Every business was considered small at some point in its history. Some go big, but some stay small and do quite well. The size of a business in common measurements (revenue, employees, locations) is less relevant than the size of your customer base and the corresponding loyalty of customers.

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Rae has posted a series of political stances that define a sort of moderate conservative manifesto. It hits everything from...

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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!

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.)

Work in clojure for any length of time, and you must get used to the idea that data structures are immutable. For programmers coming from imperative languages this can be jarring, (no loop counters? recursion? wtf?) but after a while, you start to get it, then you start to like it, then you start to rely on it - or at least I have.

To such an extent that it's jarring not to have them. After a recent javascript coding session, I tweeted: "clojure's immutability has forever spoiled me - destructive operations in other langs feel like bugs now."

This prompted Joshua Kerevsky to ask me via email to elaborate, as he has been talking about safety in programming lately. This is a revision of my answer...

Clojure¹ is safer (in this sense) because there are never any side-effects when working with data. Languages with side-effects on data (i.e. pretty much every other language I've used) require the programmer to keep a mental model of application state and/or adopt defensive programming styles to avoid bugs caused by them.

The idea is illustrated by these two examples (I used chrome console and the leiningen repl to run them):

javascript:

clojure:

Javascript arrays are mostly (but not always) manipulated via destructive operations such as sort(), while in clojure, the js array's closest analogue (a vector) is never changed by functions that consume it. It's this "mostly" vs "never" distinction that gives rise to a paranoid feeling that I might be breaking things if I forget something in javascript. I also need to learn more "tricks" to get things to work as I expect. To get the javascript version to behave like the clojure one, we must explicitly copy the array e.g. like this:

(bonus: try leaving the var off in front of the concat expression and see how "safe" this version is)

One could argue that it is simply bad form to write javascript and expect it to behave like clojure, but entire books have been written to explain to programmers how to avoid side-effect pitfalls in javascript - and the language is almost unusable without them.

In clojure, there's much less need² for this kind of "meta language documentation" - and none for protecting data. It's guaranteed not to change. In the example above, the most likely thing to trip up a programmer new to clojure is the need for doall (leave it out and nothing prints since map is lazy - in the repl you'll need to assign the output to see the difference - e.g. (def foo (listFruits fruits)). This is still a bug, but it's one limited to the function in question, not the entire code base.

So my conclusion is that clojure is safer because it has fewer (and much less dangerous) gotchas, the impact of mistakes is limited to the scope of the offending line of code (which will likely be a function or even a let block) and you never³ have to keep a mental model of how state is changing as the instruction pointer advances. It's all right there in front of you.

We all make mistakes, but in clojure, mistakes are limited to the context of the function and never due to implicitly mucking about with application state. This adds confidence when making changes, that is simply not there in languages that cannot make such guarantees.

^[1]Clojure is not the only language that features immutability of course - it just happens to be one I use a lot, and like programming in; nor is js alone in having side-effects; i.e. this isn't about championing clojure (or bashing js) it's about immutability, so feel free to substitute your [least] favorite languages as you see fit.

^[2] So far at least. Clojure is still young yet, but I don't expect it'll gain this kind of cruft, if for no other reason than because it won't share javascript's experience of being in the front-line of the browser wars.

^[3] Wanton use of clojure constructs such as ref, atoms & agents can of course lead to such an environment; however even so, clojure provides well-defined protocols for managing change. If the programmer still creates a state-management hell, that's on the coder - as are most problems in coding; no language can enforce safety, only make it easier or harder.

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 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

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.)

Hullo,

I just filmed a little unboxing-and-enthusing video. It's for the 25th Anniversary editions of Little, Big or, The Fairies' Parliament, by John Crowley. Illustrated (or rather, with Art by) Peter Milton. 

Thirteen years ago, I put on a Victorian Suit and a false beard and I read Dickens' prompt copy of A Christmas Carol at New York Public Library. It was a wonderful, sold out performance, introduced by Molly Oldfield, who told us all about Dickens's reading routine.

I looked a bit like this.

And the book looked a bit like this.

The reading of A Christmas Carol has become the most popular of the NYPL's audio downloads, and they repost it regularly. Here's the one from 2019:
https://www.nypl.org/blog/2019/12/19/listen-neil-gaiman-reads-christmas-carol

For years people have been asking if I was ever going to do it again. This year, back while the writers of the WGA were on strike, my assistant Rachael asked if I'd do it, and if I did, could she document it? I said yes, and it's becoming a thing.

It's going to be a Christmas Extravaganza, with carol singers and suchlike, signed books for sale and all sorts of goodies planned. I'm hoping we can get Molly Oldfield over to New York to introduce it once again.

When I was a boy, I saw Welsh actor Emlyn Williams being Charles Dickens on stage, a one man show I've never forgotten.

Here's the town Hall page for the 18th: https://thetownhall.org/event/neil-gaiman-performs-a-christmas-carol-12-18

Here's the page for the 19th: https://thetownhall.org/event/neil-gaiman-performs-a-christmas-carol-12-19

The ticket presale starts on Thursday Nov 2nd at 12 pm, and regular tickets go on sale on Friday at 10:00 am.

 I spent yesterday in Dallas, at the Heritage Auction headquarters -- I had decided to auction off some artwork and memorabilia to benefit two charities (The Authors Literary Fund and the Hero Initiative, which help authors/writers and comics creators who have fallen on hard times or who need help), and, just as importantly, I wanted to give something back to the artists whose art I was entrusting to new custodians. 

It seems to me fundamentally wrong and inequitable that art that artists sold for $50 or a hundred dollars thirty or forty years ago now sells for hundreds or thousands of times that amount, but the artists, most of whom are old, some of whom are no longer working or not working as they were, never see another penny. I decided the best way to change that would be to set an example, and show people another way of doing it.

Here's the New York Times article before the auction: https://www.nytimes.com/2024/02/23/arts/design/neil-gaiman-auction-collectibles.html?unlocked_article_code=1.Xk0.5PkB.9iQtuvn6Bwof&smid=url-share

And here's me in Dallas two nights ago, walking around the exhibition before the auction with Robert Wilonsky from Heritage, with guest appearances by my oldest friend Geoff Notkin, whose fault this all is: 

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Ein genialer Flashfilm, der das Ende der Welt beschreibt!

Fliege zum Unfallort, sammle die Verletzten ein und fliege sie zum Krankenhaus. Auch für bekennende Hasser der RTL-Serie unterhaltsam ;)

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