Producing : Ask Me Anything (AMA) 3/25 to 3/26- How to Develop Source Material/ IP Into a Series or Film by Nikita Adams

Hi Nikita Adams - this probably betrays my newbie status to ask this question, but would a 'fictitious' online social media identity be considered IP and if so, does it carry any weight with decision makers looking to develop IP? Dixie Dynamite is a project I have been working on for years and have seeded that personality online as part of the 'world building' and 'based on actual events' angle of the project.

Hi Nikita Adams - thanks so much for having this AMA and spending your time with us. Question: When you see a project fail to sell, is it usually because of the source material (or sales), the adaptation approach, or the way it’s pitched? Any tips on getting all three right? Thanks in advance!

Thank you for the opportunity to learn from you again Nikita Adams ! My book/Screenplay "Coffee Cups & Wine Glasses" suggest silly things to do that lift your spirits & make people laugh (DOiTs). I just started a rookie YouTube channel to share DOiTs. If it's not professional (in any way) - could this hurt my chances for obtaining a distribution deal (rather than helping me)?

Hi Nikita Adams, thank you for opening this AMA, such a needed conversation in today’s market. My question for you:

When you first evaluate a piece of IP for adaptation, what’s the very first thing you look for to determine whether it has the legs to become a series or a film?

Is it character engine, world, theme, structure, or something more instinctual?

Looking forward to your insights. Thank you for your kindness.

Thanks Nikita Adams for spending time with us this weekend to do an AMA. I always create material from source material such as books and plays. My toughest obstacle is getting rights without spending a fortune. What do you suggest is the best way for an up an coming screenwriter to get rights?

Nikita Adams Thanks for doing this really valuable topic, especially in today’s market.

From your experience, how important is it for a writer/director to already have rights or attachment to IP before approaching producers, versus coming in with a strong adaptation vision first?

Also, for original scripts that could be expanded into IP (like a feature evolving into a series), how do you position that without it feeling underdeveloped or stretched?

Would love to hear your perspective on balancing creative intent with the business side of adaptation.

Thank you for the AMA, Nikita Adams. I’m curious about what makes an IP truly suited for multiple adaptations across formats. From your experience, what core elements signal that a story has the depth and durability to expand into films, series, or other mediums without losing its identity? And is the industry currently leaning toward any particular adaptation pathway over others, or does it depend entirely on the nature of the IP? I’d also love to know what a new creator should include in their package to make the IP stand out and build trust, especially when they’re still early in their career.

@Darrell Pennington, the rule of thumb is the IP needs to be hot!! Sizzling! Instagram threads and twitter feeds and TIK TOKS have been optioned. Remember the woman who confronted her husband’s prostitute or the other woman who was love bombed in Atlanta (CAA now reps her) or Tanqueray from Humans of NY. All of these are similar to what you’re talking about, but they had thousands of impressions and they were on everyone’s tongue in the moment. I tried to option the Tanqueray and the woman who met her husband’s prostitute. They were loud and everyone wanted their hands on it. If your social media identity is that, then there’s probably a buyer for it. If not, then I’d say to work to get it there. There have been some lesser known IP that sold ie FLIGHT ATTENDANT, but I think that was a flyer with a big talent attached. Moving forward, I’d focus on IP that’s big and poppy.

@Leonardo, it could be all the above or none of those. It really could be that the buyer doesn’t have an appetite for the work or they may not have the real estate to broadcast it. It could be too expensive or not expensive enough. There are a multitude of reasons that projects don’t sell. Your job is to try your best and put the best product out as possible, the rest is truly out of your hands.

@Debbie, I’m not totally sure I understand your question, but I will say that the thing buyers, and also produces, are looking for is an audience. If your channel, no matter how professionally done or not, has a strong following, they will lean in. They are optioning the material and the material’s audience. Grow the audience and you’re in the game.

@Sandra, it all the above. Of course, for a series, you want an episodic engine but for tv or film you want a dynamic character that’s relatable but also unique and that’s HARD TO FIND! You want access into a new work and you want a strong WHY NOW. But then you also want a good read. Something that feels like a round story that pops off the page. I know that’s not a real answer but it’s art and science with a little math.

@Anthony, I say this with a big sigh. To get affordable IP is to get IP that’s not as popular. Older things. The thing with that is buyers are typically looking for the new titles that are on big lists. Those will typically go for big money. I say typically because there are a lot of variables. If it’s a best seller that you have your eyes on, you will need to pay the cost but I’d definitely get an attorney to negotiate as much as possible for you.

@Abhijett Before you pitch something, you need to have the rights or at least have spoken to the rights holder and have an understanding that you are trying to attach a producer before getting the rights. Protect yourself and your time as much as possible. Then be open with the producer that you don’t have the rights because now you need them to produce AND buy the rights…that’s a lot to ask. Regarding your second question SELL THE FEATURE FIRST!! Don’t put the cart before the horse. Focus on the feature pitch then work on a sequel when the film is successful. Don’t make that leap yet. You’ll exhaust your audience before you even get out the gate.

@Dwayne, read my other comments and see if you have any other questions…wanna make sure you good!

Makes sense Nikita Adams - thanks so much! All the best in all you do.

Yes, thanks Nikita Adams for the great answers and insights! Looking forward to pitching to you in the future.

Thank you Nikita Adams, for the insights and advice. Helped me a lot. Thank you.

Hi Nikita Adams - appreciate you taking time for this AMA :)

I am currently writing a feature script adaptation of a novel - a first in a series of three by an author other than me. Two questions:

1. I was told by a couple of people that I should also be ready to present with a series version of the same project, meaning a pilot and series deck. Do you think that a good idea in today's market?

2. The book is not 'hot' by any means, but it is not invisible either - for espionage thrillers written by former practitioners, does it affect the calculus at all that it's not a best seller or thereabouts?

Thanks much!

First, I would like to express my gratitude Nikita Adams for making yourself available to read and answer our questions.

I just finished typing "The End." My screenplay is a timeless tale of betrayal, justice, and the consequences of a man who would change the course of history forever — a character-driven historical drama. For a moment, I felt like a genius. Ten minutes later, I felt like an invisible genius with no contacts and 400 miles from Hollywood.

What advice would you give to help me navigate uncharted territory?

Once again, thank you for your time.

Best regards,

Mike E. Michaels

Hello Nikita, I just self-published my first novel and I'd like to solicit my IP to various production companies . . . Would development executives and/or agents be more open to receiving an actual book in the mail to read as opposed to a screenplay?

Nikita Adams, hey, quick two questions, if you don’t mind:

For grounded, character-driven dramas without a clear commercial hook, what’s the key element that makes a buyer lean in instead of pass?

When you hear a pitch, what makes you feel like a story has legs beyond just a good script, something that could actually be produced?

Greetings, As an independent author with multiple completed novels, including a full trilogy with strong themes of justice, corruption, and systemic failure, what do producers look for when evaluating a book or IP for adaptation into film or a limited series?

Hello Nikita, thank you for this opportunity!

I was lucky to have my first novel accepted by three publishers, and published last August. It’s been well received with 5* reviews so far, and my dream is to see it as a TV drama or a movie. I keep seeing requests for a strong female lead story - which mine is, but does it have to be scripted to submit? It is still just a novel, (with three follow on books) and I need good scriptwriter asap. Can you recommend anyone, or my next steps, please? Beverly

“Hi Nikita, thank you for hosting this AMA. I have a slate of completed screenplays and 5 published books (owned IP). When adapting IP, how do you determine which emotional elements are essential to preserve, and what’s the most effective way to package and position that material to attract buyers today — as a standout project or a broader IP slate?”

Hi Nikita, Thanks for your time. At the early packaging stage, when talent, producers, and financiers are each looking for elements to already be in place—what’s the most effective first move to create real momentum?

When a script is already getting early industry traction (views, reads, interest), what’s the smartest way to evolve it into IP that producers actually want to develop—without overbuilding or diluting what made it work in the first place?

HI NIKITA: I adapted a classic film from the 40s into a romantic comedy musical. Script is already written as well as music and lyrics. Problem: Paramount still owns the rights due to the Sonny Bono rule. Could be a bit costly to purchase the rights/license to produce it and probably lose creative control. Any thoughts?

Hi Nikita, I have a patent portfolio which are inspiring and exciting. They are like the HW and SW scripture for a new type of CINEMA VFX. How to go about commerializing them? Usually this means licensing.

Hello Nikita, thank you for doing this. I have a horror script that I would like to turn into a novella. Do you have advice on how to at least doing it? For example, should I take my script and make it a word doc or pages doc and then edit it that way? I'm curious to know what you would think would be an effective workflow? Thank you

As an emerging writer developing an original story rooted in a unique cultural and historical setting, what are the key elements that would make you see it as strong, marketable IP—and what would be the smartest steps to take to turn it into a film or series that can attract producers and global audiences?Thank you

@Sebastian Tudores SELL THE FEATURE FIRST!! Don’t put the cart before the horse. Focus on the feature pitch then work on a sequel TV series when the film is successful. Don’t make that leap yet. You’ll exhaust your audience (whoever you are pitching to) before you even get out the gate. Regarding the second question, if it's not a best seller, you should be able to get it quicker. However, it needs to be a good read with premium quality for a buyer to lean in. They want "hot" all the way around so it needs to be premium in some way.

@Mike Michaels that's a $Million question. Everyone wants to know how to sell their project...I've been there! I would advise you to focus on your writing services...try to sell yourself as a writer THEN try to sell the project. Both take time but people are more likely to buy a script from a writer with some credits than someone with no credits. So, focus on your writing career first then selling your original development.

@Gerry Ibarra no one wants anything unsolicited...period! It's unlikely that anyone will ever read it. Lawyers can help you circulate your project, but I would highly advsie against sending out anything unsolicited. If not, try calling the producers and agents to have conversations...be bold, don't be timid at all. You're in sells mode!

@Tony Bowens For clarity, why doesn't your project have a clear hook? What makes it not commercial? Second question. It's a multitude of things, but the basics are great character who is relateable but also unique, a great world and an episodic hook if it is a series.

@Beverly Thompson For a series, you want an episodic engine but for tv or film you want a dynamic character that’s relatable but also unique and that’s HARD TO FIND! You want access into a new world and you want a strong WHY NOW. But then you also want a good read. Something that feels like a round story that pops off the page. I know that’s not a real answer but it’s art and science with a little math.

@Beverly Thompson sounds like you have a "hot" book. You need someone to help you pitch to writers or producers asap. Your publisher should be able to help. Writing the script isn't up to you as the author, unless you really just want to write it. You just pitch the book, not a take for a show or film, just what makes your book pop off the page and let the writer or producer pitch you their take for the show/film. You go along with whoever you like the best and who can give you the best deal...you are in the driver's seat.

@Kimberly Cummings For a series, you want an episodic engine but for tv or film you want a dynamic character that’s relatable but also unique and that’s HARD TO FIND! You want access into a new world and you want a strong WHY NOW. But then you also want a good read. Something that feels like a round story that pops off the page. I know that’s not a real answer but it’s art and science with a little math.

Hi Nikita, thanks for the consult. I have a screenplay based upon true life events and most of the players are deceased. Is written permission required by the survivors?

@Charmane Wedderburn that's easy. The main emotional elements of the book should be in the script. People still want the essence of the book ie the title, the characters, the emotions. You can condense things for time and redundancy but it needs to be present.

@Ray Fontenault I don't quite sure what your is...please clarify.

Nikita Adams , that’s fair. I think I framed that poorly.

What I meant was projects that aren’t built on existing IP or obvious commercial packaging, but still have a strong internal hook.

Thank you for your time and answer. I appreciate the advice

@David Williamson If a script is already getting traction, I would't adapt it into IP at all. Try to sell that script...don't do too much!

@Aaron Kaplan My advise is to move on from this project. WB isn't likely to give the rights to a film to a writer with no credits. They will not be impressed with your script no matter how good it is. I worked for them for the last 4 years and I strongly advise you to move on.

Hi Nikita! Thank you so much for taking the time to do this. Researching your work leaves me in awe, and reading all your responses truly leaves this community feeling more informed and better prepared to take on the entertainment field. That being said, my question is; given the times the entertainment field is currently in, how would you suggest a young professional with plenty of set experience get their start in the network realm. I truly want to work at a network or staff at a production company. Starting out in a position where I can learn as much as possible, but given the current time- it’s very difficult to break in. What would be a good roadmap for the new generation?

@Amman Said I don't understand your question. Please clarify.

“Thank you, Nikita — that’s really helpful. From a development standpoint, when presenting IP to buyers, do you find it more effective to lead with a single strong adaptation, or position it as part of a larger slate or world?”

@Nikita Adams, Hi Nikita, let me clarify. I'm ready to move forward, but when I reach out to producers, they want to know if any talent has signed on or if there is any funding in place. When I reach out to talent, they want funding in place. momentum seems to fall in a "catch 22' scenario.

Hello Nikita Adams! Thanks so much for taking the time to do this!

I’ve got my eye on a legacy Western TV IP that still has name recognition, but has been mishandled in a couple of past adaptation attempts. I’m curious what the proper first step is in trying to revive something like that today. Do you typically begin with the rights holders, try to bring in a producer first, or develop a take before making any approach? I’d love to understand what the real chain of command looks like when older IP is being re-energized for film or television.

Hi Nikita Adams - Love this topic.

As a film and television producer, I’ve worked extensively with IP in a few non-traditional ways. In one case, I was tasked with sourcing high-level IP to align with a celebrity talent's passion for a potential star vehicle. In another, we reverse-engineered IP entirely...we took a time in history we thought was rich to set a drama against and we partnered with a popular publication to create a foundational article when there was no existing material in that space.

I’m curious...have you had experiences where IP didn’t originate in a traditional way, but instead became part of a broader strategy (talent-driven, market-driven, or reverse-engineered)? And how did that impact the development and sales process?

Hi Nikita Adams, I began screenwriting in 2016 after a career as a scientist. I'm a produced, award-winning screenwriter with over 100 scripts (but only 2 credits so far -- more on the way). I waited patiently for the IP for "Sherlock Holmes" to enter the public domain after 70 years in 2023 (in US and England). I developed a contemporary version where "The Ghost of Sherlock Holmes" mentors a young female detective (the lead) in a small village in England, Europe, or Canada. I've written a bible and two 90-minute episodes. Each episode is budget-conscious (small-cast, contained locations, and limited EFX). I'm working on my 3rd episode now. My manager is helping with contacting prospective producers and studies in the UK. Murder-mystery-comedies are a hit right now, and Sherlock is fun and baffled by many things in the modern world, and is still a major global draw. Any advice you can spare would be greatly appreciated. Cheers, Tom

Hi Nikita~. Thank you so much for your time in doing this.

I am adapting a novel by a decently known English writer. Do you suggest waiting until the script is complete before going out to...anyone with this project? Since I do not have any produced features under my belt, I feel like I should just finish the script before doing anything else. That said, the novelists agent believes I should be shopping it around now

Ray Fontenault that's the quagmire - Nikita Adams which comes first - Fully Funded or Talent attached - and how do we attract talent to a great script without the funding? We all know that talent attracts funding!

My debut novel - "The Cherry Harvest" - was published by HarperCollins. I am now doing a final edit on my 2nd novel, also WWII era. This one is based on a true story. When a submarine tragedy off the New England coast leaves only half its crew alive, two young couples are forever changed as they confront love, loss, and the cost of survival. Reviewers say that my writing is cinematic. Is this something you'd be looking for?

Hi Nikita - I'm constantly told by producers that IP matters. I wrote a script, then the book, which is 522 pages, and it has received 4 awards, including Finalist for Author of the Year 2025. My single script, a fantasy, has now become a trilogy. and would be high budget to produce. I'm now being told that unless the book becomes a Best Seller it won't make much difference in getting the project picked up. Would love your thoughts on this. Thank you for your time.

That’s really helpful—appreciate the clarity. It’s been interesting seeing traction build without forcing expansion.

Hi Nikita -- thank you for AMA! I've obtained the IP rights to an excellent true story book, and am creating development material for it. Your comments to our questions are vey helpful. Thank you and look forward to crossing paths in the future!

Nikita Adams

how would I introduce my book/ script to a publisher?

is there a search you should do prior such as genre of film they make?

such as giving the script for Godzilla 2016 to the director of the notebook? "honestly curious how that would turn out!"

is there a step by step on how to get your script turned into a Film?

I hope I'm not overwhelming you with questions, I've been intrigued with the film industry since childhood.

hey Nikita Adams, Roberto here, thank you for taking this time for us all.

my question is what makes a pitch immediately stand out to you versus something you pass on quickly.

Wow, such amazing information. Thank you for sharing all your wisdom. So many great questions and answers, I can't think of another! Appreciate you.

Thank you for sharing your valuable insights regarding the transition of intellectual property into artistic works. It is inspiring to connect with a leader who possesses such deep expertise in both the commercial and creative sides of this industry.

I am reaching out because I have a project that I believe holds strong potential for a global audience. My primary goal is to find a production partner who can "adopt" this IP—not just to acquire the rights, but to work collaboratively to develop and refine it into a world-class production.

Given your twenty-year track record, I would value your guidance on how to officially pitch this work to your company. I am looking for a professional environment where we can elevate the creative vision together and prepare it for international success.

I look forward to the possibility of discussing this further and can provide a brief synopsis or a pitch deck at your convenience.

Best regards,

Nikita Adams Hi Nikita, thanks so much for taking the time to do this. I’ve actually written two screenplays, both based on my own IP: one a comic book series and the other a web series. Neither of them are New York Times best sellers or have won any major rewards, so I am wondering how I can best position them so they will still be successful to pitch to a studio? Are studios usually opposed to supporting “unpopular” or unknown IP by self-published authors or lesser known screenwriters? Have you seen someone in a similar position break through before? Thanks so much!

Hi. How does a scriptwriter not in LA or NY go about getting an agent? Thanks.

@Christopher Wells I would suggest using Word. But beyond that I would suggest rewriting it unto a novella and not just copy and paste it into a Word doc. You will have to totally reframe the narrative and reformat the document to make it a novella.

@Rafal Shammari - For clarity, you are writing an original script. For the purpose of this conversation, IP is source material that is adapted into a tv or film script example a book or a stage play or life rights. Your script is not IP, it is an original idea that you want to turn into a tv or film script. The last part of your question is simple and difficult at the same time--just write a great script. What makes a script great, Nikita? There are a long list of things to make it great, and what makes it marketable is another long list. I'd say to focus on your skills as a writer first. Become the best you can be then try to sell yourself as a writer THEN try to sell the project. Both take time but people are more likely to buy a script from a writer with some credits than someone with no credits. So, focus on your writing career first then selling your original development.

@Linda Bradshaw-Rogers if the events are public domain then you do not, but if not then you will have to acquire the rights from the deceased people's estates. Even if there is public domain material, getting the life rights is, in my opinion, always good to have especially if you want the families to help you market the end project. Having them on board is normally the best route.

@Tony Bowens I see. Like I've said her a few times, for a series, you want an episodic engine but for tv or film you want a dynamic character that’s relatable but also unique and that’s HARD TO FIND! You want access into a new work or a new POV on an old world and you want a strong WHY NOW. But then you also want a good read. Something that feels like a round story that pops off the page. I know that’s not a real answer but it’s art and science with a little math.

@Sailyn Barlow For clarity, you want to work in physical production or creative development?

@Charmane Wedderburn it could work either way. If you are pitching a book to a buyer, you should def have a creative take on it. If the book is in a series, then the series will def open up the conversation to sequels. If this is not a books series, I would focus on just the feature or series you want to sell then speak about sequels later. You can touch on it in your pitch but highlight the current project.

@Ray Fontenault understood. I have found myself in that same catch as have many indi producers. As a new writer/producer, I'd focus on producers first and leave the talent later because they will always want money and/or a studio or buyer attached. That's just what it is. As a former agent, I would def pass on a project for a talent client without those things in place. Your "easiest" entry is going to a producer first. Notice the quotes on easiest because nothing is east at all!

@Steven Kirk Def start with the rights holder and see if they are interested in optioning the IP. If not, then move on. If they are interested then you create a take and perhaps come back with a package, but first investigate the rights.

@Laura Notarianni - Short answer, no. But our agents had an author client who did just what you described and the agent` wanted us to work with that author. I never did just because...no real reason. He had some great work that was selling, but it never popped for us. There are companies that do that also and have great success. I don't think it matters much how the IP originated as long as it jumps off the page to a buyer.

@Tom Stohlgren

No real advice at all. It sounds like you have all your bases covered. I would probably stop writing episodes until you get a buyer, but that's just me. Sounds like you are doing a bunch of work before you have any interest and it feels like putting the cart before the horse. What if the buyer or talent wants you to go in a different way. I'd just focus on the pilot then save the rest of a writers' room.

@Christianna Carmine if they believe in you then I do too. I def suggest either writing the script or creating a great pitch which would be less work before pitching. Either way, do not go to market without a completed and well thought out document, either a pitch or script.

@Lucy Sanna I'm actually not looking for anything at the moment. I'm taking a sabbatical from working for the rest of the year to do this kind of work. I plan to start again 2027 God willing.

Hey Nikita! I want to work in creative development. My current experience is extensive in physical production but I aim to switch over to creative development.

@Ibrahim AlBalushi I'm actually not looking for anything at the moment. I'm taking a sabbatical from working for the rest of the year to do this kind of work. I plan to start again 2027 God willing.

Nikita, thank you for availing yourself to us. What is you opinion of the current state of sitcoms? Why are they falling out of favor with the programmers? Even in contests they never seem to rise to the top in the teleplay category. TY.

Nikita Adams , special thanks for the advice. My secondary reason for writing three episodes was to develop a more accurate Series bible (my thoughts on where the series might go in a five-year arc). Plus, I really enjoy the concept. I'm having too much fun!

“Thank you, Nikita — that’s incredibly helpful. Focusing on one strong project while leaving room for expansion really clarifies how to position my IP.”

Hi Nikita. I’m from Malaysia. More specifically Southeast Asia. I’m sure the needs for content are quite diverse in Asia. But across the board, what is the type of content that is popular in Asia and what are the channels that you have worked with, looking to produce more of, for Asia.

My three screenplays are book adaptations and are copyrighted in Trinidad and Tobago. - Zeeka Chronicles, Zeeka and the Zombies, and The Gift of Love. Should I state this on my screenplays?

@Nikita

Thank you, Nikita,

This is incredibly helpful. The way you broke down the episodic engine and “why now” really clarified things for me. I’m currently developing a series based on my work that leans into those elements, so this gives me a lot to refine. I really appreciate you taking the time to share this info.

Good morning guys, I'm gonna answer 3 more ?'s then this AMA will be in the history books. Please join my lab about this very subject. Happy trails and God's speed...PEACE!

@Gerard Benedict I have never worked in Asia and I do not know what is trending there .

@Brenda Mohammed It's not necessary. Since you own the IP, it's unlikely that anyone will challenge you.

@Sailyn Barlow my answer is going to make your eyes roll, just know that up front. But the best way for you to get into development is to start as an assistant for a production company, studio, agency, or network/buyer. It's great experience and exposure then you can work your way up, it will take a while but if you stick to it, it will happen.

Hello Nikiita! I have an idea for an adult animation series with lots of music since I want it to be a successful outlet for my music as well as my inclinations, What package would you recommend to make it look like a viable vehicle to show to studios, distributors, etc? Here is the first 2 minute video piece of IP I have created, all by myself to get started with: https://youtu.be/20j950I9rRU

Nikita Adams Lol! Your comment didn't make me roll my eyes, but it definitely made me sigh. I've applied to numerous assistant positions at multiple production/network companies, but I've found the playing field is very crowded, with a lot of talent coming in. I'm trying to find a way to stand out. I would LOVE to have an assistant position, not only to get my foot in the door, but also to LEARN! I am just having trouble getting past the "resume" phase.

Thank you, Nikita! Will do; sounds politically correct as stated in your remarks.

Hello Nikita! I'm sure you've gotten (and still get) countless responses like this, but I have aspirations to build a career as a screenwriter of television and film. I'm twenty-three, so I recognize that I'm young and early in my career and that I have my whole life ahead of me to make this happen. I'm currently writing spec scripts and reading scripts of movies I like to practice my craft, but I'm also looking for some professional opportunities. What are some of the best career decisions I can make right now? What are some habits I can get into? Who are some people I should try getting in contact with?

Thanks Nikita - I am convinced that because my story is part-bio and I’m a fairly bold personality at heart…that my character is strong - she carries the weight of blame and guilt throughout the four books I’ve written, so far. There is always something out there - waiting to raise its ugly head, and she faces it - head on. I think female empowerment is the WHY NOW golden nugget - with a fight for justice. I’ll make sure I highlight the right qualities.

Thank you very much Nikita for your amazing industry success, guidance, and support. I have 5 Novel screenplay adaptations, I"m so thankful that 3 out of my 5 adaptations have updated WGA certificates. Hopefully I will be able to get the WGA certificates for the other 2 adaptations soon. I hope you have a great rest of your day.

Thank you Nikita Adams - I appreciate the guidance :)