How to memorize your new monologue – a workshop: http://visualizing.eventbrite.com/


One of the first things I work on with students, both new and experienced, is the slate.

Usually after hearing a slate I’ll ask the student what class or teacher taught them their slate.  The majority of my students tell me they didn’t, that they just picked it up along the way.

Obviously, it’s a crime that this simple yet important step isn’t commonly part of an acting institution’s training.  There seems to be an assumption that actors already know somehow; as if by way of deciding to become an actor, they suddenly know how to do a slate.  Then again, how hard can it be to simply introduce yourself and your audition piece title?  Well, actually, it can be a bit tricky.   But with practice, it can become not just simple, but a launching pad for a successful audition.

Like any part of a job interview it’s important to be top-notch at:

  • Walking into the room
  • Introducing yourself
  • Introducing your piece
  • Interacting with the auditors

Walking into the Room

The slate actually starts as soon as you enter the audition room.  You start to make your impression on them right away.


  • Enter with confidence, but not arrogance
  • Enter with a smile, but not a big ol’ grin
  • Say a cheery “hello everyone” or “hello there” in a casual, welcoming way
  • Deposit your belongings neatly and quickly in a corner, preferably near the door

This allows you to walk in with poise, and connect with the other human beings in the room.  If done confidently, openly and well, it puts everyone at ease and reminds both you and them that we are all actually peers in this industry, creating art and entertainment together.

Introducing Yourself

The usual format for this is simple:  YOUR NAME + THE CHARACTER NAME + THE PLAY + THE PLAYWRIGHT.

Easy.  Start with a “Hi” or “Hello”, then “My name is” or “I’m”, then the formula above.

This seems to pose the most difficulty for most folks, for a couple reasons.  One is the tone to use.  In an effort to be friendly and accessible, most actors will slate ending in a question and never realize it.

DO THIS TEST:  Say “Do you want some?” in a chirpy way.  Now, if your introduction of your name has the same pitch/musicality, you are asking a question.  “Hi, my name is Reneé Rodriguez?”  And my response when I hear this slate is always, “Are you sure?” in the same pitch, to demonstrate how unsure the actor sounds.

Introducing Your Piece

The second reason a slate goes awry is in the wording.  Simply put, folks aren’t sure whether to say “I will be playing the role of” vs. “I will be doing”; or “from the play” vs. “from”; or “written by” vs. “by”.

My vote is to eliminate as much wordiness as possible, while still allowing yourself to flow through the slate:  “Hi, my name is Reneé Rodriguez, and I will be playing Billie from Women of Manhattan by Shanley.”  You‘ll note I just used the playwright’s last name, since he’s well-known.  With Shakespeare, I recommend leaving off his name entirely if you are comfortable with that.  The auditor knows who wrote As You Like It or Hamlet.  At least, I hope so for the sake of the cast!

If there is a second monologue, simply tack that onto your original slate.   You don’t want to introduce it separately after you finish your first piece.


  • Give the circumstances of the scene
  • Describe the character
  • Tell them the quality of the piece
  • Apologize for being late or not feeling well that day

BONUS TIP:  Practice introducing your slate as if you have planned a wonderful, sophisticated dinner party, and are now opening the door to your home and greeting a favorite guest.

Interacting with the Auditors

Sometimes the auditor(s) may chat with you afterward.  If they:

  1. Give you a different direction to try with your piece –
  • Embrace it and go for it!  This is usually a lot of fun.
  1. Ask you to tell them about yourself –
  • Briefly tell them 2-3 quick facts about yourself.  For example, “I’m a Puerto Rican from California who loves to tap dance, speed-hike mountains and sing in the shower!”
  • Use facts that might start a brief conversation or spark interest without being too weird.


  • Apologize for any aspect of your audition; if something significant happens, laugh it off with them
  • Inform them that you are sick or your throat is scratchy or otherwise impaired
  • Use any factoids about yourself that have to do with illness, death or anything depressing (i.e., I had open heart surgery, my roots are gray, my dog of 18 years just died)

Now, go practice your slate until it feels great and organic—really coming from who you are.  Video record your slate, review, and polish it up.  Then you’ll always have a fantastic start to your audition pieces!

Questions about your slate?  Email Reneé at renee@organicactingcoach.com.


How to memorize your new monologue – a workshop: http://visualizing.eventbrite.com/

Did you abandon the New Year’s Resolutions you made?  Four resolutions actors can start now.

After one month, only 64% of people who made resolutions on January 1st are still working on them.

We are just about halfway through 2012 now.  What resolutions did you make on the first day of this year, and how are you doing with them now, almost six months later?  More exercise, debt reduction, healthier diet….these are common goals folks make at the start of a new year.

If your purpose this year was to amp up your acting craft, however, and you feel like you are not living up to your own promise, you can make it easier on yourself simply by now creating objectives that are aimed entirely at your career goals—and have fun doing them.

Here are 4 areas you can focus on to improve your craft.  Pick just one thing from each category, set the habits in your schedule, and be thrilled with the results:

  1.  Movement – From Bogart’s Viewpoints to Laban to tai chi, there are many disciplines actors find immensely useful to centering themselves and gaining confidence with their own body language.  Enroll in a class today, always checking the certification and experience of your teacher.   After all, there’s no reason to take a Viewpoints workshop with a teacher who is 4 times removed from the still-very-much-alive Bogart, especially since there are plenty of her students scattered throughout the U.S.  Quite frankly, though, I like to recommend to my students who are either just starting out or who have lots of movement training behind them:  find a yoga class you love and go 2-3 times a week, or join a dance class, whether it’s tap, salsa, tango…whatever.   Or, finally dive into that trapeze or fencing class.
  2. Voice – You want to mix things up and organically add vocal variety and vocal range to your speaking voice, without having to manipulate it so much.  If you have plenty of stage speech training, learn a new dialect.  I’m seeing instances where even Caucasian-appearing actors are needed with Arabic dialects.  Plus, learning a new dialect can be quite fun.  I personally like David Alan Stern’s CD/book sets for learning a new dialect, but there are plenty of resources for learning on your own.  If you are a dialect guru, take a singing class or find a singing teacher.  And if these don’t float your boat, take a look at Linklater’s, Berry’s, Rodenburg’s books and adopt 3 of their exercises into your warmup routine.
  3. Health – I can’t tell you how many actors lose focus and can’t make their most creative choices because at least one area of their health is failing.  You may not be aware of what could be holding you back or creating blocks.  Take a look at your routine and how it affects your body, and adopt one of these new habits:
  • Sleep – Find a way to get 8-9 hours each night.  At the very least, get 7 hours.  You may feel fine, but your clarity and your health is suffering every night you get less sleep.  Increase the quality of it as well—have blinds that make the room pitch black, have white noise to eliminate city noise pollution, and put well-watered plants in your room to increase healthy humidity for your nose and throat.
  • Nutrition – Add one thing and eliminate another.  For actors, the absolute optimal options here would be to add 3-4 fresh whole fruits per day (not that hard if you just eat a couple Pink Lady apples or whole package of strawberries and an extra banana) and eliminate dairy.  The first action is not only packed with vitamins and minerals but deeply aids digestion, and the second action will allow your voice to be at its best.  Or add a big salad with your lunch or dinner, and eliminate red meat or white grains.  Or add quinoa or couscous and eliminate fried foods.  The options are endless—and the change easily happens at the grocery store so that it doesn’t have to happen when you are hungry and seeking whatever you crave.
  • Support – Finally use that health insurance you have to seek out a weekly psychologist or counselor, or join a group or a community that ISN’T about acting or performing.  Or, go ahead and find a supportive rather than competitive stomping ground of folks who are also performers but have a well-rounded lifestyle.
  • Exercise – To me, this one is easy:  just get off the bus or train 1-5 stops before or after your stop, and walk.  Easy peasy, and health benefits are huge.  Let’s be honest…if you wanted to join a gym, you would if you actually believed you would go after that first month.  And listen, if you do want to join a gym, join one that allows month-to-month, so you can see if you really are made of the stuff of someone who goes every few days, month after month.
  1. New material – Time for you to refresh your book.  Take a look at the songs and ask a teacher or someone who is not in competition with you in any way:  What songs and monologues should I retire right now?  And when it comes to those monologues, look at the playwrights that are on Broadway over the past five years and find their other plays.   Pick something from those.  You want to make sure at the minimum, you have the following:
  • One comedic contemporary monologue (written in the last 50 years)
  • One dramatic contemporary monologue
  • One comedic modern monologue (written earlier than 50 years ago but not classical)
  • One dramatic modern monologue
  • One comedic classical monologue (most auditors prefer Shakespeare)
  • One dramatic classical monologue
  • One “quirky” piece (45 seconds long and showcases something you do well—extremely movement-oriented, or a dialect, or an “insane” character, etc.)

How to keep your new “resolutions”:

You can wish really hard that it’s going to happen for you, or you can make a very real, active commitment.  If you realize that it isn’t easy to change in this busy society, and you’re ready to fight your own ingrained habits to get there, then you will achieve your new goals.

  1. Break it down and make it specific.
  • When each week will you do each thing?
  • How will you fit it in so that it quickly becomes a natural part of your routine or schedule?
  • What time of day will be best for each of your new goals?
  • How often can you realistically do it?  It’s one thing to say you’ll go to yoga five times that week because the schedule fits, but it’s another to fit that into your monthly budget.
  1. Keep track of what you do, even if you are the type of person who hates doing that.
  • Journals not for you?  Schedule the classes, activities, appointments, and whatnot into your digital device, and when you are done, go into that entry and type in a few notes (“forward bend is getting easier”, “I love my new tap shoes”, “I feel great after 3 days of no dairy”, etc.).
  • Do you text or IM a lot?  You know that person who you communicate with every single day?  Tell them what you are up to and that you’ll be texting or IMing them your accomplishment (or lack thereof) for that day, based on your goals.
  • Whether you think you are doing well, or whether you are afraid of feeling like a failure, write down how you did that day.  Falling off track is an absolute part of the process, even though we perfectionists don’t like to admit it.  Whenever you fail, you get a chance to take a look at why that was, and change the aspect of your life, routine, personality, that caused it.
  1. Recognize the trade-off and what you are gaining from all this.  You have to be uncomfortable and disgruntled for a while in order to enact change.
  2. Make your environment supportive.  Don’t have the foods you eliminated in your home or workplace, and make it easy to carry your yoga mat or dance shoes with you throughout the day.  Schedule social things so that they end in time for you to get home, wind down, and get a full night’s sleep.
  3. Reward yourself.   It’s always best to avoid food or retail as a reward, so what if you luxuriate in some aromatherapy while you are showering next, or find the massage school and schedule a monthly massage to recognize your new habits, goals and lifestyle?  Male or female, a pedicure can be quite nice, and maybe it’s time you bundled up, went to the park, and watched folks sledding or playing with remote boats on the pond.  Visit your museums on the nights they are free, watch a podcast you’ve been dying to see….just relax and indulge.

Do you have more ideas to add within these categories?  Comment below.

How to memorize your new monologue – a workshop:  http://visualizing.eventbrite.com/

You’ve scrimped and saved, done your research online and narrowed down your prospective photographer list.  Now, how do you ensure the best photo shoot you can get for your precious, hard-earned dollars?  Below are some tips and useful information, to not only have a successful shoot, but to enjoy the experience as well:

Interview the photographer

Meet up with 2-3 photographers you like, based on recommendations from friends and the agents you would like to have representing you.  Don’t bother with folks who are not in your price range–that’s too much pressure for a successful shoot.  If you feel relaxed and like it turns into a conversation as much as an information-gathering meeting, that’s ideal.  Shoots can feel awkward so you want to eliminate as much of that as you can.

Questions to ask:

  • How long their shoots usually are and how many snaps they take.
  • Ask if digital or film.  (Either is fine; digital is usually cheaper.)
  • If they shoot indoors, outdoors, or both. (Go with what you prefer.)
  • Color or B&W  (Casting directors want color these days.)
  • Ask about frames:  close-up (head and shoulders), mid-frame (waist up), full frame (whole body).  (You should try for all; but know your preference in the final headshot and direct the photographer to do plenty of shots in that frame.)
  • Ask about orientation (portrait vs. landscape – you want plenty of both).
  • When your photos will be ready.
  • Is a photo retouch included and if not what is the price.
  • How long a retouch will take. (A week should be enough.)
  • Will there be a watermark or “bug” on your pictures (this is the photographer’s name, usually placed with subtlety on the bottom or corner or side of your pictures; this is pretty standard).
  • Do they mind working to music, and does it need to be their playlist or can it be yours.  (If theirs, ask what music it generally contains so you can get an idea—if you hate Van Halen and that is what they always need to play to work, then your shoot isn’t going to produce pictures of you at your best).
  • Be sure you know what the final amount is, what you are getting for that total, and how s/he wishes to be paid.
  • Ask how long the make-up artist usually takes.  If your skin gets over stimulated with touch (most make-up artists take at least 45 minutes, and many will take up to 2 hours), ask if a 15-minute break is ok during makeup application so your mood stays relaxed and jovial.
  • Ask if their schedule can accommodate a time that will allow you to get maximum rest and prep the day of the shoot.  Don’t schedule an 11am shoot if you know your schedule won’t allow you to get up in time to have a relaxed morning with full preparation for the shoot.

And a great idea:  Bring examples on your digital device or prints of headshots you like and be able to clearly articulate what you love about these.  Also, pull/choose shots from their online portfolio and be able to clearly articulate why you are drawn to those and ask how they got those looks/moods/etc so you can determine if you’d be able to get that desired look or feel as well.

Preparing for the Photo Shoot

One Week Before

As best you can this week, keep your evenings free of everything that isn’t relaxing or ends past 8pm.  You want to go to bed early and get at least 8 hours sleep each night this week.

Hydrate all week.  Carry water with you everywhere, and only drink purified water (like Smart Water, Function Water, etc.), freshly squeezed juices (non-pasteurized, 100% juice—easiest to go to a juice bar/Jamba to be sure), herbal non-caffeinated non-sweetened teas, and smoothies.

Nutrition is surprisingly key.  All your snacks should be fresh fruits, and ensure that one meal each day is substituted with a nice-sized salad with a fruit or oil & vinegar dressing (see below for a great recommendation).  Stay away from dairy.  All of this will ensure clear, bright skin, which is crucial to your shoot.  If you want to go the extra mile—which with the price of a great photo shoot these days, you should—then cut out all packaged/processed foods for this week as well.  It will pay dividends for your skin, the brightness of your eyes, and your mood.

If you dye your hair, make sure that you have had your roots recently treated. Studio lighting can exaggerate off-color roots.  Getting a new cut?  Make sure it’s a cut you can live with until you can afford new headshots, since the casting directors want to look at your headshot, look up at you, and see the same image.  Get that haircut one full week before the shoot so it relaxes and works itself out.  The hairstyle you come to shoot with should be the hairstyle you will normally go to auditions with.

Grooming should include a facial mask, and be sure to deeply moisturize/use oils after shower (all over your body) while your skin is wet/still hydrated.  No new products though unless you buy pure organic—even if you have never had allergies, this is not the time to find out there actually is a product you are allergic to.

Avoid sunbathing so you don’t burn; self-tanning isn’t a great idea in case of streaking.

Do lots of yoga or some other form of stretching, so your muscles can look longer and your poses come more easily.

Use a full-length mirror to practice a variety of poses.  Find what you like in magazines, in other headshots, etc.

3 days before

Confirm with the photographer and makeup artist.  Go over the route to the location as well as the amount of time it will take.  Then add 30 minutes more time to your planned commute in case of traffic or transit problems.  Get the mobile number(s) of the photographer and make-up artist and make sure they have yours.

Go over all the paperwork and release forms, and the sheet/website confirming what you are getting and what rate you are paying.  Ask what forms of payment are accepted, and prepare to pay for each person separately and possibly with different methods.  The photographer may take PayPal but the make-up artist may need cash at the shoot.

Prepare your own playlist.  I recommend an mp3 player with a purse-sized/small portable speaker in case they don’t have one or have technical problems on the day of your shoot.  Choose a variety of songs and keep them in sections, so that when you are working on a certain look you can have 2-3 songs in a row that will bring out that mood (introspective, partying, vivacious, serious, etc.).

Wax and shave now if you can, so that any red bumps can go away in time for the shoot.

Not a bad idea to email the photographer pics of you in the clothing you are hoping to wear in the shoot to get quick advice.

Don’t forget your workout – yoga/stretching and weight resistance.

2 days before

Manicure, tweeze, hydrate body inside and out.  When you manicure, just use a buffer – don’t use color polish.

Don’t forget your workout – yoga/stretching and weight resistance.

Day before

Get your “go bag” ready with all the things to take.  Make sure all clothing is spot/stain free, and sans wrinkles.  Plan the best way to pack it and travel with it so it arrives sans wrinkles as well.

Hydrate your body inside and out–lots of liquids and use hydrating creams, lotions, oils.

Don’t forget your workout – yoga/stretching and weight resistance.

The day of the shoot

Relax and meditate that morning!  Be in a fantastic mood.

Hydrate body inside and out.

Do free weights or calisthenics (think resistance using body weight, like push-ups, tricep push-ups, lunges and such) 90 minutes before if you can.  Turns out that the work visibly shows up, especially in the arms.  Don’t let it tense you up, though.  It’s more important that you are relaxed and your body’s energy has great flow.

Eat a light, nutritious meal one to two hours before the shoot. Take water and fruit with you to the shoot.  Remember, stick with fruits like bananas, apples, grapes, so that you don’t stain anything and can eat it quickly without the need for utensils.

If you hire a makeup artist, come moisturized and makeup-ready, but no makeup on—not even concealer. Stick with mattes, not shimmers.  Bring your own mascara(s) to avoid a shared mascara the makeup artist might be forced to use if you don’t have your own. Don’t skimp on a makeup artist – find a budding/new one if you can’t afford a professional.

As your clothing base, wear a thong or trunks that won’t show lines through your clothes,  and strapless bras—try to make them all a nude color.  Even white or black can show through the clothing in certain lights.

Wear antiperspirant or nothing at all under your arms, so as to avoid visible stains/marks.  Bring Refresh Tears with you to the shoot in case you have bloodshot eyes for any reason.  Better yet, don’t stay out late or expose your eyes to extreme elements the entire week before.

Get there 15 minutes early.

Packing your photo shoot kit

Take these things with you to the photo shoot in your “go bag”:

Hair:  brush, bobby pins, bands, light pomade, holding spray, hair pick

Face:  mascara, concealer, mirror, moisturizer

Body:  nail clippers, nail file, washcloth, tweezers, toothbrush/paste/floss

Clothing:  close-fitting clothing that clearly shows your body type but is not tight.  And no, don’t show your cleavage, even if your friends did in theirs.  Choose clothing in solid colors or simple patterns, more classically stylish vs. hip or nouveau. Bring a classically masculine/feminine look, a business look, and a boy/girl next door look.  Also, have at least short sleeves–the sleeveless look doesn’t look great on most folks.

Jewelry:  Very subtle jewelry is best for classic headshots.  Scarves create problems and hide your silhouette.  Hats hide your hair.   You don’t want that.

Shoes:  Classic pumps/dress shoes that are up-to-date for today’s style are wise. Make sure they are completely clean, even the bottoms (for an indoor shoot).  Polish them and if they have laces, wash them and make sure they look crisp, not wrinkled.  Shoes or boots, open-toed or closed-toed, are all fine.  Leave the club/party shoes at home.

Food:  Bottled water, snacks that won’t mess up your clothing, makeup or teeth, like apples, bananas, grapes.

Music:  MP3 player/portable speakers.

After the Shoot

Send a nice thank you to the photographer, the assistant if there was one, and the makeup artist.  Each should get a separate thank you—email is fine and will get to them soonest.  You might say something about how easy they made it, how relaxed you felt, how great you felt about the shoot and how much you are looking forward to the results.  Mention an incident that you especially enjoyed, or if you offered to send them info (e.g., the name of that indie film you loved, that discount website you mentioned, the yoga studio you like, etc.) be sure to remember to include that.  If you especially liked them, let them know you plan to recommend them by word of mouth, or ask them if you can include their link on your website or blog, or in your next newsletter.

Celebrate by treating yourself to something!  Just stay away from your own addictions, whether that be food, substance, retail therapy….you know darn well what that would be for you (don’t we all?!).  Instead, make it a movie, a visit with a good friend, a walk in that awesome park or museum you love, a fantastic book, playing around on your guitar or with your paintbrush…whatever!  I always recommend roller skating.  Because who ever gets a chance to do that, really??

Have a great time!

More questions or suggestions?  Let me know, below:

The role I’m doing in the play I’m in right now gets intense very quickly; sometimes I have trouble putting down the emotions it stirs — what do you recommend?  This play hits right where my ego is softest.

Sounds like you are struggling with duality.

The root of this, mostly likely, is that you are indulging too much in the emotions of the character.  Ask yourself this–are you balancing the emotional life of the role with telling the story (without becoming your own director and getting in your own way)?

Check to be sure you aren’t putting your entire current emotional and social life into this play/character right now because another/other areas of your life are bereft.  It sure does feel like it, but acting is not therapy.  It’s entertainment and meaningful performing art.

But, to do something more delineating….after rehearsal, create a 5-10 minute “cleansing” ritual:  Meditation.  A cup of healthful herbal tea in a cafe without reading the script, but just people watching and re-entering the vast world.  A warm cup of almond milk while listening to classical music on your iPod (classical music jumps around a lot so you can’t get lost too much in your own thoughts if you pay attention to the music).  A walk around your local park, making sure to pick up a twig or a leaf or a rock and kinesthetically experience it.  Things that bring you back to reality, in a very present and simple way.

Another physical manifestation could be a “catch phrase” to button your rehearsal experience, much like famous anchors with their sign-off phrase.

Additionally, identify what emotion your character has that you are becoming too intensely connected with.  Because that’s a you issue, on some level.  And that’s ok.  But it’s there.  And it’s worth looking into dealing with, whether reading a self-help book, finding a community online or (better yet) in person, or seeing a clinical psychologist every/other week, which I always recommend anyway, especially if you have insurance to cover it.

In the meantime, just having this awareness is huge.  But you have to put it on a shelf outside of rehearsal.  Try a ritual.  If it doesn’t work, try a different one.  Try not to let the ritual involve an addiction, which for many might be food, alcohol, tobacco, etc.

And remember what you love about this role.  It’s fantastic that you can identify so closely with it, but when what you are identifying with is dark or negative, the balance between onstage life vs. real life is key.  You do want to indulge on stage and make the role rich and deep, with complex layers; but you also want to understand that for actors, duality is a major part of life, and your craft.

Did you try any of these things?  Share rituals that help you decompress after an especially intense and involved rehearsal!

You are definitely wanting to read the energy in the room for this one. If they seem very formal, with a polite but closed off “hello”, best to stick to business—they are likely behind schedule or some other arbitrary thing that has nothing to do with you personally.

Also, be sure to read the audition sheet and all the materials they have out or have sent out carefully (audition listing(s), company info sheet, etc.) so that you are not asking questions that have already been answered. For every audition you go on, no matter how many you have that day, do the simple prep work of jumping on their website and seeing what information they already have up about the show/season you are auditioning for. Usually, this information includes general rehearsal schedule timing (i.e. “weeknights and weekends”, etc.); performance dates, times and venue(s); whether there is pay; perhaps the role(s) they are casting.

If you haven’t done the research ahead of time, glean what you can from the audition monitor—without badgering them. Don’t ask your fellow auditioners in the waiting room—they are focusing and doing their own internal prep work.

So, then, what can you ask and when?

Most questions should be asked after you perform, but questions you might ask before should pertain to the performance you are about to give:

  • “May I use this chair?”
  • If their energy is especially welcoming, and if the listing offered only one option for an audition piece: “Would you prefer a Shakespeare monologue or a song?” (Always base this on the options they asked for. Also, only ask if you are feeling great about both—otherwise, if you prefer one over the other, do what you prefer.)

Not much else to ask before; so hop to it and enjoy the ride.

After you perform, it’s customary to simply say “Thank you!” in a positive way and head out, but if they ask you a question or invite your own questions, your best bet is to make it a conversation—albeit a brief one. Feel free to ask them anything about the production, while perhaps showing you’ve done your research. For example, after answering their question you might ask:

  • “I notice you are only asking for 6 actors total; are you planning to have folks play multiple roles, ensemble style?”

Something like that shows that you have looked into their company, as well as a willingness and excitement to do ensemble-style work if that is indeed their plan.

Other questions you can ask about if you know the information isn’t out there already:

  • What is the general rehearsal schedule?
  • When are performances?
  • Are roles double-cast?
  • Who is directing?
  • Is this a new play/musical (if it’s not published)?

These types of questions are professional, show an interest, and might even open up the conversation to include more inquiries into your own experience, or even something personal that you share with an auditor.

Break a leg at that audition. And remember, if you go in smiling and eager to perform, instead of treating it like a test, you’ll have a ball and do great.

What other questions are you wondering if it’s ok to ask?  Ask below!