Hi, all. Waiting is hard. So here are some pretty pics to distract you. 

Friday was the day I'd scheduled to take some time off, go for nice walk, and get some pictures of the fall foliage.

In typical 2020 fashion, it didn't go quite as planned… 

So I went with it.

Now for some pictures of inside things. I don't know about you, but this is a pretty stressful time for me, and I'm using every tool in my toolbox to stay healthy and well. One of those is — always — writing, and hardly anything gives me greater comfort than having fun with my writing tools.

I've explained before that I write by hand. Then, when I've written a sufficient amount that I start to worry about the house burning down, I transcribe my writing into a Word document, using voice recognition software. If you're curious about the kind of notebooks I've written in previously and what my writing used to look like — and if you're a writer who wants a reminder of how normal it is for writing to be hard — go check out my old post, Pictures of a Book Being Made. 

In recent years, I have some new tools.

Writing by hand has always been my way, even before I developed a disability that makes typing prohibitively painful. I'm left-handed, but not too long ago, after doing some realistic thinking about how much pain I work through on a daily basis, I began to teach myself to write right-handed, so that I can increase the likelihood I'll be able to write forever. 

Now, after much practice, I alternate between hands pretty regularly as I work. The right-handed writing is slower and messier, and my hand gets tired faster. But it's fine.

I've also started using smaller, lighter notebooks. This is partly to save my hands, and partly because the most recent books I've been writing feel different, and have been asking me for new supplies.

In particular, they're asking me for smaller, lighter, less intimidating notebooks — and stickers. :o)

I've been hunting for stickers that feel like my books. Stickers that match my characters, my plot, the feelings that imbue my story. Then, as I write, I plop the stickers onto the page… And it helps. It gives me ideas; it slows me down, so that my writing is more thoughtful; it gives me joy. 

I'll share some pictures of my stickers… And include, with some of them, samples of my right-handed writing, so you can see what I mean about that. Anytime you see handwriting, that's my right-handed work. And anytime you see a sticker created by an individual/independent artist, I have gotten permission to share it.

Here goes.

There's one more artist whose work I wanted to share, but I didn't get permission from her in time. Her Etsy shop is on a short break at the moment, but keep the shop of Helen Ahpornsiri in mind; she creates animals using pressed flowers and plants, and the results are beautiful.

And that's my distraction for today.

Everyone, give yourself a break over the next few days and then however long this takes. Try not to check the news compulsively; wear masks to protect the vulnerable; forgive yourself for being stressed out. And hang in there.

♥♥♥

There's still time to register for my virtual book events happening today and tomorrow. For those of you who receive my blog post as emails, your email got weirdly cut off yesterday right before all the event information. You also missed some photos of my notebooks while I was writing Winterkeep. Sorry about that. For event details and to catch up on what you missed, please visit yesterday's post on my Blog Actual! http://kristincashore.blogspot.com/2021/01/winterkeep-ish-stuff-for-release-week.html

Hi everybody.

The question I get most is: "Where do you get your ideas?"

Generally, when I'm asked this question, it's at a book event where it's difficult to answer, because… Well, the answer is long, and complicated, and hard to pin down, and most of the time, I don't really remember how it happened. When an idea starts to arrive, I get to work. I'm not paying attention to how it's happening, or how it would look to an outsider. 

But — a few weeks ago, a new book idea started knocking on the door of my mind. And this time, I decided to pay attention!

What follows is probably the most detailed explanation I'll ever give of where my ideas come from. More specifically, where this particular idea came from, because it's not always the same. But my experience of the past few weeks has been fairly typical for me, and I'll add that there are a few activities I need to engage in every single time, if I want an idea to take root. Namely: PATIENCE. LISTENING. And, LABOR. Book ideas require a certain honed receptiveness, and they require a LOT OF WORK. 

I'm yelling because I'm trying to push back against the idea that ideas simply come to writers. Yes, some parts of ideas come to writers. But when I first get a book idea, what "comes to me" probably comprises about 0.1% of what could properly be called a book idea. Often, it's little more than an inchoate feeling. With patience, listening, and labor, I transform the idea into something I can grasp, and work with.

I'll add that yes, we do hear sometimes of writers whose ideas "simply came to them," fully formed. I'm going to take a guess that (1) this doesn't happen very often, if ever, with books that have complicated structures or plots, and (2) writers who are blessed by ideas in this way probably have a long-honed practice of receptiveness.

Anyway. Warning upfront that this may be a little unstructured, because the process is a little unstructured. It's challenging to describe, and I'm still in the middle of it. But here's what my last few weeks have been like.

A few weeks ago, while watching a TV show that had a certain mood/aura that'd really sucked me in, I found myself drawn to the idea of a story involving three characters. I'm not going to tell you what TV show I was watching, and I'm not going to tell you anything about my three characters, because story ideas are intensely, intensely private. The first time I say anything publicly about it will probably be years from now, if and when this book is ever scheduled for release. But let me try to explain a bit about that moment when the first glimmering of the idea appeared. 

Like I said, I'd been watching a TV show when it happened. But my three characters weren't characters in that TV show. Nor did anyone in that TV show relate to each other the way my three characters seemed to want to relate. Nor did my three characters seem to live in a world like the world of the TV show. The TV show helped to launch the idea at me because of the show's mood and its feeling, and how much I cared about the people in it. But my idea? As is often the case, my idea came from something I saw missing in the TV show. Not missing because there was a flaw in the TV writers' story; I loved their story! But missing (for me and possibly only me) because their story was not the story I would have told.

I think that a lot of my idea seeds come from my adoration of other people's stories, but also from my noticing what's missing in those stories, for me. What story I would've like to have seen told; what characters the story lacked.

Anyway. So this idea of these three characters came to me. But when I say "idea of these three characters," already that sounds more substantial than it was. I knew they were three humans (or humanoids; I didn't know what genre the story was, so they could've been aliens on another planet, for all I knew. In fact, I actively considered whether they might have different biology than ours). I knew they cared about each other, but I didn't know in what way. I knew they were facing a challenge that would strain all of their relationships. I thought they might be grown-ups, but I wasn't sure. I thought I knew at least two of their genders, but I wasn't sure. I knew they lived in a world with magic, but I didn't know what "magic" meant in the context of their world. I didn't know where they lived, or when they lived (past? future? futuristic past? postindustrial future? any of about a hundred other possibilities). I knew a whole lot of things that the characters weren't, and that the world wasn't — which is another way of saying that my sense of what this story was was actually more defined by all the things I knew it wasn't. (Apologies if this is vague. I'm not being intentionally vague! I'll try for some concrete examples: I knew I didn't want to write a story where partway through, someone suddenly discovers they have an inborn power they didn't know they had. I knew I didn't want to write a love triangle. There's a certain kind of high-handed fantasy tone that I knew wasn't right for this story. But I didn't know what I did want yet at this point.)

Really, all I knew was that I seemed to be having an idea.

So, like a writer, I did what I needed to do: 

• I made space in my mind for receptiveness. (I scheduled uninterruptable alone time. I stopped listening to podcasts while I was out walking, and instead, just walked, so my mind could wander. I put aside non-urgent tasks for a while so that I didn't have the feeling of a to-do list hanging over my head. I gave myself permission to wool-gather, to become vague and absent-minded. I set three timers any time I cooked anything so I could feel free to forget I was cooking, but also not burn the house down. I remembered to thank my husband frequently for being willing to live with a space cadet.)
• I thought about what fertilizer might help the idea to grow, especially fertilizer in the form of books, TV, and movies. I put all other books, TV, and movies aside. (I kept watching that same TV show, and I also began reading almost exclusively one writer who had a narrative tone — and also subject matter — that helped me sustain a mood that felt concurrent with the mood of my own idea. Why does this kind of intake help? It keeps my mind in a story space, while also giving me something to bounce my own ideas off of. It's a kind of reading, or watching, that involves a state of constant interactivity and reactivity. Everything I'm consuming becomes about something else that I'm looking for. It's difficult to explain, maybe because it gets back to that inexplicable moment when new ideas form.)
• I made sure that every single time I had any new thoughts relating to my idea, I wrote them down. (This meant making reminders on my phone; sending strings of emails to myself; choosing a notebook where I began to jot things down; sending texts to myself on my husband's phone, if his phone was closer to hand than mine.)
• I looked at my schedule to give myself a sense of if and when I might have a few days soon to put my current writing project aside and give some true, devoted time to this new idea. (I was, and still am, in the middle of revisions of the next Graceling Realm book when this happened, and that was, and still is, my absolute first priority. As exciting and intense as a new idea can be, it can't unseat me from my current object of devotion.)

By chance, last week, I did in fact have some time away from my revision while it was briefly with my editor. I was able to devote an entire week to the new book idea. So, next, I'll try to describe what a week of intense idea-gathering looks like for me! (Though I should say that this will differ from book to book. It's been pretty clear to me from the beginning that this new idea is going to be slow to grow — planning this book will take way more than a week. In contrast, last fall, I found myself with a new and sudden book idea that coincided with the end of another project, so I had some free time and was able to sit down and hammer out the entire book plan, which took only a few days. I think this is because that book was shorter and less emotionally complicated than this new book will be, and was set in a less complex world. Also, at the time, I was absolutely thrumming with the adrenaline and momentum of having just finished a writing project, so book-planning became a way to channel that energy. Often these processes are subject to whatever else is going on in my life.)

So. My week of intense idea-gathering looked a lot like what I've already described — reading, watching TV, but now also with long hours of sitting staring at a blank page and/or lying on my back staring at the ceiling — but with a more specific goal. Namely, I was trying to figure out what my main questions were. For me, every book starts (and continues, as I write) with an extremely long list of questions that I'm trying to find the answers to, but it takes work to figure out what the questions are. The questions can be very different from book to book. And it's essential, at the beginning, to identify what the main questions are.

When I'm first idea-gathering, I use very short notebooks in which I scribble down all my random thoughts as they come (I like using these twenty-page notebooks from Laughing Elephant, because they're short enough not to feel intimidatingly important). Then I have one longer, thicker notebook which is for my more coherent thoughts — my more serious book planning. During my week of active idea-gathering, I came up with the following list of major questions, worthy of being written down in my thick, "serious" planning notebook:

MAJOR QUESTIONS.

• What is magic?
• How does bad human behavior manifest in this world? (for real *)
• Where/what culture does each of them come from? What family?
• How is society governed?
• Who is each of them — as a person and as a power manifestation?
• How is the narrative positioned?
• What is the plot?
• How do humans relate to the rest of the natural world?
• What is gender? (for real *)

* and by societal definition

As I began to hammer out my questions, I continued to read, watch things, and wool-gather, but with more intense focus. Because now I was also trying to answer these questions as they came. It was interesting to observe the order in which I began to find the answers. Not surprisingly, probably since my novels tend to be character-based, it was the character-based questions that drew me in first. “What is gender" in particular, because I have a sense that in this story, my characters' relationships to gender are absolutely integral to who they are, and I can’t get very far with a book plan if I don’t know who my characters are. I also started to gather some clues about their personalities and their strengths. Enough that after a couple of days, I got to the point where I suddenly knew I needed their names. Names ground everything, and they can also change some things; at a certain point, I can't make any further progress without names. I spent one entire day last week mostly just trying to figure out three people's names. Once I had the names, I was able to return to my questions.

Then, not too long after that, a moment arose where I knew, again quite suddenly, that what I needed next was at least the broad strokes of a plot. If I’m a little scornful about the concept of inspiration — because it’s a concept that dismisses how hard I work! — I do believe in intuition, and also in experience. Intuition and experience told me that I'd reached the point in my planning where the needs of my plot would hold the answer to a lot of my other questions. Like, how this place is governed; what constitutes bad behavior; and even some character things, like what culture each of my characters is from. Sometimes, once you know what needs to happen in a story, it becomes easier to picture the structure of your world. Because a plot comes with needs; once a plot exists, it limits some of your other options. For example, let's say your plot involves a particular kind of government-based corruption. Well, thinking about that corruption will probably start to show you some of your options for the structure of the government. Once you know the structure of the government, you might begin to understand who holds governmental power — which can lead to answers about how families are structured. Which can lead to answers about culture, which can lead to answers about the societal definition of bad behavior, etc.

So. I reached the point where I needed at least a sense of my plot. But: plotting is a HUGE job. I knew it wasn't something I could do in just a few days, and at this point I also knew that I was going to need to return to my revision soon. So, intuition told me that it was time to stop. Not stop being receptive; not necessarily stop reading or watching the helpful things; not stop sending myself emails, texts, and reminders; but stop trying to make any real, meaty, major progress on this book idea. I needed to save the job of plotting for when I next had a stretch of uninterrupted worktime. Maybe another free week or two somewhere, between other projects.

So, I did some final organizing of my notebook. I transferred things into it from other notebooks and I designating a huge number of empty pages in it for future plot thoughts and future character thoughts. I did this even though in this book, as in most of my books, I sense that character and plot will ultimately end up being the same thing, so it's not going to matter much which thoughts I file where. (In other words, most of my plot is going to spring from who my characters are, and many of my characters will spring from the needs of the plot.) But at this messy stage in planning, it's important to me to feel organized. The illusion of organization stops me from feeling as overwhelmed as I probably should be feeling. So I label things, and delude myself that I can contain this messy process inside a nice neat notebook ????. 

I organized my notebook, and then I put it aside. Today I'm still open to thoughts about my new book idea, but it's not my entire worklife anymore... it's more of a promise for the future. It'll probably be good to have it simmering on the back burner for a while. I'll be able to approach it with a new freshness when I sit down with it again one day.

So. I'm not sure how satisfyingly I've answered the question "Where do you get your ideas?" After all, this idea is still very much in progress. I figured out a lot of stuff last week, but mostly what I figured out is a long list of all the things I don't know yet. There will be many, many more workweeks to go before I'll be able to claim that I truly have an idea for a book. 

But this is my best shot at an answer to the question of where my ideas come from! I guess the point I want to convey is this: I don’t necessarily believe in inspiration. But I believe that sometimes a writer will start to get the merest sense of a story that's missing from the world, and find herself wanting to write that story. At that point, if circumstance allows her the time and space to enter a state that is extremely internally-focused and possibly involves a lot of intake (reading, watching other stories), or if not that, at least an extreme level of sensitivity and receptiveness, of seeing, of listening... And if she puts in the work… her idea-seed will start to take root, and grow into a real, workable idea that might one day be the beginnings of a book! 

And of course, every writer does this differently. Many writers don't plan or plot ahead of time. They figure out the idea as they write. So there's no right or wrong way to do it. 

But this is my best explanation of how I do it.

Godspeed to all writers.

Hi everyone! Just checking in with a nice announcement: I am once again signing/personalizing books via my local indie, Harvard Book Store. 

I no longer live around the corner from the store, so I expect to go in for signing and personalizing only about once a month or so — so please order ahead if you anticipate wanting something! Once I have more info about holiday deadlines, I'll come back and blog about that. In the meantime, feel free to go ahead and start ordering. Here is the link: https://shop.harvard.com/kristin-cashore-signed-copies. 

Notice the instructions at the top: When checking out, indicate in the comments field that you would like a signed copy. Include any personalization you'd like as well. I'm happy to honor requests to wish someone a happy birthday, good luck with their writing, etc., but please do note that if you ask me to write something I'm not comfortable signing my name to (!), I won't honor those requests. (Yes, I've occasionally been asked to write some head-scratchers...) ????

Hope everybody is doing well. I'll be back very soon with info about upcoming online events for Gareth Hinds' graphic novel adaptation of Graceling, which releases on November 16! And now I'll send you off with a picture from today, in Mount Auburn Cemetery.

I'm so very happy to announce that my next Graceling Realm book, Seasparrow, will release on November 1, 2022. Scroll down for my beautiful covers in the US and the UK! I'll also include links for pre-ordering at the bottom of this post.

Seasparrow is told from the point of view of Hava, Queen Bitterblue's secret sister and spy, who has the Grace of changing what you think you see when you look at her. In other words, the Grace of hiding in plain sight. In Seasparrow, Hava sails across the sea toward Monsea with her sister, the royal entourage, and the world's only copies of the formulas for the zilfium weapon Hava saved at the end of Winterkeep. As in all of my books, adventure ensues — the kind of adventure that will cause Hava to do some soul-searching. While Bitterblue grapples with how to carry the responsibility of a weapon that will change the world, Hava has a few mysteries to solve — and a decision to make about who she wants to be in the new world Bitterblue will build. Seasparrow was edited by Andrew Karre. Thank you, Andrew, for helping me help Hava find her wings!

Prior to today, I've only been talking about this book on Twitter, where I don't have a lot of space to say meaningful things. I have space on this blog, so here are a few non-spoilery bits of info about Seasparrow.

* Unlike my other Graceling Realm books, this one is told from the first-person point of view. Why? Because it was right for this book. Hava is a character who's so internal that often other people don't even know she's there. I suppose I can't entirely explain why, when I started writing, I knew I needed to write in first person, but maybe it's because in order to write about Hava, I needed to get deep inside, where she was. I don't think I've ever written a book from the perspective of someone so hidden before. And yet, from the start, Hava let me in. It felt like she was the one making the decision about what point of view we needed.

* Though the page count is higher (624!), the word count is not higher than any of my other Graceling Realm books. That's because Hava's story is told in a lot of pretty short chapters. That felt right for Hava and the way she processes things; again, it felt like she was the one making this decision. Short chapters have a way of creating a sense of empty space inside a printed book, which is an effect I've always liked, so I went with it.

* The interior art that Ian Schoenherr created for Seasparrow is spectacular. Maybe more than any of my books prior to this, I'm excited for the day when I'll have the finished product in my hands.

* Four years ago, I spent some time in the Arctic on a tall ship. I planned this book while I was on that trip. I started writing it the moment I got back. I could not have written this book were it not for my experience doing an artist residency with the organization The Arctic Circle. Here's a link to the blog posts I wrote about my Arctic experience, which are mostly compilations of pictures. Click on "More Posts" at the bottom to see them all.

And now for the covers! Here's the US/Canada cover for Seasparrow, which will be published by Dutton/Penguin Random House. Kuri Huang is the cover artist. Jessica Jenkins is the cover designer. And as I've already said, the interior will include beautiful art by Ian Schoenherr.

And here is the UK/Australia/New Zealand cover for Seasparrow. My editor at Gollancz is Gillian Redfearn. Micaela Alcaino is the cover artist and Tomás Almeida is the in-house designer.

Finally, here are some direct pre-ordering links! Seasparrow can be ordered in the US at:

Bookshop.org

barnesandnoble.com

Target

Amazon

And in the UK at:

UK.Bookshop.org

Waterstones

Blackwells

...and wherever books are sold.

Happy holiday weekend for those celebrating. And happy reading!

Here's how we built adaptive audio in Meet, which transforms multiple laptops in close proximity into a unified audio system so you can create ad-hoc meeting spaces IRL.

An overview on how we’re honoring and supporting Veterans — and helping everyone benefit from their skills.

We’re expanding flood forecasting to over 100 countries and making our breakthrough AI model available to researchers and partners.

Long COVID has made the last couple of months quite difficult for me. I supposed it’s inaccurate to say that slowing down has been hard for me to do, because I haven’t been given a choice in the matter. What’s been difficult is adapting, adjusting, and ultimately accepting the slow-down.

For those just catching up on the old news, I contracted COVID back in “wave zero,” the community-spread wave in late January of 2020 when none of us thought the virus was here yet. I was the father of the bride at a wedding whose guests included a family who had guests in their home who had recently arrived from Wuhan province in China. I got better, but I never got all the way better, and I’ve been dealing with chronic fatigue ever since.

The salient point: I want to do more than I am doing. I mean, sure, I want to do more than I am *able* to do, which is a pretty common desire among humans of all stripes, but especially among those whose abilities have been, for whatever reason, reduced in scope.

So what *am* I doing? Well, today I’m writing this, and then diving back into the marginalia for Book 18, which we can’t send to the printer until it has all its marginalia. A lot of the pieces are things like this one – concept sketches which I’ve revisited digitally and cleaned up so they look nicer.

The marginalia is a necessity born of the fact that Schlock Mercenary was not originally formatted for print. Comics should be written and illustrated to the page turn, with attention given to the reveal that occurs as the reader turns the page and uncovers the art and dialog of the next spread. I say “should” be because Schlock Mercenary definitely is NOT written that way.

When we put it into print, we can fit four regular-sized strips on a single page of the book. A week of strips has nine of these rectangular collections of panels, because Sundays have three, and those last three strips in the week need to all be on the same page. Since no amount of fudging the math will make 9 cleanly divisible by 4, a week of Schlock Mercenary takes up three pages of book, and those three pages have some white space.

Hence the marginalia. Sometimes a weekday installment is extra large, sometimes there’s a footnote, and sometimes I broke the pattern in other ways, and so sure, sometimes the white space has taken care of itself, but sometimes my layout shenanigans mean an entire half-page of the book needs a new picture.

So that’s what I’m working on. I wish I could do more, or do it faster, and maybe the booster shot I got two days ago will perk me up the way previous booster shots have, but I’m not going to wait for a cure before I get back to work. I’m just going to accept that I have to slow down.

As Yellowstone Season 5 Part 2 continues, fans are eagerly tuning in to catch each new episode. With Episode 9 kicking off Part 2, viewers are curious about the Yellowstone Season 5 episode release schedule and want to know how many episodes remain. Each installment builds suspense, showcasing the Dutton family’s battle for land and […]

The post How Many Episodes of Yellowstone Season 5 Part 2 Are Left? Schedule Explained appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Yellowstone recently started airing part 2 of its fifth season. It resumes the journey of the Dutton’s to protect their ranch triggering high-voltage drama and entertainment. However, the most shocking aspect of the season was the death of the family’s patriarch, John Dutton. So, who killed John Dutton in Yellowstone Season 5? Here is everything […]

The post Yellowstone Season 5: Who Killed John Dutton? Jamie, Sarah or Beth? appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

My latest short story is out in The Magazine of Fantasy & Science Fiction. When I first started writing short stories, back in the 90s, F&SF was one of the ‘big three’ that I really wanted to get a story in to cross off my bucket list. The big three were Asimov’s, F&SF, and Analog. […]

Here’s a thing I keep noticing, and it drives me nuts. In Italy, a ship captain is arrested for bringing immigrants to shore after rescuing from them near death at sea: The number of migrants reaching Italy’s shores has drastically diminished – just 2,800 so far this year – and the country is now led […]

This is too honest by far, and I wonder if it is perhaps unhelpful for me to talk openly about. Vulnerable is hard. But, I would have loved to have read this years ago, so let’s do this: I want to talk about how much I write, and my current experiment of writing 500 words […]

I've spent a month doing my best to help my community and prepare my household for Covid-19.

Ari Berman, the voting rights correspondent for Mother Jones, details how pro-Trump forces may try to throw out the results of the 2024 election if Kamala Harris wins, with a focus on the swing state of Georgia, the “epicenter” of Trump’s failed efforts to overturn the 2020 election results. “It’s very dangerous to imagine what people who don’t believe in free and fair elections can do when given the power to oversee those very elections,” says Berman.

In a major piece for Mother Jones magazine on “Why Ballot Measures Are Democracy’s Last Line of Defense,” voting rights correspondent Ari Berman discusses abortion ballot measures in 10 states, important down-ballot races in Wisconsin and elsewhere, and the movement to abolish or reform the Electoral College.

Donald Trump’s performance in the 2024 election surpassed expectations, with the candidate winning the key battleground states of Pennsylvania, North Carolina and Georgia and picking up larger shares of more diverse segments of the electorate, including Black and Latino male voters. Keeanga-Yamahtta Taylor, a professor of African American studies at Princeton University, says the blame lies squarely on the Harris campaign, which refused to differentiate itself from unpopular incumbent President Joe Biden. “The problem here is with the leadership of the Democratic Party,” adds John Nichols, national affairs correspondent for The Nation. Nichols and Taylor discuss how Democrats “demobilized” young voters and grassroots organizers, to their electoral detriment. “Donald Trump, as a president who has very few guardrails, has the potential to take horrific actions,” says Nichols. For those seeking to oppose him, says Taylor, “There’s a lot of rebuilding that has to be done.”

Donald Trump has made the mass deportation of immigrants a centerpiece of his plans for a second term, vowing to forcibly remove as many as 20 million people from the country. Historian Ana Raquel Minian, who studies the history of immigration, says earlier mass deportation programs in the 1930s and '50s led to widespread abuse, tearing many families apart through violent means that also resulted in the expulsion of many U.S. citizens. “These deportations that Trump is claiming that he will do will have mass implications to our civil rights, to our communities and to our economy, and of course to the people who are being deported themselves,” says Minian. She also says that while Trump's extremist rhetoric encourages hate and violence against vulnerable communities, in terms of policy there is great continuity with the Biden administration, which kept many of the same policies in place.

Incoming President Trump’s vow to deport millions of undocumented immigrants when he starts his term has sent private prison stocks soaring. Immigrant rights advocates, including our guest, the executive director of Detention Watch Network, Silky Shah, are preparing for the Trump administration’s threats of mass deportation, a central tenet of his presidential campaign. “The first Trump campaign was defined by the border wall, and this one is really defined by mass deportations,” says Shah. If the Biden administration wants to protect immigrants’ rights before Trump takes office, she adds, it must begin reducing detention capacity by “shutting down facilities now.”

The Hon'ble Karnataka High Court in the case of Hitachi Energy India Ltd. v. State of Karnataka and Ors. [Writ Petition No. 14111 of 2024 dated July 02, 2024] allowed the writ petition and further affirmed that the date of provisional acknowledgment for appeal filed would be considered as the date o

Microsoft's latest Windows 11 Insider Beta Build (22635.4445) introduces a hidden universal Share button, marking the company's ongoing efforts to unify the user experience and simplify file-sharing across devices. The feature was first identified by Windows enthusiast @phantomofearth on X (formerly

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Reliance Jio's ambitious rollout of its True 5G network across India is not just about faster internet speeds or improved connectivity. One of the less talked about, yet significant benefits is the potential enhancement of smartphone battery life. During the company's

Dear Experts,

In GSTR 1, under which table should we show the RCM amount on rent paid to an
unregistered Landlord.

Pls. advice.

The Income Tax Department has intensified scrutiny on dubious tax refund claims for the assessment years 2021-22 and 2022-23, issuing notices to multiple taxpayers across the country. ...

In a major boost to the Micro, Small, and Medium Enterprises (MSME) sector, the government has outlined ambitious credit growth targets, mandating scheduled commercial banks and Non-Banking Financial Companies (NBFCs) to extend additional credit of R...

For January, the most recent month for which data is available, the TCI came in at -1.71, a significant improvement over December’s -6.1 and November’s -7.94. That was preceded by October’s -11.25, its lowest level since the April 2020 all-time low, at -28.66. The September TCI reading came in at -2.35.

The American Trucking Associations (ATA) expressed what it called its “grave concerns” about media reports that the Environmental Protection Agency (EPA) may be on the verge of granting the state of California waivers to implement potentially harmful and unrealistic emissions rules on the industry. Under California rules, new Class 8 heavy truck models would be zero-emission next year. Diesel and gasoline-powered drayage trucks must retire after 18 years to guarantee that they meet a zero-emission requirement by 2035.

New materials would help the cars of the future survive cold snaps and other climate disruptions

Charlotte, a stingray in a small North Carolina aquarium, is taking a DIY approach to reproduction

New observations from the James Webb Space Telescope are exposing the pathways that water takes to reach terrestrial planets

These easy scalloped potatoes combine the creaminess of the classic side dish with the ease of frozen hash browns. You don’t even have to thaw them out! I thought I was finished writing about scalloped potatoes. I posted my first scalloped potatoes recipe in my second month of blogging, way back in 2006. Then ten...

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The post Easy Scalloped Potatoes (Vegan Hash Browns Casserole) appeared first on FatFree Vegan Kitchen.

Golden slices of summer squash and kernels of corn are baked in a creamy sauce and topped with bread crumbs in this Southern-style vegan squash casserole. It’s the perfect summer side dish. Hi, my name is Susan, and I’m a vegan. It’s been so long since I updated this blog that I only half-humorously feel...

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The post Vegan Yellow Squash and Corn Casserole appeared first on FatFree Vegan Kitchen.

Bathe “Avalon” “Avalon” is a song about wanting to be somewhere else. You can go a few different directions with that idea – like, you could focus on conveying discomfort, dissatisfaction, a burning desire to get out of your current setting. The R&B duo Bathe opted for evoking the place they’d rather be. The music […]

La Femme “Clover Paradise” “Clover Paradise” would fit in very well on the What Was Schaffel? playlist I made earlier this year, which collected electro-glam music from the early 2000s. I’m a sucker for this aesthetic, particularly the way a severe grayish palette and ultra-precise shuffle beat complements a lusty, perverted vibe. It’s like the […]

Katrina Ford “World On A Wire” I’ve been writing about songs most days of my life for over 20 years and one thing I’ve learned from this is that a lot of the music I love most resists description. And of course it does – music is ultimately an abstract medium, something that exists to […]

Some time ago, poor Keith found himself working on an antique Classic ASP codebase. Classic ASP uses VBScript, which is like VisualBasic 6.0, but worse in most ways. That's not to say that VBScript code is automatically bad, but the language certainly doesn't help you write clean code.

In any case, the previous developer needed to make an 8 element array to store some data. Traditionally, in VBScript, you might declare it like so:

Dim params(8)

That's the easy, obvious way a normal developer might do it.

Keith's co-worker did this instead:

Dim params : params = Split(",,,,,,,", ",")

Yes, this creates an array using the Split function on a string of only commas. 7, to be exact. Which, when split, creates 8 empty substrings.

We make fun of stringly typed data a lot here, but this is an entirely new level of stringly typed initialization.

We can only hope that this code has finally been retired, but given that it was still in use well past the end-of-life for Classic ASP, it may continue to lurk out there, waiting for another hapless developer to stumble into its grasp.