WEBVTT 00:00:00.000 --> 00:00:02.500 Welcome to this critique where today's manuscript 00:00:02.500 --> 00:00:05.040 follows a restless wanderer named Ishmael as 00:00:05.040 --> 00:00:07.879 he travels to Nantucket, befriends a heavily 00:00:07.879 --> 00:00:10.740 tattooed harpreneur named Queekegg, and signs 00:00:10.740 --> 00:00:14.220 aboard the ominous whaling ship Pequod. And jumping 00:00:14.220 --> 00:00:16.800 right into the feedback, the material here is 00:00:16.800 --> 00:00:19.510 undeniably brilliant. with rich philosophical 00:00:19.510 --> 00:00:21.850 depth, but it really requires some structural 00:00:21.850 --> 00:00:24.070 refinement to maximize the reader's engagement 00:00:24.070 --> 00:00:26.469 right from page one. Front -loading the manuscript 00:00:26.469 --> 00:00:30.010 with extensive etymological definitions and historical 00:00:30.010 --> 00:00:33.170 extracts creates a formidable barrier to entry 00:00:33.170 --> 00:00:35.990 before the narrative even begins. It really does. 00:00:36.429 --> 00:00:38.670 Getting the reader onto the ship and invested 00:00:38.670 --> 00:00:42.590 is everything, but we hit this wall of text first. 00:00:42.729 --> 00:00:45.090 Right, okay. So what I really like about this 00:00:45.090 --> 00:00:47.530 part is the sheer depth of the research, you 00:00:47.530 --> 00:00:49.979 know? Oh, absolutely. You're making a strong 00:00:49.979 --> 00:00:52.280 case for the whale's mythological and historical 00:00:52.280 --> 00:00:55.340 significance. Highlighting ancient Hebrew translations, 00:00:55.539 --> 00:00:58.359 quotes from Darwin, King Alfred, it shows profound 00:00:58.359 --> 00:01:01.320 dedication. The texture of it is wonderful. It 00:01:01.320 --> 00:01:04.599 feels like stepping into a dusty 19th century 00:01:04.599 --> 00:01:08.340 archive. Exactly. But the distinct weakness here 00:01:08.340 --> 00:01:11.340 is that placing these etymology and extract sections 00:01:11.340 --> 00:01:14.379 before chapter one completely disrupts the initial 00:01:14.379 --> 00:01:16.599 narrative hook. Yeah, you're asking the reader 00:01:16.599 --> 00:01:19.019 to wade through dozens of quotes from Genesis 00:01:19.019 --> 00:01:22.500 and Job, and even a fictional sub -sub librarian, 00:01:22.980 --> 00:01:25.239 all before they even meet the protagonist. It 00:01:25.239 --> 00:01:27.599 delays that immediate, compelling voice. Right, 00:01:27.599 --> 00:01:29.379 before the opening lines of the story, the reader 00:01:29.379 --> 00:01:32.239 has to parse through pages of dense academic 00:01:32.239 --> 00:01:34.879 framing. It's a huge demand on the reader's patience. 00:01:35.400 --> 00:01:37.959 You open a novel expecting a story, and instead 00:01:37.959 --> 00:01:40.599 you hit what feels like a dictionary. A massive 00:01:40.599 --> 00:01:43.280 history lesson before the fictional dream is 00:01:43.280 --> 00:01:45.629 even established. That makes sense, but could 00:01:45.629 --> 00:01:48.189 the evidence also support a different conclusion, 00:01:48.650 --> 00:01:51.230 like utilizing these incredible historical fragments 00:01:51.230 --> 00:01:55.189 differently? Yes, absolutely. My suggestion is 00:01:55.189 --> 00:01:58.010 to relocate these preliminary sections so they 00:01:58.010 --> 00:02:01.010 serve as chapter epigraphs or maybe an end of 00:02:01.010 --> 00:02:03.989 book appendix. Oh, that's a great idea. This 00:02:03.989 --> 00:02:06.010 allows the reader to immediately connect with 00:02:06.010 --> 00:02:08.389 the protagonist's forward momentum without losing 00:02:08.389 --> 00:02:11.270 the rich historical texture. By shifting the 00:02:11.270 --> 00:02:13.469 architecture, we allow the narrator to welcome 00:02:13.469 --> 00:02:16.270 the reader aboard first. Establish the stakes, 00:02:16.569 --> 00:02:19.789 the tone, those freezing Nantucket streets, before 00:02:19.789 --> 00:02:21.990 zooming out to the grand historical lineage. 00:02:22.449 --> 00:02:24.930 Let's look at some concrete examples for improvement 00:02:24.930 --> 00:02:27.729 here. Instead of a standalone extract section 00:02:27.729 --> 00:02:29.990 sitting at the very beginning, you could take 00:02:29.990 --> 00:02:32.770 that fantastic quote from the Book of Job. The 00:02:32.770 --> 00:02:35.490 Leviathan make it the path to shine after him. 00:02:35.639 --> 00:02:39.000 Yes, that one. And use it as an epigraph for 00:02:39.000 --> 00:02:41.680 a later chapter dealing directly with the whale's 00:02:41.680 --> 00:02:44.840 majesty. Or right before the ship's first encounter 00:02:44.840 --> 00:02:47.599 with a spout. Building on that point, what if 00:02:47.599 --> 00:02:49.819 we looked at it from the perspective of the sub 00:02:49.819 --> 00:02:53.539 -sub -librarian himself? Such a delightful, melancholic 00:02:53.539 --> 00:02:56.349 invention. Right? You could move that charming 00:02:56.349 --> 00:02:58.909 introduction into a forward or, better yet, make 00:02:58.909 --> 00:03:01.729 it an interlude later in the text once the ship 00:03:01.729 --> 00:03:04.449 has actually sailed. Or just group them as a 00:03:04.449 --> 00:03:07.569 comprehensive appendix that the protagonist explicitly 00:03:07.569 --> 00:03:09.729 directs the reader to reference. Of course, these 00:03:09.729 --> 00:03:11.949 are just a few out of all the possible ways you 00:03:11.949 --> 00:03:14.169 could solve this problem. But implementing one 00:03:14.169 --> 00:03:16.129 of these strategies will clear the runway so 00:03:16.129 --> 00:03:18.610 that fantastic opening chapter can take flight 00:03:18.610 --> 00:03:21.740 immediately. Moving on to pacing, the complete 00:03:21.740 --> 00:03:24.400 uninterrupted transcription of Father Maple's 00:03:24.400 --> 00:03:27.520 sermon totally stalls the forward momentum of 00:03:27.520 --> 00:03:29.979 the protagonist's physical journey to the sea. 00:03:30.599 --> 00:03:33.360 It really grinds things to a halt. Let's look 00:03:33.360 --> 00:03:35.719 closely at this section discussing the Whaleman's 00:03:35.719 --> 00:03:38.639 chapel. The scene leading up to the sermon is 00:03:38.639 --> 00:03:42.379 incredibly evocative. The freezing sleet, the 00:03:42.379 --> 00:03:45.500 memorial tablets on the walls. and that profoundly 00:03:45.500 --> 00:03:48.099 atmospheric entrance of the chaplain climbing 00:03:48.099 --> 00:03:52.020 a rope ladder into a ship bow pulpit, it is masterfully 00:03:52.020 --> 00:03:55.419 staged. Palpable atmosphere. You can almost smell 00:03:55.419 --> 00:03:58.439 the damp wool. But the weakness is that dedicating 00:03:58.439 --> 00:04:02.259 an entire lengthy chapter to a verbatim theatrical 00:04:02.259 --> 00:04:05.729 monologue stops the actual plot. right as the 00:04:05.729 --> 00:04:07.990 protagonist is actively preparing to leave for 00:04:07.990 --> 00:04:10.969 his voyage. It's a massive unbroken block of 00:04:10.969 --> 00:04:13.849 text that risks losing the reader's engagement. 00:04:14.550 --> 00:04:16.750 We completely leave the protagonist's point of 00:04:16.750 --> 00:04:19.709 view to read a transcribed speech about Jonah. 00:04:19.949 --> 00:04:22.790 It forces the reader into a passive state. The 00:04:22.790 --> 00:04:25.529 sermon is thematically brilliant. And establishes 00:04:25.529 --> 00:04:27.810 the moral weight of the ocean perfectly. But 00:04:27.810 --> 00:04:30.389 the delivery method turns our active protagonist 00:04:30.389 --> 00:04:33.129 into a passive stenographer just sitting in a 00:04:33.129 --> 00:04:36.029 pew. Is there a risk that focusing solely on 00:04:36.029 --> 00:04:39.250 the unbroken dialogue of the sermon might overlook 00:04:39.250 --> 00:04:41.949 the protagonist's internal emotional journey 00:04:41.949 --> 00:04:44.829 during this pivotal moment? That is exactly the 00:04:44.829 --> 00:04:48.220 risk. So the suggestion to fix this pacing drag 00:04:48.220 --> 00:04:51.560 is to condense the sermon by weaving the protagonist's 00:04:51.560 --> 00:04:54.060 internal reactions and environmental observations 00:04:54.060 --> 00:04:56.800 throughout the delivery. Focus the spoken text 00:04:56.800 --> 00:04:59.720 only on the most crucial thematic beats. Right. 00:04:59.779 --> 00:05:02.399 The thematic weight of Jonah's disobedience is 00:05:02.399 --> 00:05:04.579 vital, but it needs to be filtered through the 00:05:04.579 --> 00:05:06.980 lens of the character about to risk his own life 00:05:06.980 --> 00:05:09.680 on those waters. Let's explore some concrete 00:05:09.680 --> 00:05:12.819 examples of how to execute this. You could definitely 00:05:12.819 --> 00:05:15.500 keep the powerful opening hymn, and Father Maple 00:05:15.500 --> 00:05:17.939 climbing the rope ladder. Those physical details 00:05:17.939 --> 00:05:20.879 are too good to lose. But you might summarize 00:05:20.879 --> 00:05:23.800 the middle sections of the Jonah retelling through 00:05:23.800 --> 00:05:26.579 the protagonist's wandering thoughts and anxieties 00:05:26.579 --> 00:05:29.480 about his upcoming voyage. One might argue that 00:05:29.480 --> 00:05:32.480 summarizing loses Maple's unique thunderous voice. 00:05:33.019 --> 00:05:35.720 True, but you can preserve his voice while breaking 00:05:35.720 --> 00:05:39.120 up the dense text by having the protagonist physically 00:05:39.120 --> 00:05:42.300 observe the space. For example, Have the narrator 00:05:42.300 --> 00:05:44.579 watch the widows in the congregation reacting 00:05:44.579 --> 00:05:47.519 to Maple's delivery of the line out of the belly 00:05:47.519 --> 00:05:51.620 of hell. Yes, or have him notice the storm violently 00:05:51.620 --> 00:05:54.899 rattling the chapel windows, just as Maple describes 00:05:54.899 --> 00:05:57.639 the tempest striking Jonah's ship. That makes 00:05:57.639 --> 00:05:59.860 it so much more cinematic. Having the narrator 00:05:59.860 --> 00:06:02.959 reflect on his own reasons for going to sea as 00:06:02.959 --> 00:06:06.000 the sermon reaches its climax maintains that 00:06:06.000 --> 00:06:08.399 terrifying awe of the scene while tightening 00:06:08.399 --> 00:06:10.920 the pacing. It keeps the narrator active. And 00:06:10.920 --> 00:06:12.959 again, there are a dozen different ways you can 00:06:12.959 --> 00:06:15.300 handle this pacing issue. These are really just 00:06:15.300 --> 00:06:17.779 a few options out of all the possible ways to 00:06:17.779 --> 00:06:20.379 solve it. The goal is just to ensure the narrative 00:06:20.379 --> 00:06:23.540 drive survives the sermon. Absolutely. So once 00:06:23.540 --> 00:06:25.740 we get on the water, the fleeting treatment of 00:06:25.740 --> 00:06:28.420 Bulkington promises a significant character arc 00:06:28.420 --> 00:06:31.360 that is abruptly truncated, leaving us with a 00:06:31.360 --> 00:06:33.720 real sense of unfulfilled narrative potential. 00:06:33.920 --> 00:06:36.420 A key theme in this material seems to be the 00:06:36.420 --> 00:06:38.839 deliberate introduction of fascinating maritime 00:06:38.839 --> 00:06:41.959 figures. Quee Craig, the Spouter Inn Landlord, 00:06:42.360 --> 00:06:44.819 Captain's Peligan Build -Ad, they all feel vivid 00:06:44.819 --> 00:06:47.740 and essential. They leap right off the page. 00:06:48.240 --> 00:06:51.199 But the weakness here is that Bulkington is introduced 00:06:51.199 --> 00:06:54.180 with immense reverence, and then he is discarded 00:06:54.180 --> 00:06:57.180 almost immediately. He's highlighted early on 00:06:57.180 --> 00:06:59.620 as a standout figure among the Grampus' crew, 00:07:00.120 --> 00:07:02.800 a man who holds aloof from the others. And then 00:07:02.800 --> 00:07:06.040 he is described as a demigod seeking the open 00:07:06.040 --> 00:07:09.000 independence of her sea. The text builds this 00:07:09.000 --> 00:07:11.959 deep poetic mystique around him. You build this 00:07:11.959 --> 00:07:14.600 guy up to be an absolute legend. And then he 00:07:14.600 --> 00:07:17.199 is dismissed in what the text itself literally 00:07:17.199 --> 00:07:21.089 calls a six inch chapter. It creates a really 00:07:21.089 --> 00:07:24.189 jarring imbalance. It raises the reader's expectations 00:07:24.189 --> 00:07:26.790 for a character who vanishes from the plot right 00:07:26.790 --> 00:07:29.370 after being framed as vital to the thematic core 00:07:29.370 --> 00:07:31.589 of the journey. If you spend that much narrative 00:07:31.589 --> 00:07:34.110 currency on a character, the reader naturally 00:07:34.110 --> 00:07:36.290 assumes they are going to follow that character 00:07:36.290 --> 00:07:39.110 into the fire. Is the connection between A and 00:07:39.110 --> 00:07:41.569 B fully established in the material, or is that 00:07:41.569 --> 00:07:44.269 an area to potentially bolster? Right now, the 00:07:44.269 --> 00:07:47.050 setup of Balkington and his ultimate payoff feels 00:07:47.050 --> 00:07:49.730 like a dropped thread. When he disappears into 00:07:49.730 --> 00:07:52.610 a stoneless grave after half a page, the reader 00:07:52.610 --> 00:07:55.589 feels slightly betrayed. My suggestion is to 00:07:55.589 --> 00:07:58.250 either integrate Bulkington more actively into 00:07:58.250 --> 00:08:00.769 the ongoing crew dynamics aboard the ship, or 00:08:00.769 --> 00:08:03.850 to repurpose his philosophical weight onto a 00:08:03.850 --> 00:08:05.930 character who actually remains central to the 00:08:05.930 --> 00:08:08.589 narrative. We need to align the amount of textural 00:08:08.589 --> 00:08:11.009 real estate given to a character with their actual 00:08:11.009 --> 00:08:13.990 importance to the plot. Let's see how we can 00:08:13.990 --> 00:08:16.189 strengthen this with some concrete examples. 00:08:16.480 --> 00:08:18.879 If the author wants to keep Bulkington in the 00:08:18.879 --> 00:08:21.639 story, you could allow him to interact organically 00:08:21.639 --> 00:08:24.079 with the mates during the chaotic departure scenes. 00:08:24.560 --> 00:08:27.579 The Merry Christmas chapter. Exactly. Have him 00:08:27.579 --> 00:08:30.180 assist in securing the boom alongside Queekegg. 00:08:30.540 --> 00:08:33.039 Or have Captain Peleg specifically call him out 00:08:33.039 --> 00:08:35.679 by name, just to anchor his physical presence 00:08:35.679 --> 00:08:38.480 on the crew before launching into the grand philosophical 00:08:38.480 --> 00:08:41.620 musings. That works well. I wonder, though, if 00:08:41.620 --> 00:08:43.759 we've considered an alternative approach where 00:08:43.759 --> 00:08:46.820 Bulkington is removed entirely. Oh, that's interesting. 00:08:47.220 --> 00:08:49.600 You could easily transfer the powerful metaphor 00:08:49.600 --> 00:08:52.539 of the Lee Shore, the idea that safety on land 00:08:52.539 --> 00:08:55.360 is actually the soul's direst jeopardy, to the 00:08:55.360 --> 00:08:58.200 protagonist's own internal monologue. Let the 00:08:58.200 --> 00:09:00.259 narrator look out at the freezing waves during 00:09:00.259 --> 00:09:02.960 his very first night watch and realize that his 00:09:02.960 --> 00:09:05.360 own restlessness is driving him away from the 00:09:05.360 --> 00:09:08.100 safety of the port. You take that beautiful truth 00:09:08.100 --> 00:09:11.240 meant for Bulkington and use it to deepen our 00:09:11.240 --> 00:09:14.039 understanding of our main character. That's just 00:09:14.039 --> 00:09:16.870 one tool in the toolbox. and these examples are 00:09:16.870 --> 00:09:19.669 just a few out of all possible ways of solving 00:09:19.669 --> 00:09:22.330 the character imbalance. But either expanding 00:09:22.330 --> 00:09:25.389 his footprint or redistributing his thematic 00:09:25.389 --> 00:09:28.690 weight will definitely fix the issue. Now, let's 00:09:28.690 --> 00:09:31.450 talk about the advocate chapter. The sudden shift 00:09:31.450 --> 00:09:34.090 into a defensive, essay -like justification of 00:09:34.090 --> 00:09:36.509 the whaling profession jarringly pulls the reader 00:09:36.509 --> 00:09:39.129 out of the established fictional dream. Right 00:09:39.129 --> 00:09:42.090 when the ship sets sail, the narrative grinds 00:09:42.090 --> 00:09:44.590 to a halt. As I understand it from the notes, 00:09:44.830 --> 00:09:47.070 The argument here is that the author wants to 00:09:47.070 --> 00:09:49.330 elevate the status of the whaleman. To prove 00:09:49.330 --> 00:09:52.090 to the reader that this is a noble, historically 00:09:52.090 --> 00:09:55.230 significant, and economically vital profession. 00:09:55.649 --> 00:09:58.210 Which is a totally valid authorial goal. The 00:09:58.210 --> 00:10:00.470 information itself is genuinely fascinating. 00:10:00.639 --> 00:10:04.159 The idea that whale men are the true global pioneers, 00:10:04.659 --> 00:10:07.720 opening up Australia and South America. But the 00:10:07.720 --> 00:10:10.179 weakness is that this chapter completely abandons 00:10:10.179 --> 00:10:12.460 the immersive, narrative -driven world of the 00:10:12.460 --> 00:10:15.120 ship's departure. Just as the Pequod has blindly 00:10:15.120 --> 00:10:18.100 plunged like fate into the lone Atlantic, the 00:10:18.100 --> 00:10:20.779 text stops the story to directly address the 00:10:20.779 --> 00:10:23.669 reader. with historical data. Financial statistics 00:10:23.669 --> 00:10:26.750 like the $20 million value of the fleet, defensive 00:10:26.750 --> 00:10:28.950 appeals regarding the respectability of the trade. 00:10:29.190 --> 00:10:31.850 It feels much more like an authorial intrusion 00:10:31.850 --> 00:10:34.450 than a natural progression of the story. It turns 00:10:34.450 --> 00:10:37.289 our narrator from a vulnerable participant in 00:10:37.289 --> 00:10:40.710 a grand adventure into a defensive lecturer at 00:10:40.710 --> 00:10:43.870 a podium. When you step on stage to hand out 00:10:43.870 --> 00:10:47.250 statistics, the continuous fictional dream breaks. 00:10:47.870 --> 00:10:49.929 Building on that point, what if we looked at 00:10:49.929 --> 00:10:53.149 it from the perspective of dramatizing this information 00:10:53.149 --> 00:10:55.769 within the world itself. I like where you're 00:10:55.769 --> 00:10:58.750 going with this. The suggestion is to dramatize 00:10:58.750 --> 00:11:00.750 these defenses of the whaling industry through 00:11:00.750 --> 00:11:03.909 organic character dialogue or to integrate the 00:11:03.909 --> 00:11:06.210 historical prestige seamlessly into the world 00:11:06.210 --> 00:11:08.929 building. Rather than presenting it as a direct 00:11:08.929 --> 00:11:11.789 standalone argumentative essay. We want the reader 00:11:11.789 --> 00:11:14.330 to feel the majesty and danger of wailing through 00:11:14.330 --> 00:11:16.889 the action and the characters, rather than being 00:11:16.889 --> 00:11:20.190 explicitly told to respect it. For concrete examples 00:11:20.190 --> 00:11:23.129 for improvement, you could dramatize this exact 00:11:23.129 --> 00:11:25.850 information earlier in the manuscript during 00:11:25.850 --> 00:11:29.330 a natural scene of conflict. Yes, have Captain 00:11:29.330 --> 00:11:32.730 Pelag or Captain Bildad boast about the one million 00:11:32.730 --> 00:11:35.309 pound British bounties while they are aggressively 00:11:35.309 --> 00:11:38.269 negotiating the protagonist's sleigh. When Bill 00:11:38.269 --> 00:11:41.970 Dad is stubbornly arguing for the 777th lay, 00:11:42.350 --> 00:11:45.370 he could easily justify his stinginess by citing 00:11:45.370 --> 00:11:48.429 the massive capital at risk and the global economic 00:11:48.429 --> 00:11:51.850 impact of their specific voyage. Or let the protagonist 00:11:51.850 --> 00:11:54.330 reflect on the global impact of the whale ship 00:11:54.330 --> 00:11:57.009 while he marvels at the cosmopolitan crew loading 00:11:57.009 --> 00:11:59.610 the vessel. As he watches the riggers and the 00:11:59.610 --> 00:12:02.250 harpreneers working, he could internally marvel 00:12:02.250 --> 00:12:05.450 that these rough men have mapped uncharted archipelagos. 00:12:05.580 --> 00:12:08.500 Keeping the information rooted in an active scene 00:12:08.500 --> 00:12:11.259 tied directly to the physical reality of the 00:12:11.259 --> 00:12:13.840 ship and the sweat of the crew solves the pacing 00:12:13.840 --> 00:12:16.620 issue instantly. Obviously, these suggestions 00:12:16.620 --> 00:12:19.279 are just a few out of all possible ways to handle 00:12:19.279 --> 00:12:22.559 the exposition. But the key is to show the nobility 00:12:22.559 --> 00:12:24.980 of the profession through the narrative rather 00:12:24.980 --> 00:12:27.379 than stopping the narrative to argue the point. 00:12:27.740 --> 00:12:30.860 To quickly recap our critique today, we have 00:12:30.860 --> 00:12:34.240 identified four key areas for high -level structural 00:12:34.240 --> 00:12:38.320 refinement. First, relocating the opening etymology 00:12:38.320 --> 00:12:41.820 and extracts to epigraphs or an appendix to clear 00:12:41.820 --> 00:12:44.259 the runway for the immediate narrative hook. 00:12:44.700 --> 00:12:47.179 Second, breaking up the pacing drag of Father 00:12:47.179 --> 00:12:50.139 Maple's sermon by weaving in the protagonist's 00:12:50.139 --> 00:12:52.620 active observations and physical reactions to 00:12:52.620 --> 00:12:55.529 the chapel environment. Third, fulfilling the 00:12:55.529 --> 00:12:57.870 narrative promise of the Bulkington character 00:12:57.870 --> 00:13:00.809 by either expanding his active role in the crew 00:13:00.809 --> 00:13:03.990 dynamics or transferring his profound philosophical 00:13:03.990 --> 00:13:06.889 weight directly to the narrator. And finally, 00:13:07.289 --> 00:13:09.789 dramatizing the essay -like defenses of the whaling 00:13:09.789 --> 00:13:12.509 industry into active dialogue and organic world 00:13:12.509 --> 00:13:15.330 -building rather than relying on standalone argumentative 00:13:15.330 --> 00:13:19.009 chapters. We highly encourage the writer to implement 00:13:19.009 --> 00:13:22.340 these structural and pacing adjustments. By addressing 00:13:22.340 --> 00:13:25.320 these areas, you will effortlessly maintain the 00:13:25.320 --> 00:13:28.100 story's incredible philosophical depth and its 00:13:28.100 --> 00:13:31.159 striking character work. While ensuring a seamless, 00:13:31.559 --> 00:13:34.019 gripping experience for the reader from the Spouter 00:13:34.019 --> 00:13:37.340 Inn all the way out into the deep, open ocean. 00:13:37.940 --> 00:13:40.419 We warmly invite you to submit your revised work 00:13:40.419 --> 00:13:42.539 back in for another critique once you've had 00:13:42.539 --> 00:13:44.600 a chance to experiment with these suggestions. 00:13:45.080 --> 00:13:47.740 Keep writing, keep refining your craft, and we 00:13:47.740 --> 00:13:49.740 look forward to seeing where this incredible 00:13:49.740 --> 00:13:50.840 voyage goes next.