of um oh hi, let's go to the shops today. Yes, and when we're there we can buy some bread. Yeah, and when we buy some bread, we can make some sandwiches. Yes, and we can make some sandwiches and put them in a pisc uh picnic basket and go on a picnic. Oh yes, it's a lovely day for a picnic, and we can all we can sit down in the park and maybe play some games, you know? So you're extending, yeah, you're accepting, yeah, but what a fucking boring second. Yeah, exactly, right? Yeah, you know what I mean? Yeah, so but your brain is thinking, oh yeah, no, I'm saying yes. Yeah, exactly. And I'm extending on it, and I'm developing something, but there's there's no you, you know, you're you're moving towards making a list for one thing. Yeah, but there's no emo I don't know who you are. I don't know who these two people are, where you're going why, why you're you know, it's like don't you don't have to adhere to that logic or that rule because you think because someone's told you it's right, or your interpretation of it is that this is what I should be doing to be a good improviser. Yeah, it's like don't adhere to it if it's just keeping you stuck in this place of unplayful, boring ban banality, you know? It's like all right, let's you know, let's go to the shops. Um, you know, I've got I can't I don't have time today. I've just got I've got to finish this essay. Oh, well, and then it moves into something else. But the starting point was just let's go to the shops.

Speaker 14:58

Yes, yeah.

Speaker 5 15:00

But I have to go to the shops, you know, we've got no food in the house. Well, just uh well, honey, you should have thought of that. Well, you really don't pre- you don't pre-plan, you know, you've got to pre-plan.

Speaker 15:09

This is why my mother doesn't like it, etc.

Speaker 5 15:11

It turns into something else. But I just don't know that these two are a couple, this you know, someone is is studying and doing whatever, whatever. I mean, you know, it'll it'll move into something.

Speaker 15:22

What do you think about it?

Speaker 5 15:23

But I haven't said no, there is no shop. Um don't I don't you know I don't know what you're talking about. Who are you? Get out of my house. Yes, yeah. But but I would also argue that there is a part of me that thinks that would be a fun scene.

Speaker 1 15:39

Right. That would just be fun.

Speaker 5 15:41

Yeah, it would sit up on stage and go, who are you? What are you doing? Get out of my house. Because that in that would still develop into something, yeah, yeah. And sometimes I think it would be worth it just to see your face if you did that. And you go, what is she doing?

Speaker 4 15:55

She's just she's denying everything I say.

Speaker 5 15:58

Yes, I'm denying it, but we're still gonna, but I still think that you can continue with the scene only because if I if I interpret um, if you interpret what I've just said to you being the block, like, who are you? Where are you going? Like, and what you're doing in my house, da da da. If you respond to it emotionally with an emotional reaction, I respond to you with an emotional reaction, it it will move into something, it will move forward and progress into something.

Speaker 16:26

Yeah, you know. That would be funny. That'd be very funny, I think.

Speaker 1 16:33

Yeah.

Speaker 16:34

Um so I I have because uh there's this idea that I mean, I think um it was uh uh a Keegan Michael Key who said that um when he looks at a in an improv scene, every new uh you know, sentence or whatever somebody says, he he or new information that somebody gives, it's like you're stepping away from uh the image, and then you're kind of because you're further away from it, you can see more context, you know. Oh, it's two people talking, and then we step back, oh they're in a hospital, and we step back, oh uh, you know, they've just had a baby. Oh, and then we step back and there's more information. But also, but in in the world of like language, when I'm talking about like um yeah, you using words, the theory is that every word you add actually only makes things more specific. So the ball, the blue ball, the small blue ball, the small blue ball that's on the grass, right? I can try and the more words I add, I'm actually making it very, very more specific. And I'm wondering if there's a similar thing with yes and you know, is it actually the more you yes and the less it opens up? I mean, do you f do you feel that yeah, you know what I mean? Like it kind of becomes everything becomes more specific, or would you say everything kind of opens up more?

Speaker 5 17:56

Everything becomes more specific if you yes and as you continue to yes and, you know?

Speaker 18:01

Oh, there are two people standing there, oh it turns out they're a couple, oh it turns out one of them's studying, oh it turns out one of them's going to the shops.

Speaker 5 18:08

Okay.

Speaker 18:09

Um like it's actually a limiting thing rather than an expansive thing. Because kind of already at the beginning by saying, like, hey, do you want to go to the shops? I'm already limiting it to we know each other. We know each other so well that I can just say, hey, do you want to go to the shops?

Speaker 5 18:24

You're not limiting it, you're just that's it's just a starting point. You haven't drawn strict parameters around it. That's just a starting point. So there's still uh it can go anywhere. Well, it can't go anywhere, it can go anywhere.

Speaker 18:36

Well, you can't, but yeah, but you can't go, no, shops, no, shops don't exist. I am a Zartorg from Planet Vive.

Speaker 5 18:42

Well then that's not your sanding.

Speaker 18:43

Oh, okay. Okay, yeah, true. Okay, okay, okay, true, true, true. Yeah, yeah, yeah. Yeah. Right. So then, okay, yeah, yeah, yeah.

Speaker 4 18:54

So you would say even if you were to say, yes, the shops here on Zartorg are very very magnificent. We shall go to the shops. It's still saying yes.

Speaker 19:04

Yeah, right, because we're agreeing that the sh the the the shops exist. Yeah. But then, but again, doesn't that limit where we are playing with, right? Now we're out of we're limiting it now to outer space, right? Or we're alien.

Speaker 5 19:15

Firstly, you're you're not uh reluctant to use the word limiting because you're not limiting it, you're getting specific, but it can still go, it can still go many places.

Speaker 19:26

Isn't getting specific just another form of limit another word for limiting?

Speaker 5 19:32

Um I don't think it's limiting.

Speaker 19:34

Why don't you want to use the word limiting?

Speaker 5 19:35

Because I don't think it limits it. For me, limit means that it's you're really gonna you're now boxed into this. Oh and I don't think that you are ever boxed into something. I think there's always gonna be openings on all those, all the sides of the boxes. There are little slits where you can escape from that box and move out into something completely different. It's always there. You don't know, you just don't know. I don't know where you're gonna go with this, you don't know where I'm gonna go with this. Um, you don't know if this is actually the scene or whether this is the meta scene and it's actually something else is happening because that's also possible.

Speaker 20:08

Yeah, yeah, that's true.

Speaker 5 20:10

You know, we're we're we're two people watching two people go to the shops as aliens we've come up with. I don't I don't know, but I'm just using that as an example of yeah, yeah, you know, the the hence I'm reluctant to say limit, limiting because it's like you're only limited about to your playfulness and where you where the two of us want to go with this together.

Speaker 20:33

Don't be limited by the word limit.

Speaker 5 20:39

Um there's another t-shirt, ladies and gentlemen. There's another t-shirt. We just gotta get this merch happening.

Speaker 20:45

Yeah, we we we we should. Um uh go go and get our merch. It'll be out by you by the time you hear this, and we'll get some, you know. I'll I'll I'll make it. I'll make it make it in a small.

Speaker 5 20:57

If you wanna don't be limited by the word limit t-shirt, leave us a comment on our Facebook or send us an email at lindatelsjames at gmail.com.

Speaker 21:06

We'll make one just for you.

Speaker 5 21:08

Just for you.

Speaker 21:08

So I guess what what um what we've kind of covered a little bit of it, I suppose, but like what recommendations can we make to people who feel that they're a bit stuck with yes and thing, you know? Um, I think one of the recommendations we had was um we we uh the when we extend upon an idea is that to think about it in an emotional reaction.

Speaker 5 21:30

Yeah, how does your character feel? I think that's the thing, because when you're in your brain, when you're in your brain space and you're thinking I'm gonna do good improv and I would do yes and to everything, you're strictly in your brain space. You're not letting anything hit you, you're not really listening. You think you're listening, but you're not really listening because you're not anything, you're not letting anything hit hit you like, oh, okay. Well, who am I? How do I feel about what they've just said? How does my character? to feel about what they've just said. And I think respond from that.

Speaker 22:04

Yeah. Yeah, I I totally agree.

Speaker 5 22:07

And I then and that means I'm sorry to cut in, but that means in your response, rather than saying, oh, let's go to the shops. Yes, let's go to the shops. And while we're there, we'll buy some bread, it's the let's go to the shops. Um oh okay uh who am I? Oh yeah honey let's go the shop we can go to the shops. Just saying honey or we can go to the shops David. Whatever. Even just sticking in a name or having some reaction like my response to you is is is me giving myself a character. And if I call you honey then obviously we're we're in some sort of relationship be it be it parental or um you know lovers or whatever whatever something it's a different scene to even that same all right Xandor let us go to the shop on on Zarcon 7. But even completely different scene.

Speaker 22:59

Even even that same line of um uh yeah yeah sure honey let's let's go to the shop the the exact same line depending on the even the emotional spin on it yes sure honey let's go to the shop let's go to the shop yeah you know even that is a huge colour the response wouldn't be then if someone said that to me in that manner my response wouldn't be yes we'll go to the shops and we'll buy some bread because you're not you're not then right yeah folks you're not then addressing what's just been given your offer that's just been given to me the offer has been the so I have to yes and the way that James said that which was yeah honey we'll go to the shops I that's his offer and I have to yes and that and that my response would could be something like wow uh I don't know yeah yeah yeah what's with the attitude yeah exactly right well you don't have to come with me if you don't want to come with me yeah it's okay sweetheart you can stay here and play with the toys I don't know yeah but you but you know what I mean yeah I totally agree I think having an emotional response i is so so helpful I think because we because our um I guess as humans or whatever you know our we our emotions are so they're so rich right and they they it's really hard to uh categorize in terms of words but we can communicate so much just just in the way that we're saying the exact same thing you know and I think also it's it's a um it's a great shortcut to um or or I don't know what comes first whether it's the relationship or it's the emotion like as if if I'm in a brand new scene I guess my first instinct is I want to care about what the other person says or does even if they're like a you know quote unquote enemy whatever they're doing needs to affect me which means I kind of need to care whatever it is. I don't really know. Yeah yeah you know even if they don't really know me I don't know they're like the CEO and I'm the printer guy and I I we don't really know each other but I need to that sounds like a rom com. Yeah yeah yeah yeah it could it totally could see and the printer guy sorry from the Hallmark channel um they were only a hundred stories between them but love would keep them together um but you know so yeah even though my even if my character might have a very tangential relationship to the other one if it's so much easier if I care about what they think or say for me to then have an emotional reaction right um to what they do.

Speaker 5 25:42

So that's totally something that I would uh yeah and and I will also add that caring doesn't mean that you really care. It means that you you what does it mean?

Speaker 25:58

You hear it. You really take it on board or you allow yourself to be affected by it.

Speaker 5 26:02

Yeah yeah yeah you're right you're absolutely right it's it's everything but indifference you cannot be indifferent. Yes yes it has to matter yeah it has it has to matter and and that doesn't mean that you necessarily even have to respond to it immediately but but you hear it. And you store and you store I mean and by hearing I mean you you take that piece of information what was said how it was said I care about it enough to kind of let that penetrate my character's psyche and affect my character in a way but I don't necessarily have to respond to that effect does not have to reveal itself immediately. True I can store that and bring it back.

Speaker 26:47

It didn't go nowhere.

Speaker 5 26:48

Yeah it didn't go nowhere.

Speaker 26:49

Hmm what other kind of um recommendations or tips or alternatives to yes and yes but was was one that you mentioned earlier.

Speaker 5 26:59

Yeah I did I I'm not a fan of yes but to be honest because I think sometimes it's stalling can you give me an example of yes but because I can't quite think of let's go to the shops today. Yeah but you know I I don't think we really need any more food in the house okay oh I see I see I see it's not a it's not a you know I'm yeah because it also depends on what you do after with it right yeah so because that yes button we don't need any more food in the house no we don't we've got so much food James I mean what are we gonna do with all this food well you we're storing for the apocalypse or yeah but I don't want to do that anymore.

Speaker 27:42

I don't know I'm not I'm not necessarily inspired by that whole it's because it's kind of like it's kind of like doing the very bare minimum of I I am acknowledging your offer but I'm not gonna do anything with it.

Speaker 5 27:54

Is that kind of what yes vudding is yeah I think so though it's a s it just um it isn't a solid response you'd rather have somebody do something strong something strong like you I think people would rather see that I'd rather that be clear is verging on being uh maybe it's verging on being indifferent maybe it's a verging yeah I think you're you I think it's yeah I think it's a bit of a safety yes more yeah it's in yeah hey let's go to the shops no I'm gonna douse you in flames would be better than yes but yeah um but you did just block it by saying no.

Speaker 28:37

No well the shops are gonna come back douse you in flames are the shops are well yeah that's that's right. That's why you didn't know that. I didn't know James all I heard was you saying no we're not going to shop go to the shops and now you've completely the shops are still there I didn't say the shops weren't there going to douse me in flames well now the scene's about you dousing me well meet our discussion about whether I'm gonna be burnt we need to go to the shops for data fire extinguisher after I douse you anyway don't do that last scene that James just said okay just don't do that don't do that scene yeah yeah yeah yeah okay um good well I think we agreed uh that yes and is insufficient but also you found many ways to tell me I'm right starting point we well I think we agree that it's a good starting point absolutely and it's part of the training wheels of being an improviser and even I mean I I obviously as we are still performers we still use that I guess you know all the time yes and um yeah it just means accepting hearing accepting and developing something yeah yeah building on something else um yeah I think it's good remember don't uh don't stick have an emotional response listen really truly listen to what's been said and how it's been said to you and how I think about oh what is who am I reaction to this and when I say think about it you don't really even think about it you just respond to it.

Speaker 5 30:04

Just respond.

Speaker 30:05

Yeah yeah I I mean I I do find it helpful to r uh respond before I really know why. Yes you know uh uh oh we've run out of pancakes yay oh I'm really happy about this I don't I don't really know why yet but I'll figure it out in a minute but yeah you know but I'd better that that'd be better than just being like oh okay we're out of pancakes okay yeah we're out of pancakes did you order pancakes?

Speaker 5 30:36

Yeah yeah so you do you mind that we don't have any no not not really do you want anything else no wow it's the indifferent cafe the indifferent cafe welcome to the indifferent cafe can I help you uh I'm all right would would you like a coffee or not? Uh I don't know it's like doing a scene with a teenager um which could be fun but anyway I think we've discussed this I think so as well if you have anything you want to add to that discussion folks uh once again you can shoot us off an email at lindertellsjames at gmail.com or check us out on Facebook at lindertillsjames thanks for listening yeah we'll be back next week by everyone I love you James PanyTune