Episode 58: How to Turn Your Book Into a Movie
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Hello, my beautiful cinnabar moths, welcome to the writers triangle, a podcast about publishing and all things books. And today we’re going to be talking about book to movie deals. How do you get your book turned into an animated series, a TV series, an animated movie, a full length movie or a miniseries. And we’re going to be calling that book to movie deals. I’m really, really excited to share some insider information about how to get that book to movie deal. Because there’s a lot of stuff that I learned after coming into publishing that I think authors should have access to, because I absolutely love authors. And that book to movie deal is so elusive, I feel like it’s really shrouded in mystery. And it shouldn’t be. I don’t think anything about publishing should be shrouded in mystery. And I also think that the information should be readily available without doing a bunch of research, I did a bunch of research to get the information that I have. And I also have access to because I’m the owner of a press, I have access to information resources that independent authors may or may not have, I don’t don’t want to clock anybody’s resources. But I just want to share my resources, because this podcast is really a love letter to authors, as I say all the time, and it really is heartfelt and, and I do mean it because I am so passionate about books, and I’m so passionate about authors getting their work out there and seen in the world by as many people as possible and being celebrated. Because the world needs more stories. That’s just a fact. And the more stories we have, the more experiences were exposed to the more realities we’re exposed to. That’s how we change and grow and evolve as a society. So I think authors are doing a wonderful service and letting us into these wonderful worlds that they create, and all of this beautiful diversity that that creates. And I want to see that same thing happen in the book to movie world, right? I want that same kind of diversity and passion, and the TV and movie that’s available to me. So that diversity is permeates every aspect of our lived experience. And that’s, that’s what makes me most excited about doing this podcast. That’s what makes me happiest about the podcast is helping authors get their work in front of people and have their work seen, and having authors seen, heard and validated and celebrated for the wonderful work that they’re doing. And one way that we do that is book two movies. And book two movies are highly sought. I think they’re highly sought after I think everybody would love to have their book turned into a movie or TV show. That’s my assumption, I could be wrong, forgive me, if you don’t think that that would be appealing for your work. Something about it, the most surprising thing that that I learned in my process, and in hiring a publishing agent and working with with a publishing agent, was that there are some publishing agents that do not want finished manuscripts that only want partial manuscripts. And so they don’t even want to look at fully finished books, they only want books are about maybe a third, or all the way up to half written because they want to have a certain level of adaptability. And there are specific publishing agents and you can can do your research to find out who they are. You can that are out there looking for partial manuscripts. And if you’re going to book fairs, and talking to agents and such, make sure to ask them if they know if you don’t have a full manuscript that if they know of somebody who wants a partial manuscript and consider for yourself what it is you want to be pitching. Do you want to pitch a full manuscript? Or do you want to start pitching at the partial manuscript level, because both are available, and both are available to indie authors, as well as traditionally published authors, all of our authors that are in development deals, were promoting their partial manuscripts that anytime we get a manuscript from an author, and we have signed them, and it is a partial manuscript, when we’re doing the development edit part of the development edit that we’re doing is based off the feedback that we’re getting from the publishing agent, and based off of the feedback that we’re getting. So there are publishing agents that work for process. There are independent publishing agent. And then there are publishing agents that work for production houses, and outlets like, you know, MGM or Pixar. They have a publishing agent and the the production companies have publishing agents. So at every level of a book to movie, there’s an agent involved, there’s somebody who’s whose job it is to get that manuscript or those books or those screenplays in front of the people who Greenlight productions and green lighting production is when Okay, We’re going to start production, we’re gonna set a budget. And we’re actually going to make this into movie. So every step of the way, there’s a publishing agent involved. There’s some, somebody who’s advocating for the work, the way that if you don’t work with the press, the way that you can get to know a publishing agent is talk to other authors who are published, do they have a publishing agent? Do they know of a publishing agent?
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Talk to agents and ask them, do you do this type of agent thing, and talk to indie authors and published authors and see what their resources are? Because we have had the experience where authors actually meet someone out in the industry, just in their everyday lives and get their own hookup and connection, which we love and support. And we think that’s awesome. But that shows us that it’s possible, right? If, if our authors are doing it, then other authors can do it as well. And I say Be shameless. As soon as you start writing become shameless, because the worst thing that can happen is that you hear no, and owning the process and being head of marketing. That’s the number one requirement for everybody at cinnabar. Moth, we all have to be shameless. There’s no pride here. Because no never killed any one of us. And that’s the worst thing that can happen is someone says no, but here’s an interesting thing. We have pitched one book and had them say, You know what, you guys were so cool and mellow in your pitch. And so professional in your pitch, we took a peek at your catalog, and we’re interested in this or that or we took a peek at some of your other deals. And we’re interested in this other book instead? Well, it’s a bummer that the book we were we were initially focused on wasn’t the one that they said yes to. We are excited that they’re looking at other books. And I think both authors should be excited about that, right? If you’re the author that we were pitching, be excited that we were pitching you. And if you’re and also be excited for the author that they looked at, because you might be that author that they look at, or you might be the author that we’re pitching. And we group our authors into different categories based on the types of themes that they write and the types of content that is in their book. And basically, a really great way to do it is by age group and by genre. But for us, one of the things that we do it is by how long is the trigger warning list, we have a section of our catalog that has a lot of heavy trigger warnings, and content notes. And those books kind of get grouped together. And then we divide those groups into different age groups for for pitching. And the same method that we use for pitching reviewers is the same method that we use for pitching different outlets and different production companies. As you look at what are they producing? You know, what are the types of things types of themes and things that they enjoy tackling, and what are the types of theme and things that they don’t enjoy tackling. And we do work with some third, just to give some ideas, we do work with Christian outlets. And so we know that we have to have what’s called Clean copies for them. We know the range like we can’t have any cursing, we can’t have anything traumatic, there shouldn’t be any content notes. Because we don’t have religious themed manuscripts, I want to say we don’t have faith manuscripts where faith is the driving force. In the manuscript, we don’t have any of those. So when we’re pitching, we do have clean books that we can pitch to those outlets. And then we have our transgressive outlets, where we pitch our books that have the most trigger warnings, the highest content, content warnings that we have. So we have the full spectrum of books. And so we do the full spectrum of pitching. And when you’re looking at pitching, whether it be a publishing agent, a production house or an outlet directly like Pixar as a direct outlet, or Netflix as a direct outlet, I would say really get to know what it is you’re pitching. Make sure you understand your book genre and make sure you understand is it a good fit? And I know y’all might be getting real tired of me saying it, but it is the number one mistake that authors make is that they don’t see does their work align with who they’re pitching it to. And this is feedback. We’ve gotten directly from outlets one of the things that they really am reviewers and I’m surprised I was really surprised when we were getting this feedback because I’m a researcher at heart and and that’s my my primary good because I’m a therapist I’m always researching and I just earned my PhD so that was really research heavy and I just believe that knowledge is power. So I’m trying to shortcut the research process for authors because I understand the list of things that we tell authors to do. My goodness, when would you have time to write, right you’re researching, you’re reading other authors books, you’re working in social media, when you’re going to write your book.
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So this podcast is just short, trying to shorten the process for you and get you from writing to your goals as an author. When going for that publishing agent, or production house or outlet, it’s a just a quick search, like, you know, Netflix does everything, right. So if you’re pitching Netflix, it’s open to any kind of pitch, does if you’re doing something that’s more niche, some of these more niche, different, because there’s a million on one TV channels, whatever TV channels that you watch, on a regular basis are outlets that you watch, or studios that you enjoy their movies from, I think that they would be good to pitch for, just have that sort of, you know, put that being your body and have that little nugget in the back of your mind, when you’re going through your life and consuming different things. Think, hey, this would be a great home for my book, or this wouldn’t be a great home for my book, and always have your book in mind is basically the rule of thumb. And what I’m advocating for here, because I do, I do love when a book gets made into a movie that is exciting for me. So publishing agents, we have won at the press, everyone has won, you can Google them, and you query them a little bit differently than you would query an agent for who’s going to be representing your book for publication. It does need to be shorter. And the reason for that being is because the mindset for publishing agents is completely different than the mindset of agents who are who are press agents that are looking to get your book signed with the press. And the reason for that being is that in the movie industry, every word comes with a minute on the screen, right? How many minutes is the sentence on the screen? And that’s it’s actually really short screenplay. screenplays are extremely short. They’re nowhere near as long as the book. So I would say if you have time, read some screenplays read and educate yourself on how short screenplays are? And look at just just the broad strokes for your book. What’s the setting? What’s the theme? What are the main characters and their motivations, what we put in our pitch deck, in addition to that, as we always put in a little short blurb about the author, because we’re really proud of our author’s background, we have a lot of diverse authors. And I love the fact that we have everything from authors who have a strong faith, and are very active in their faith to authors who are atheist. I like that we have that spectrum of different faiths, because we can go to outlets that have different faiths. And we can also go to advocates that are really proud about being atheist outlets, and we can go to brunch outlets, we can go to clean outlets, it gives us a lot of different varieties. So our authors identities, we love the fact that we have a right a very wide variety in terms of how authors identify. And it’s important to know what is your identity, your identity as an author plus your books identity, because those are the two things that that everybody is selling. And that’s what you need to sell to the agent or the outlet. And it’s also what you need to sell on social media. Make sure that your pitch, whatever it is aligned with what your actual book is about and aligns with your social media presence. If you are pitching to a queen outlet, please have a clean social media feed. Because we do have some authors who write clean but don’t have a queen, social media persona for us to connect to the book. So we can’t pitch them to clean outlets, because they’re not a clean author and some outlets really do delve that deeply. What are the politics and so just for us, we always an only pitch to LGBTQ i A plus friendly outlets. We do not pitch to any outlets who are who are anti LGBTQ i plus community. So that’s not what I’m talking about. What I’m talking about is if you are a middle grade author, and you have an author social media, make sure that your social media that’s connected to your middle grade book reads like something that’s safe for middle grade reviewers to look at and middle grade outlets to look at, because these are going to be kids who start following you, and kids who are interested in you. And if you don’t have someplace safe for kids to go, if your social media is unsafe for kids, then I would say disconnect it, and, and separate it off from your middle grade work. As a press, we’re really good at differentiating between that. But this is for authors who have signed with the press and those that haven’t. When you’re looking at having that book to move the experience. They’re looking at the entirety of your package. They’re looking at everything that’s written about you. And this research is done on every author that is going from books to movie, that was something I was really quite surprised about and excited about that I thought was really cool. Because I stand by every author that we’ve signed, I stand by their identity politics, I stand by their their social stances in terms of their, what they view as being social justice, and all of our authors support black lives matter movement, all of our authors are LGBTQ i plus friendly, where majority black owned press, that just is what it is. And I’m happy to have actors that align with our politics as a press. And if y’all follow us on social media, you know that I am not shy about posting our politics, because I don’t want readers to be ambushed. And I don’t want readers to be surprised by what they’re supporting. And I’m really excited that studios are taking the same position. They’re not wanting to be surprised by what they’re supporting either. So cinnabar moth has become synonymous in the industry for and I’m really proud about this, for certain beliefs and certain politics and policies.
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And we’re getting positive feedback from that when it comes to outlets and production houses and studios are saying, okay, cool, you’ve been around long enough, we don’t feel like there’s going to be a bait and switch with you, we get your identity, we get how to pitch you to executives, because there’s always an executive in the food chain before something gets greenlit. So it’s really exciting to me that, okay, people are digging our brand as a press and people are digging what our authors are putting out. And people are digging our our authors, because we do have that wide spectrum and people are enjoying that we have that spectrum. And the reason I’m sharing this is because as an author, don’t be afraid to switch genres. We have an an author who wrote a really great horror story, the cannibals guide to fasting and it’s sort of an allegory about how we treat addiction. And it looks at zombie ism as being a viral infection. And to me, it kind of runs a parallel for me as someone who grew up during the height of the HIV AIDS crisis, which is still a crisis but but has, we now have ways to treat it. And I really enjoyed that. And it’s now written a really fun, clean and ascent. Middle Grade adventure that’s coming out in September of 2023. My best friend Athena, looking at that that wide range, we’re able to pitch this author in in two different directions. And her name is Dana hammer. And we’re able to pitch in two different, very, very different streams of consciousness and very, very different outlets. But the author app their route, with all of the press that they’re doing for cannibals guide to fasting, nothing about it makes them unsafe for a middle grade audience. Nothing is is off brand. And so as an author, don’t be afraid if you’re jumping genres, that that’s going to make you unsafe, or not able to do middle grade, if you tackle more challenging topics, you can still get that book to movie deal. And when they’re looking at you, though, they might advise you when it comes to book to movie deal is to make a channel, whenever you go to book to movie, you do start to make social media just for that book. That is just that book. And it’s an account that is just that book. So don’t be weary. Don’t be too afraid. I’m saying just if you’re doing middle grade, don’t have anything that’s not safe for work kind of thing on on your timeline that kind of goes into the social media aspect of it and making sure that your public persona that you’re putting out there matches or that your author persona matches the type of books that you’re writing and having a mind a mind towards that and an eye towards that. Another way that we do it because we’ve talked about how to get a publishing agent. We’ve talked about production houses and outlets and that an executive has to green light. Another way that we get the word out about books is through Deal announcements, we have several different websites that we use for to announce deals. And we do it in January, we announced all of the books that are coming out in that year, unless it’s a series and then we will announce the series when the second book in the series comes out, because we never announced the first book as part of a series, not something that we feel really strongly about that any first book in a series needs to be a standalone. And then we announced the series in the second with the second book, that’s just the way we do it. It’s the way that we’ve gotten feedback in the industry is sort of the standard, the industry sort of does it that way. I know some of the big fives do it a little bit differently. And some of them do it. Now the big four, and some of them do it in the same way that we do and and different presses have their own way of doing it. I’m just saying our way of doing it. In that deal announcement, we’re really fortunate that we do get bites from publishing agents, outlets, and production houses. And when we get bites from them, we send them the pitch. And all of our authors know that that we pitch them for movies. And we’re very fortunate some of our authors actually write screenplays, which is a sweet deal. Because we know that if we get a bite for their book that we already have the ability to turn it into a screenplay, which is something that we include in the pitch deck for it. And it’s something that that you if you have the ability to turn your your book into a screenplay. Or if you already have a screenplay for the book, it’s absolutely worth pitching now, right? Including that in in your pitch, because that is part of the deal part of the cost when they’re looking at, at turning it in, when they’re looking at the production costs, do they have to hire a screenplay writer, and it’s cheaper to adapt a screenplay that’s already been written than it is to go from book to screenplay. And there are tons and tons of contests out there, where you can submit your book for a screenplay opportunity. And I say look into them every year. Sorry, another thing to look into, I know, we should just have a bunch of links down in the description, but there are so many of them. And they are so niche and so specific, that we couldn’t find a good way to link all of them. And we have somebody whose full time job it is to go through all of this stuff. Because it is overwhelming.
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There’s you have to have either set like one day a month aside to do this, or find a friend that’s willing to help you do this, or get an agent that’s willing to do it because it is just who is so specific, when you’re looking at the contest. And you’re looking at the different genres and you’re looking at pitching, whether they want partial or fallen and all of that. And I’m glad we have somebody that that takes care of it for us. I want to move on a little bit to talk about the money because you know, I’m not shy about talking about money. And this was something that, again, I’m sorry, is a little bit disappointing. The money is not as much as I thought it would be. And for us as a press, we don’t get any money when our books are made into a movie that’s strictly for the author. And our publishing agent does not get a cut at all. And that’s because we’re all about promoting the authors and having the authors have the maximum benefit. And we believe the press will will benefit because we believe that any book that’s turned into a movie or TV series will become a best seller, and then the price for benefit. Also, we don’t take a cut because the numbers that we’re looking at are surprisingly small. So when you’re looking at being optioned when they say yes, we want to take this on, and we would like to hold the Option. Being option means that some production company or outlet has said that they want the right to turn to start production on your property. Once you’ve been optioned that option can will last as long as it stays in the contract. Read how long they’ve optioned it for. We have seen option deals if they want to Option A work for up to 20 years, we would not advise any author to sign a 20 year option deal depending on what the money was on signing. And signing an option deal. The option fee is anywhere from 5000 to $10,000 on average. And for me, I get that $500 can be a life changing amount of money and it’s worth letting them have the option for 20 years. The reason we don’t advise it is because We’d like, we’d think of one person options that another person will do. And we’d like to get you several, you know, options signing bonuses, because once it’s been option, there’s a buzz right around you as an author and a buzz around your book. And so if it gets option, and they hold it for five years, five years, to me feels like a reasonable amount of time to get it from option to a production deal. And if they can’t get a production deal, then release it back to the author, so the author can start pitching it again. Because you cannot pitch that book to any other production company or outlet until that option runs out. And that’s why we advise five year at max, if you can get a one year option deal. That’s beautiful. That hasn’t been our lived experience in terms of the deals that are out there. But it’s worth asking, you know, that’s why we have the big shameless roll for everyone is it doesn’t hurt to ask. And if you ask politely, and in a non aggressive way, most people are like, cool, you’re just wanting information.
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My rule of thumb if somebody gets defensive, because I asked them a question, I look at them a little, you know, I squint at them and look at them a little bit sideways. And like, why are you getting defensive? What are you hiding? In the information you’re not wanting to give me? Why is asking you a question, a reason for you to get angry? What is it? You’re not wanting me to find out? I’m just trying to educate myself, I don’t know what you have to offer. And it’s my job to negotiate. And this is a test negotiation must negotiate. You can say no, you can say yes, I’m going to ask that’s, that’s the deal. And we’ve never had, we’ve never lost any opportunities based on on asking questions, everyone we’ve dealt with has been really cool, really mellow, really upfront and really transparent. Were super grateful for that. So once you get that, that option, and you have the fee, and you’ve signed the contract and got your 500 to 10,000, on, on average, such a wide range, right 500 to 10,000. And that’s just wild to me. And I have no idea what makes the difference. I really don’t know, and, and talking with people in the industry, they’re like, it really just depends on how interested they think a studio is because as soon as they start the option conversation, they start pitching it to outlets. And if they’re getting a lot of bites on outlets, they that number that option number, it changes based on interest. So I was like, that’s cool. That’s very interesting. The thing for me is that I was surprised that it’s that it’s not no one’s getting hundreds of 1000s of dollars for an option that is really, really rare. And they said it’s less than 1% of people that are getting that type of option on a first time option deal, right? If you already have a best seller, and you already have a blockbuster movie, that’s not a first time option, that’s a whole different, different animal. So for me, having that realistic expectation. And knowing that once it’s option, you might not be getting the payout that you were hoping for at the option phase. And that you know, the length of the option, the option might expire before it goes into production. Or they might return the option which is unheard of. And in really random cases, there have been cases of people who have come out and not aligned with the company that option them that they’re out of alignment with them. And that’s when an option will be returned, will be returned to the author. And that’s why I say it’s really important. And this is why we put our politics out there as you would never want someone to option one of our books, or be become one of our reviewers for our books and not understand that we’re a majority black owned press and not understand that we’re LGBTQI plus friendly and that we try to be safe for all of our readers and that we believe in content notes and knowing what our ethics are and knowing what our political what our politics, I will let them know do they want to be involved with us they want to align with us because we don’t want to get a deal for an author and then have that deal fall through because of our politics or because of something they find out because of one of our other authors or something for me personally, and and those types of things. And so we’re very careful and very thoughtful about that. And that’s why we’re we’re open with our politics. And you know, you can be private about your politics, but make sure your private in every way that nothing about your politics can be found if that’s what you want to do. Because that’s when an option deal can be you know, there’s there’s clauses and a lot of I have deals and we have a clause in our auditor contracts. And if an author does something that is not in alignment with the precedence politics, then we have the right to sever the relationship. And most contracts come with that clause.
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So make sure you read the option contract and make sure you understand the timeline for option to production, and also look and see if they’re talking about any percentage points or any production. Because the average once the purchase price is done, they’ve optional, then there’s the purchase price. And that’s different than an option. So the option is, I have the right to produce this. And I have the right to send this to an outlet and make this into TV or movie, that’s different than the actual purchase price. And the purchase prices, okay, we’re going into production, we have a start of production date. And the average amount that an author gets paid for production is 2%, for the purchase price is 2%, of whatever their production prices. So, you know, if you have a $5 million budget, then you’re probably looking at about 50,000 $50,000, depending on on what the budget is on. So knowing what the production budget is, and knowing that you’re going to be getting that that 2% and check my mouth, I’m not a mathematician, I’m just saying off top my head. And know that that’s what, that’s the standard and understanding the industry standard so that you’re not feeling cheated. And that, you know, when they’re being predatory, when they’re not being predatory. I think that that’s really important. Something important to know is that you can be in production, and have it fall through, actors can drop out. Producers can drop out, directors can drop out. And that reminds me, we always ask our authors and our interviews who they would want to play, because when you’re doing that pitch, do you say what actors you’re thinking of that you would want to play because even if you can’t get the exact, the exact actor that you’re thinking of, they may have an actor that’s in that same vein. And that is part of the pitch, when you’re talking about your characters. This is sort of like, you know, a Timothy shallow may ask, or someone like the rock, or John Cena, doing those types of things, helps them understand what the visual of your characters is going to be. And that also helps when it comes from going from option to production. When you are in production, I put good energy on it. But even once your option and you get into production, it’s a really low amount that actually make it from production to screen. And it’s really complicated and look at how long they have, once they’ve purchased it, how long they have to take it from purchase to finish production has something that you can negotiate. I think a lot of people just say, I’ll give you everything I don’t, I don’t care what it is, I don’t care how long you can have this forever. There are some books that have been in the production phase and owned by a production company for over 20 years. For me, I don’t think that’s fair. I think that’s that’s unfair, if you’re not going to do something with the property, give it back. You know, let the author pitch it, let the press pitch it. But again, that’s, that’s my take on it, you know, as an author, you have to make the choice that’s right for you, and what feels good to you. And if it just feels good to, to have that secure deal. And you’re you’re willing to let them have it forever to get that money. I think we have to start with the money, right? Because everybody’s got to live, we’ve got to eat. And so some of us don’t have the luxury to say no, right? Because that is a privileged place to be able to turn money down or to be able to risk losing a deal. That is a place of privilege and having the resources to find the next deal. So I’m not judging anybody. I’m just giving what our rough advices and our rough perspective on it is from a press. And, you know, for me, I feel like giving them 10 years is is good on the production side of things because on average, and movie, we’re not talking like a Marvel blockbuster because they’re beast, right, they’re guaranteed. blockbusters, they’re going to Trend number one on their opening weekend and all of that, that for all of the other movies that don’t have that guaranteed blockbuster don’t have a big name attached to it. That takes about six to 10 years. And for me because we know that in the industry it takes us About six to 10 years, then giving someone production rights or giving someone option rights for five to 10 years I feel is completely reasonable, I feel beyond that, then we might need to restart it. And that’s what getting the rights back is. It’s about restarting it. It’s about refreshing it. And once you get a deal, people are talking about it. So that’s the awesome thing, once you get a deal, or once somebody’s interested, you’ve got people talking about it, you’ve got an agent talking about it, you’ve got people looking at you as an author, you’ve got people looking at your writing. And that has benefits in and of itself. To me, I believe all eyes on me is the best way to go. I love it. When people are talking about the press and talking about our authors and talking about our books, that’s really exciting for me, I hope that when you’re going through it, that you are being cautiously optimistic when you’re going through the book to movie process, or when you’re going through the query process that you’re looking at and doing you know, don’t take my word for it, do your own research, these these numbers might be completely outdated. By the time you’re listening to this, this is, you know, 2022 might be a completely different animal whenever you find this, my hope is that this is just giving authors a touchstone, and a way to to enter it. And just to put the bee in the bonnet, I think every author, my hope is that every author will have that book to maybe ambition for their work. I believe diversity is a beautiful thing. I am completely passionate about it. And I think every book has some diversity in it, because it has that author’s unique perspective and all of us have something that’s unique about us and therefore there will be something unique about our books. And that uniqueness is beautiful and feeds the world and the more points of view that we’re exposed to the better we are as people the more we grow the more we challenge our own thinking and that’s a good thing. And I’m hoping that we can then feed that and pass that on to you know, agents and outlets and production houses and open their mind get them looking and thinking in directions they may not have looked before or reinforcing the need to have diversity be first and foremost on on everyone’s mind is my 50 cents on that. So this was my ramble about how to do book to movie deal. This is the process approach and this is what my research has informed me and and the information I have based on looking at the industry and are experiencing and getting some deals for our authors we haven’t at this point and 2022 We haven’t finalized any deals but knock on wood we have some packs going on. And we hope that those pan out because that would be super exciting. Oh my gosh, I will be over the man. That would be best day ever right to have a book option. So yeah, thank you for listening and I want to thank all of our beautiful cinnabar moths, or any kind of moth you want to be and you can even be a butterfly if you want but I’m not read carrier so I’m not trying to bite her rhyme. Thank you for tuning in. hope you tune in next next week. Talk to you soon. Bye