Invoice financing is a type of business funding wherein the business sells its outstanding invoices or account receivables (A/R) to financing companies to get an immediate cash flow boost. The financing company takes over the invoices, and sometimes be in charge of collecting customer payments (as in invoice factoring).

Invoice financing is a popular financing option for businesses that have to wait 30,60, or 90 days to get their clients payments.

Staying tuned in to the pulse of your industry is key to becoming a successful entrepreneur. Public groups, online forums and the like are among the most valuable resources for gathering and contributing industry information. But if someone is looking for in-depth insight into their business niche, locating the right groups where this discussion occurs is the first step. T

This month almost 135,000 businesses are showing strain, as the impact of a year of Covid-19 restrictions reverberates.Businesses in the services and retail sectors accounted for almost three-fifths of those showing distress, said Mazars. Sectors allowed to reopen were faring better, with construction and manufacturing businesses making up 7.9 per cent and 6.7 per cent of those in distress respectively.

Millions of businesses across the country are struggling, yet many are not taking the latest version of government aid: a second round of Paycheck Protection Program (PPP) loans. This is not happening because businesses are better off than they were last year; it is because the PPP still contains structural blockers that are stopping businesses from obtaining the aid they urgently need.

A recent survey by the Federal Reserve Bank found that 30% of U.S. small businesses — totaling 9 million — fear they will not make it through 2021 without more government assistance. And yet, many are not applying for aid. The Small Business Administration (SBA) reports that seven weeks after round two of PPP began, nearly half the funds remain, and only 31% of 2020 PPP loans have been forgiven to date.

With the tax filing deadline approaching, make sure your company is getting all the assistance available from government programs. For instance, that means checking that you've fully utilized the Employee Retention Credit (ERC), the refundable tax credit designed to make it easier for businesses to keep employees on the payroll.

The credit is getting extended as part of the American Rescue Plan Act, the $1.9 trillion relief package just signed by President Biden. Originally scheduled to end on June 30, ERC will continue through year end, giving business owners access to as much as $33,000 per employee in incentives.

How the credit works, depending on the time frame
First half of 2021:

Eligible employers can claim a refundable credit against the employer share of Social Security tax equal to 70 percent of a full-time employee's qualified wages paid--including certain health plan expenses--from January 1 through June 30, 2021. The maximum ERC amount available is $7,000 per employee per quarter or $14,000 for eligible wages paid in the first half of 2021.

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From a larger tutorial on Common Lisp Programming Style, comes a nice list written by Peter Norvig & Kent Pitman surveying "where your 'Style Rules' come from":

• Religion, Good vs. Evil "This way is better."
• Philosophy "This is consistent with other things."
• Robustness, Liability, Safety, Ethics "I'll put in redundant checks to avoid something horrible."
• Legality "Our lawyers say do it this way."
• Personality, Opinion "I like it this way."
• Compatibility "Another tool expects this way."
• Portability "Other compilers prefer this way."
• Cooperation, Convention "It has to be done some uniform way, so we agreed on this one."
• Habit, Tradition "We've always done it this way."
• Ability "My programmers aren't sophisticated enough."
• Memory "Knowing how I would do it means I don't have to remember how I did do it."
• Superstition "I'm scared to do it differently."
• Practicality "This makes other things easier."

( via Common Lisp Tips )

I'm finally experimenting with writing macros in clojure. Learning macros is (for me at least) a 4 stage process:

1. Learn to use them (pretty straightforward)
2. Learn to read their implementations (including the quoting)
3. Learning to write them (in progress)
4. Learning when to write them (in progress)

Those last two are iterative; #4 is especially tricky -- the web is full of general considerations ("when a function won't do", "when you want new syntax", "when you need to make decisions at compile time", etc) - but actually making that judgment in practice, takes... well practice.

Hence this exercise. Anyway to the code:

Clojure offers the if-let and when-let macros that allow you to combine a let block with testing the binding for nil:

(when-let [a (some-fn)]  
   (do-something-with a))

(if-let [a (some-fn)]  
   (do-something-with a)  
   (otherwise-fn)) 

I found myself (on some real code) wanting to be able to do something similar with try:

(try-let [a (some-potentially-exceptional-fn)]
  (do-something-with a))

(try-let [a (some-potentially-exceptional-fn)]
  (do-something-with a)
  ArithmeticException ((println (.getMessage e)) 42)
  :else (do-something-by-default-fn)
  :finally (println "always"))

etc.

So I wrote this (non-hygenic) macro that seems to do the job:

(defmacro try-let [let-expr good-expr & {fin-expr :finally else-expr :else :as handlers}]
  (letfn [(wrap [arg] (if (seq? arg) arg (list arg)))]
  `(try (let ~let-expr ~good-expr)
    ~@(map #(apply list 'catch (key %) 'e (wrap (val %))) (dissoc handlers :finally :else))
    ~(if else-expr `(catch Exception ~'e ~else-expr))
    (finally ~(if fin-expr `~fin-expr ())))))

Thing is... I don't if it's a good idea or not. For one thing its not hygienic (it implicitly declares e that can be used in the handler clauses) though this seems the kind of case that sort of thing is for.

For another... I don't know if its correct. It seems to be (I've tested all the scenarios I can think of), but this is kinda like security -- I suspect anyone can write a macro that they themselves can't break, but that doesn't mean its correct.

Some things to note: - e is available to handler expressions
- the local function wrap allows for a complex expression or single value to be spliced in
- any number of handlers can be included
- ':else' (default) handler and ':finally' handlers are optional (as are any others!)

In short: I'm interested in any opinions/feedback that aim at learning steps 3 & 4 (writing and when to write). Fire away!

The Python Challenge is a nifty site that presents you with a series of puzzles that it asks you to solve using python; getting each answer allows you to move on to the next puzzle.

Python is a cool language and it's a good tool for this job¹ However, I'm learning clojure right now, so I thought it would be fun to try and solve a few of them in clojure. Here's my answers for challenges 0 thru 4 (warning: if you want to do these puzzles yourself, reading further now might ruin the fun)

Challenge #0 (the "Warmup")

Asks you to solve 2 to the 38th power:

(clojure.contrib.math/expt 2 38)

i.e. just use the exponent function in clojure contrib.

Challenge #1

This one throws some scrambled text at you and a clue on what the key is (ROT 2):

(defn translate [text]
  (let [lookup (vec (map char (range 97 123)))]
    (letfn [(letter? [c] (and (>= (int c) 97) (<= (int c) 122)))
            (shift-2 [c] (mod (+ 2 (- (int c) 97)) 26))]
      (apply str (map #(if (letter? %) (get lookup (shift-2 %)) %) text)))))

Create a lookup table of the chars, a predicate to test if a char is a letter. & a function to get the index of 2nd to next letter (the index loops, essentially making lookup as a ring buffer), then map across the given text, shifting by 2 if its a letter or just returning the char if its not.

Challenge #2

This one throws a big hunk of random data at you and suggests you pick out the 'rare' characters:

(defn filter-file [path]
  (let [fs (line-seq (clojure.contrib.io/reader path))
        lookup (set (map char (range 97 123)))]
    (apply str (mapcat #(filter lookup %) fs))))

A quick visual scan of the text led me to a strong hunch the "rare"² characters were lowercase alpha, so:

Re-use our lookup table from the last challenge; this time make it a set, then use the set to filter each line of the file denoted by 'path' (I first saved the text to a file to make it easier to work with); use mapcat to flatten the lines out (this has the effect of stripping empty lines altogether); apply str to the resulting sequence to get the answer.

Challenge #3

This one's a big hunk of text too, so a quick refactoring of our last solution results in a more abstract (and higher-order) function that takes a filter function as an additional parameter:

(defn filter-file [filter-fn path]
    (apply str (mapcat filter-fn (line-seq (io/reader path)))))

the filter from challenge #2 thus becomes an argument; partial works nicely here:

(filter-file (partial filter (set (map char (range 97 123)))) "path/to/file")

Now we can make a new filter for challenge #3. This one will need to find character patterns that look like this: ABCxDEF. We'll need grab x. This one just screamed regex at me, so here's a filter that gives us the answer:

#(second (re-find #"[^A-Z][A-Z]{3}([a-z])[A-Z]{3}[^A-Z]" %)))

An anonymous function³ that uses re-find to match: "not-cap followed by 3 CAPS followed by not-cap followed by 3 CAPS followed by not-cap"; the second element of the resulting vector (because we use parens to create a group) produces x; mapcat et al do the rest.

Two big assumptions/limitations here: assumes each target is on its own line, and that the target pattern wasn't on the beginning or end of the line (which was good enough to get the answer).

Challenge #4

This challenge requires one to follow a url call chain, passing a different number as the argument to a 'nothing' parameter each time. The resulting page text provides the next number to follow (and/or some noise to keep you on your toes) until eventually we get the answer.

This one gets kinda ugly.

This is the kind of problem scripting languages are made for (e.g. perl, python & ruby coders would all make short work of this problem). Still, it's possible to write procedural code in clojure, and it's still reasonably straightforward.

One decision I had to make is how to GET the url's - my weapon of choice for this sort of thing is clj-http:

(require '[clj-http.client :as client])
(require '[clojure.contrib.string :as string]

(defn follow-chain [base-url number]
  (let [result (:body (client/get (str base-url number)))
        idx (.indexOf result "and the next")]
    (cond
      (re-find #"^Yes" result) (do
                                 (println result)
                                 (follow-chain base-url (/ (Integer/parseInt number) 2)))
      (= -1 idx)               result
      :else                    (let [result-vec (string/split (subs result idx) #" ")
                                     next-number (last result-vec)]
                                 (println result)
                                 (recur base-url next-number)))))

Take the url as a base & the first number to follow; use client-http/get to grab the page; extract the body of the page; get the index of the phrase "and the next" using the java "indexOf" method - we'll use the index later to parse out the end of the text and get the next number...

...unless of course, we get text that tells us something else (like a message saying "Yes" and then instructing us to divide the last number by two and continue on as before) so...

...we set up a switch using the cond macro: If the result starts with "Yes" make a recursive call dividing the last number by two; if indexOf otherwise came up empty, that's our answer, so return it; else pick the next number out of the result by splitting the end of the string into a vector (using clojure.contrib.string/split) and recur (tail recursively call the function again).

The println's could be removed, although they were essential when figuring out what the code needed to do.

Conclusion

This was a fun exercise; clojure's holding up pretty well so far, though clojure would not be my weapon of choice for that last one; if I choose to do the next five, I'll post them in a future article.

Footnotes

"I am not a good manager."

I say this to people often, and most of them think I am joking because... well, because people don't say things like that about themselves if they're true and also, I have cultivated some skill in building strong teams that accomplish what they are asked to do. [1].

But I am serious when I say that. for three reasons:

1. I really have to work hard to do the organizational parts of a manager's job (the reports, the budgeting, the note taking, the meetings, the scheduling, the selling of initiatives, etc)... and I don't enjoy any of it.
2. I don't do well at optimizing for efficiency.
3. I don't have much use for roles, particularly ones that tend to specialize activities and artificially segment the work needed to solve the problem (and the skill set of those seeking to do so).

Like most programmers, I suck at estimates, I am motivated first by a need to solve interesting problems, and only secondarily at reaping the benefits of doing so, and I have zero desire to "be in charge of others." I also hate process for process sake and generally piss off any project managers foolish enough to work with me (though I am good friends with several).

So, how do I build teams and software? By treating efficiency - and even the primary goal of the team - as a secondary effect, and optimizing instead for... for what?

Well, until recently I had been (in my head, because I didn't feel too comfortable saying this out loud) using the word: "happiness." Of the members of the team, of my boss, my employer, our customers and (importantly, but until recently neglectedly) me. Make all of these folks happy, and everything just works.

Uncomfortable because this is a tough sell to accounting-type folks - and anyone who prepares budgets. "Naive", "Crazy" and "Ridiculous" are what I expect to hear. And the reason I expect to hear it is because it seems really risky - even terrifying - to them when I say anything that implies I'm not thinking about cost and value and ROI, and all those other business terms.

But I am. I'm thinking about them all the time. I just don't agree with them on how to optimize them.

Also, "happiness" is not quite right: some people are quite happy to do nothing, others are only happy when they are padding their egos at the expense of others, and a whole lot of other types of "happiness" that I don't optimize for. No, it's a specific kind of happiness - especially inside the team - that I am trying to maximize. Joy of doing one's best, professionalism, craftsmanship, cultivating flow, the need for slack. All dancing around it. All not quite it...

I recently mentioned here (and on twitter and facebook) that I'm re-reading Zen & the Art of Motorcycle Maintenance by Robert Pirsig. And it's blowing me away. Again. I read it a really long time ago - so long ago, that I had forgotten all of the details and only remembered: "That book really moved me and shaped my thinking."

What's been blowing me away is realizing how much it has done that. And so, I've been expecting for days now to find in it somewhere something that supported my view since Pirsig's focus on Quality and Care (not to mention technology) are very similar to my feelings of "optimize for happiness." But it still hadn't felt quite right yet...

...until, today. And I found it: The Greek word: Aretê (translated as "virtue" or "excellence") is a central part of any course on Greek philosophy and I had several classes in college where it was discussed. I was waiting for it to come up in the book (it doesn't until chapter 29) and when it did, I realized I was getting closer. Then, this quote:

"Aretê implies a respect for the wholeness or oneness of life, and a consequent dislike of specialization. It implies a contempt for efficiency - or rather a much higher idea of efficiency, an efficiency which exists not in one department of life but in life itself." ~ Pirsig, Robert M. (2009-04-10). Zen and the Art of Motorcycle Maintenance (p. 360). Harper Collins, Inc.. Kindle Edition.

And like a key fitting a lock, there it was: I believe that teams (organizations!) should be optimized for Aretê; that teams should be staffed with those who - like Hector the tragic hero of ancient Troy - seek excellence (in their work and in achieving the team's goals) for it's own sake and are not happy unless they are free to pursue it; and finally that the team's success (which will still be a function of external perception of value) will be a natural outgrowth of this process and any attempts to shortcut it (e.g. in the name of efficiency) will actually serve to reduce the team's effectiveness.

With this compass in hand, I can see now that what at times appeared to be random objections to process changes and my novel (some would say crazy) alternatives and experiments over the years have really been about trying to keep everyone focused on maximizing the ability to pursue excellence.

So, now I'm saying it: If you want to build great teams who reliably ship results: Don't optimize for efficiency, optimize for the pursuit of Aretê.

[1] Those who've worked with me on those teams can attest, I've done so by getting the team building part - and my role in it - wrong a lot, but learning from it.

After an amazing amount of procrastination, I've finally managed to redesign the site. All old links still work (if they don't, please let me know by emailing me at 'bill at this domain name').

Why? Two reasons: 1) I found my old layout limiting for what I want to do and, 2) Something in my toolchain got borked and I wasn't able to update my main page. This last one was a godsend because I decided that - rather than troubleshooting the problem, I'd put that energy toward my redesign.

Notable changes:

• No more MovableType. I got a lot of mileage out of using MT, but in the end I hated having to use a database to store what is essentially static data. Furthermore, the templates and even writing of entries was a bit too much of a flow-mismatch. I wanted to write copy and edit layout in vim and just push the changes to the server. Now I'm using docpad and I have pretty much exactly that workflow

• My "Thoughts on..." blog is no longer the main page. Right now, the main page is pretty sparse, but as I add more projects (I have some in mind, it'll start to fill up some more. For now, it's an easy way to get at some of the more popular material on my site, and...

• My dabbling in Fiction. A few years back I started writing flash fiction under my middle name ("Edward"). I haven't in a while, but I hope to start again. So, now that's here too.

• Total style overhaul. Hope you like it, because I'm sticking with it for a while. My goal was minimalism. This site has always been about what I write. Therefore I want to make it easy to find the stuff here and read it with no distractions.

• No comments. This may change at some point (I had embedded Disqus but removed it) as I'm going with the Oatmeal Philosophy - I'm struggling against several years of writers block. Feedback can be great, but it can also demotivate. I need to avoid demotivators as I ramp this up.

That's it now that I have put everything I could see I needed in place, I'm outta excuses. Whether that means I'll be writing more, we'll have to see...

Played an interesting practice game last Friday (1/12) evening with one of my fellow DRW chess teammates, Oliver Gugenheim. After my stupendous blunder last week, I'm interested in playing some practice games - both to drill my pre-move thinking process, and because there's nothing like a bad loss to motivate one to start playing again...

Oliver and I wound up exploring a sharp line of the French defense - an opening I have historically not enjoyed playing as white, and so had started learning more about the past week. Oliver (without us discussing it) obliged me by playing a line I had looked at that day so we went a good way into the "book" before (very quickly thereafter) reaching crazy territory.

The most interesting bit tho, is actually black's move: 9. ... f6. The conclusion I got from this analysis, is that 9. ... f5 is better (see below for more) and so this was a useful game for this analysis alone...

All in all, it was interesting to play, and gave me the opportunity to practice the things above... and it gave Oliver a chance to fend off a ridiculous attack (which is always satisfying if a bit scary at times). Here's the game and my notes (Time Control is G30 with 5 second increment):

And so, QED on this idea. My conclusion: better off building an attack here as White's got the ball. Also, for a bishop sac to have any chance, white really needs another piece. Perhaps once the f-pawn were advanced and White has castled, the possibilty of lifting a rook with tempo might be enough to give the sac some teeth. It'd be interesting to see if I can find any Winawer games with a bishop sac on h7 (if I do, perhaps I'll write a follow-up; regardless, looking at how White attacks here should be fun.)

When testing functions, one tests: evaluation result side-effects (if any)

When testing macros, one may also wish to test: expander code expansion

All requested features delivered. Speculation avoided. Mindful of our tendency toward completeness, necessary code is added, unnecessary code is removed. Refactored.

Implementations incomplete - shadows of the their real-world counterparts, yet precisely the functions and properties required. The desire to add more, tempered by the satisfaction of not doing so.

Technique and knowledge are increased to decrease their application.

Simplicity.

I posted that on the WabiSabi page of the c2 wiki on or about October 28th, 2002.

I typically feel the same about my old writing and my old code ("what was I thinking?"), but I like this (even if it is a bit pretentious); especially the line about Technique and Knowledge. It cover many of the forces that need to balanced to ship software consistently.

Happy Friday.

 It's a beautiful day in mid-Autumn on Skye and I'm not sure where the year went. This house came with an enormous walled meadow, which my neighbours use to keep their sheep in, and an ancient orchard. About seven years ago the orchard was flooded, and we lost all the redcurrants and gooseberries and rhubarb and such, but most of the trees survived, and there are apples and plums and pears still growing on them.

I'm very aware that on Skye, beautiful weather can be replaced by weeks of rain and gale-force winds, so I went down to the orchard and clambered up a ladder, and picked all the pears I could reach, disturbing a tawny owl, who flapped off somewhere it wouldn't bothered by people randomly climbing its trees.

And now I'm sitting and writing this outside. It's too chilly really to write outside, but it's possible, and it won't be possible soon, and that means a lot.

There are two new books out -- one came out last week, one comes out this week.

PIRATE STEW was published first, illustrated by the genius Chris Riddell. Here's me reading the opening and talking about how the book came into existence...

It's 2021 in some places already, creeping around the planet. Pretty soon it will have reached Hawaii, and it'll be 2021 everywhere, and 2020 will be done.

Well, that was a year. Kind of a year, anyway.

When my Cousin Helen and her two sisters reached a displaced persons camp at the end of WW2, having survived the Holocaust by luck and bravery and the skin of their teeth, they had no documents, and the people who gave them their papers suggested to them that they put down their ages as five years younger than they were, because the Nazis had stolen five years from them, and this was their only chance to take it back. They didn't count the war years as part of their life.

I could almost do that with 2020. Just not count it as one of the years of my life. But I'd hate to throw the magic out with the bathwater: there were good things, some of them amazing, in with the awful.

The hardest moments, in retrospect, were the deaths, of friends or of family, because they simply happened. I'd hear about them, by text or by phone, and then they'd be in the past. Funerals I would have flown a long way to be at didn't happen and nobody went anywhere: the goodbyes and the mutual support,  the hugs and the tears and the trading stories about the deceased, none of that occurred.

The hardest moments personally were walking further into the darkness than I'd ever walked before, and knowing that I was alone, and that I had no option but to get through it all, a day at a time, or an hour at a time, or a minute at a time.

The best moments were moments of friendship, most of them from very far away, and a slow appreciation of land and sky and space and time. In February 2020 I'd been regretting that I knew where I would be and what I would be doing every day for the next three years. Now I'd been forced to embrace chaos and unpredictability, while at the same time, learning to appreciate the slow day to day transition that happens when you stay in the same place as the seasons change. I was seeing a different sunset every night.  I hadn't managed to be in the same place, or even the same country, for nine months since... well, probably when I was writing American Gods in 2000. And now I was, most definitely, in one place.

I had conversations with people I treasure. Some of them were over Zoom and were recorded. Here are the two conversations that I felt I learned the most from, and I put them up here because they may also teach you something or give you comfort. The first is a conversation with Nuclear Physicist and author Carlo Rovelli, moderated by Erica Wagner, about art and science, literature and life and death:

It took a lot of work, but I'm happy to say that, after 9 months of missing each other, Ash and I are reunited. Lots of happy tears. I'm humbled and grateful to be here.  Photo by Amanda Palmer

Many, many years ago (it was Hallowe'en 1989, for the curious, the year before Good Omens was published) Terry Pratchett and I were sharing a room at the World Fantasy Convention in Seattle, to keep the costs down, because we were both young authors, and taking ourselves to America and conventions were expensive. It was a wonderful convention. I remember a huge Seattle second-hand bookstore in which I found a dozen or so green-bound Storisende Edition James Branch Cabell books, each signed so neatly by the author that the bookshop people assured me that the signatures were printed, and really ten dollars a book was the correct price. 

I could afford books. Good Omens had just been sold to UK publishers and then to US publishers for more money than Terry or I had ever received for anything. (Terry had been incredibly worried about this, certain that receiving a healthy advance would mean the end of his career. When his career didn't end, Terry suggested to his agent that perhaps he ought to be getting that kind of advance for every book from now on, and his life changed, and he stopped having to share a hotel room to save money. But I digress.) Advance reading copies of Good Omens had not yet gone out, but a few editors had read it (ones who had bid for it but failed to buy it) and they all seemed very excited about it, and thrilled for us.

On the Saturday evening Terry left the bar quite early and headed off to bed. I stayed up talking to people and having a marvelous time, hung in there until the small hours of the morning when they closed the hotel bar and all the people went away, and then headed up to the hotel room room. 

I opened the door as quietly as I could and tiptoed in the dark across the room to where my bed was located.

I'd just reached the bed when, from the far side of the room, a voice said, “What time of the night do you call this then? Your mother and I have been worried sick about you.”

Terry was wide awake. Jet lag had taken its toll.

And I was wide awake too. So we lay in our respective beds and having nothing else to do, we plotted the sequel to Good Omens. It was a good one, too. We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published Sandman became SANDMAN and Discworld became DISCWORLD™ and there wasn't ever a good time.

But we never forgot it.

It's been thirty-one years since Good Omens was published, which means it's thirty-two years since Terry Pratchett and I lay in our respective beds in a Seattle hotel room at a World Fantasy Convention, and plotted the sequel. (I got to use bits of the sequel in the TV series version of Good Omens -- that's where our angels came from.)

Terry was clear on what he wanted from Good Omens on the telly. He wanted the story told, and if that worked, he wanted the rest of the story told.

So in September 2017 I sat down in St James' Park, beside the director, Douglas Mackinnon, on a chair with my name on it, as Showrunner of Good Omens. The chair slowly and elegantly lowered itself to the ground underneath me and fell apart, and I thought, that's not really a good omen. Fortunately, under Douglas's leadership, that chair was the only thing that collapsed. 

So, once Good Omens the TV series had been released by Amazon and the BBC, to global acclaim, many awards and joy,  Rob Wilkins (Terry's representative on Earth) and I had the conversation with the BBC and Amazon about doing some more. And they got very excited. We talked to Michael Sheen and David Tennant about doing some more. They also got very excited. We told them a little about the plot. They got even more excited.

I'd been a fan of John Finnemore's for years, and had had the joy of working with him on a radio show called With Great Pleasure, where I picked passages I loved, had amazing readers read them aloud and talked about them.

(Here's a clip from that show of me talking about working with Terry Pratchett, and reading a poem by Terry: https://www.bbc.co.uk/sounds/play/p06x3syv. Here's the whole show from YouTube: https://www.youtube.com/watch?v=j7OsS_JWbzQ with John Finnemore's bits too.)

I asked John if he'd be willing to work with me on writing the next round of Good Omens, and was overjoyed when he said yes. We have some surprise guest collaborators too. And Douglas Mackinnon is returning to oversee the whole thing with me.

So that's the plan. We've been keeping it secret for a long time (mostly because otherwise my mail and Twitter feeds would have turned into gushing torrents of What Can You Tell Us About It? long ago) but we are now at the point where sets are being built in Scotland (which is where we're shooting, and more about filming things in Scotland soon), and we can't really keep it secret any longer.

There are so many questions people have asked about what happened next (and also, what happened before) to our favourite Angel and Demon. Here are, perhaps, some of the answers you've been hoping for. 

As Good Omens continues, we will be back in Soho, and all through time and space, solving a mystery which starts with one of the angels wandering through a Soho street market with no memory of who they might be, on their way to Aziraphale's bookshop. 

(Although our story actually begins about five minutes before anyone had got around to saying “Let there be Light”.)

I mentioned that making Good Omens two is half of what I've been working on, and will be working on for next eighteen months, and I said I'd tell you soon enough what the other secret project I've been working on is.

It's this.

And I cannot tell you how happy I am to be making it, and making it in the way that we're making it.

Anansi Boys started in about 1996. I was working on the original Neverwhere TV series for Lenny Henry's film company, Crucial Films.

I loved a lot of what we were doing in Neverwhere. 25 years ago, it felt like we were doing something ahead of its time. 

Lenny and I went for a walk. Lenny grumbled about horror films. “You'll never get people who look like me starring in horror films,” he said. “We're the hero's friend who dies third.”

And I thought and blinked. He was right. “I'll write you a horror movie you could star in,” I told him.

I plotted one. I tried writing the first half-dozen pages of the movie, but it didn't seem to be right as a movie. And I was beginning to suspect that the story I was imagining, about two brothers whose father had been a God, wasn't really horror, either.

I borrowed Mr Nancy from the story I had not yet told and I put him, or a version of him, into AMERICAN GODS. 

In 2002 I was having lunch with my editor, and I told her the story of Anansi Boys, and said it was probably a novella. She waved her fork at me. “That is a novel,” she said, very certain. I was impressed enough with her certainty that I wrote the novel.

The creation and publishing of the novel is documented here on this very blog. Here's a useful bit, explaining its relationship to American Gods, and also explaining what Anansi Boys is:

https://journal.neilgaiman.com/2005/05/anansi-boys-question-of-day.asp

(For those of you who don't want to click, I talked about describing it thus:

My new novel is a scary, funny sort of story, which isn't exactly a thriller, and isn't really horror, and doesn't quite qualify as a ghost story (although it has at least one ghost in it), or a romantic comedy (although there are several romances in there, and it's certainly a comedy, except for the scary bits). If you have to classify it, it's probably a magical-horror-thriller-ghost-romantic-comedy-family-epic, although that leaves out the detective bits and much of the food. 

Which, oddly enough, is still a pretty good description.)

The book came out and was my first New York Times Number One Bestseller. 

https://journal.neilgaiman.com/2005/09/theres-first-time-for-everything.html 

(This is the Ukranian cover.)

A top Hollywood director wanted to buy the rights to Anansi Boys, but when he told me that he planned to make all the characters white, I declined to sell it. It was going to be done properly or not at all.

And then, about ten years ago, two things happened at the same time. Hilary Bevan Jones, a producer who had made a short film I had directed (called Statuesque) mentioned she'd love to make Anansi Boys as a TV series, and a man named Richard Fee, who worked for a company called RED, spotted me eating noodles in a London noodle bar, waited outside so he didn't seem like a stalker, and told me how much he loved Anansi Boys and that he'd love to make it into television.

I loved the TV that RED had made, loved Hilary and her team at Endor, and, unable to decide between them, suggested that they might be willing to work together. They both thought this was a good idea. 

Work started. Somewhere around 2016 I agreed to work on it to help it get made, but we all knew that we would have to be patient as I was writing and making Good Omens. And when Good Omens was in post production we began to move forward.  Amazon had loved making Good Omens, and were blown away by the viewing figures and reaction to it, and wanted to make more things with me, so Endor and Red now had a place to make it for. We put together a fabulous team of writers -- Kara Smith and Racheal Ofori and Arvind Ethan David, not to mention Sir Lenny Henry, who came on board both as a writer and as an Executive Producer to make sure that the soul stayed in it. (I'm writing the first and the last episode). 

Douglas Mackinnon agreed to co-showrun it with me, because I knew I never wanted to be the sole showrunner of anything again and after the Good Omens experience I would trust Douglas with my life and (which actually may be more important) with my stories. We planned to shoot it all around the world...

Paul Frift had been the producer of Good Omens during the South African leg of the shoot, and was indomitable, so we were very happy when he agreed to come on board as our producer.

And then in 2020 Covid happened. The Prime Directive of making Big Budget International television suddenly became “Don't Travel and Especially Don't Travel All Around The World. We Mean It.”

Douglas came up with a Plan to bring Anansi Boys to the screen that was audacious, creative and brilliant. All we needed to make it work was the Biggest Studio in Europe and access to an awful lot of cutting edge technology. 

The biggest Studio in Europe happens to be in Leith, outside Edinburgh. 

Before Covid, the plan had been first to make Anansi Boys, then immediately to make Good Omens 2. (Good Omens 2 was going to be shot in Bathgate, outside Glasgow.) That was the plan we were working on through most of 2020. Then, in September 2020, Douglas and I got a call from Amazon. “We've got good news and complicated news for you,” they said. “The good news is we are greenlighting both Good Omens and Anansi Boys. The complicated news is... well, how do you feel about making them both at the same time?”

So...

Anansi Boys is coming.

Hang on. I want to do that again in a bigger font.

Anansi Boys is coming.

I'd loved the pilot episode of Star Trek Picard, and talked to Michael Chabon about the director, Hanelle M. Culpepper, and he gave her a rave recommendation as someone who could tell a story and stay in control of the technology. We reached out to her, sent her the scripts and the novel, and she loved the project. Hanelle is going to be our lead director, and will direct two episodes.

Hanelle, Sir Lenny Henry, Hilary Bevan Jones and Richard Fee are executive producers, as are Douglas and I.  Hanelle,  Jermain Julien and Azhur Saleem are our three directors.

We will start to announce the cast soon (it's thrilling).  (The crew are, to me, just as thrilling.)

(But I'll give you one clue: one of our cast members was on a public event with me at some point in the last five years. The first thing she said when we met backstage was that her favourite book was the audiobook of Anansi Boys, read by Lenny Henry. And when I told her that there was a part in the book I'd originally written with her in mind, she was overjoyed. So when it became a reality, she was the first person I asked, and the first to agree.)

(The Anansi Boys image above is by Michael Ralph, our amazing production designer.)

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