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Hello, foreign.
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I'm so glad you could make it! Please take a seat and get comfy, because we're about to get started.
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To start out, who exactly am I? Well, simply put, my name is Brandon. I recently started at Gusto as a principal engineer on the service modularization team, doing all manner of fun things with Ruby and explaining them later.
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Using a series of illustrated cartoon lemurs brings me to this talk today, so how about we skip the rest of that and go ahead and get started?
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Now, for those of you who aren't familiar with our adventurous young lemur, let's take a quick look back.
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This is Red lemur, and he has been on quite a few adventures over the years in programming through many different stories.
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It all started years ago with 'Reducing Enumerable,' a tale of a student named Red as he journeyed through the lands of Enumerable to learn the powers of reduce from several wise masters.
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Then it went on to a story of operations and capacity planning during the holiday seasons and scaling Christmas.
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There was that one time he showed up to conduct a symphony orchestra at RailsConf using the audience's cell phones and WebSockets in the Action Cable Symphony.
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Then on to an adventure deep in the darkest magics of the Ruby programming language with the dark lord Crimson and the Ruby Grimoire.
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This brings us right back to Christmas for 'The Night Before Code Freeze,' where we took 'The Night Before Christmas' and gave it a fun twist involving certain time-traveling lemurs.
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That was from RailsConf 2020, which I unfortunately had to drop but may resubmit again in the future.
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Returning with stories around the archetypes of expertise, we explore how to apply them to teams, mental health, and other such matters.
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Additionally, we discuss pattern matching using poker, and finally, we landed at this last talk at RubyConf with a few delightfully fashionable lemurs decorating Ruby.
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It’s safe to say our friend Red has gone on many adventures over the years, and I hope he will have the chance to go on many more.
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So, what exactly goes into a talk like one of Red's adventures? To start out, we need to build a foundation.
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The first part of that process for me is the story. You see, art is great, but what really ties it together is a good story.
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A good story involves a trial, a victory, a challenge to overcome, and a lesson to be learned. It can transport us to another world, give us wings to fly, and let our imagination soar.
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It awakens creativity and possibility in our minds, igniting hope. Stories have this wondrous power to ground abstract ideas in reality that we might not have thought possible before.
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For me, every good talk starts with one of these stories, and every picture helps me tell that story.
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It could be about anything, and frequently I have a story before I even have a technical concept I want to discuss.
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Perhaps it’s a detective noir, maybe a musical, getting lost while traveling, or perhaps even a trip to Wonderland or through space and time.
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There is no real limit to the amount of stories that can be told. The easiest stories are thematic.
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For example, date and time can be tied to something like Doctor Who, or sea extensions can relate to a pirate seafaring adventure, with a few sea shanties thrown in for fun.
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After all, what can you get away with? That's kind of the challenge, isn't it?
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The nice thing is that sometimes those themes can help you refine your competencies and guide example code into something more concrete, giving audiences something to grasp onto.
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Perhaps the stories I shared when I went to RailsConf two years ago to conduct a symphony orchestra on the audience's cell phones to play Beethoven 6 can help illustrate this point.
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There are a lot of things you can get away with if you have a good story to tell and a good call for papers (CFP) to sell it.
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Now, stories are well and good, but these are programming conferences filled with serious programming people.
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They take programming incredibly seriously; just look at me! I'm a bastion of seriousness—no jokes aside.
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How do I go about choosing a technical subject to weave a tale around? Well, there are a few things I keep an eye on.
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The first of which is I like to look at the current zeitgeist or mood of the day, if you will.
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Before Javier's talk, I thought approximately five people in the audience were going to get that, so thank you very much for introducing that, and my apologies to him and Allah.
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I also consider what tech I want to focus on, but it's not quite that easy.
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There are some topics I'd love to cover, but they would be far too complicated to get through in a single talk.
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Conversely, there are also topics that aren't complicated enough, although I find that's less of a concern than being too complicated.
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Entry topics are usually well received and not everyone at a conference is a highly experienced practitioner.
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Now speaking of complexity, you have to remember that you have 30 minutes, maybe 40 if you're lucky.
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That's much less time than you think because there’s only so much content you can put in a talk.
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When paired with some of the complexity of the technical subjects you're trying to tackle, there are a few rules I keep in mind.
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The first of these is the rule of three. Now, what do I mean by that?
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Let's say we have three main competencies: A, B, and C, all related to a single topic. Any more than that, and it becomes hard to fit in, and your audience retains information less effectively.
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Ultimately, it will feel like that talk is dragging. Frequently, each of these sections builds on the last, culminating in a conclusion that ties everything together.
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I have found that three is probably the best balance. Sometimes I might go a little more or a little less, but this is typically what I aim for.
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The second rule I adhere to is 5-25, which simply means five minutes for the introduction, 20 minutes on the core technologies, and five minutes for a conclusion to tie everything together.
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Now, I don’t always strictly follow this, but I often get close.
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If it's a 40-minute talk, I expand this layout, leading me to introduce concepts and to hint at additional lessons in the conclusion.
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Little breaks, expositions, jokes, and convenient drinks of water can sneak in just to give myself a few seconds.
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Now that we have the tech and the story, as with any software work, the next thing required is a plan to turn this into reality.
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We start with the Call For Papers (CFP) outline, which is a skeleton, the core central tenet of your talk.
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If you have the tech, your three competencies, and the story, you'll find that this is a lot easier than if you try to start from the CFP itself.
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That's why we emphasize building the foundation first.
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The abstract in the CFP is perhaps the hardest part for me to write because you're trying to distill an entire talk and capture the essence of everything you want to communicate in one or two paragraphs.
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This sets the tone of the talk and is perhaps the piece most likely to sell attendees and CFP reviewers on your talk.
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It's your hook, your introduction to the magic, the story to be told; it’s a window into your imagination, so make sure to polish it well.
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A good abstract often takes me several hours over the course of weeks to finalize.
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The abstract will definitely be influenced by the audience I wish to reach.
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For example, an introductory talk may have an extremely wide audience, applying to many people at the conference but may not be as interesting to a more advanced audience.
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Especially at a venue like RubyConf, where the audience tends to be more beginner, you'll have a larger audience.
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Now, an intermediate talk might combine some introductory information, making it harder for new members to follow what's going on, but it can dive deeper into novel techniques.
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At RailsConf, intermediate talks tend to take center stage, given the assumed knowledge within the Rails community.
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According to the 2020 Rails community survey, the vast majority of respondents have about four to five years of experience.
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An advanced talk is one everyone wants to give, but it's also by far the most difficult and typically attracts the smallest audience at the conference.
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Unless you're speaking at something like RubyKaigi, which is more familiar with that type of content.
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However, if it targets such a small percentage, you're aiming at a very small target.
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Even if you have the most amazing talk in the world, you're competing against exceptionally interesting people.
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This also makes it challenging to get the talk accepted.
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In any case, remember that you can't be all things to all people.
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You need to pick an audience, decide what trade-offs you're willing to make in communicating that subject, and how you intend to reach them.
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If you try to reach everyone, you're likely to reach no one, including the CFP reviewers.
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Then comes the outline, where you expand on the skeleton of the talk and what you intend to cover in each section.
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It can serve as either a well-drawn map or a difficult trudge.
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I personally try not to tie myself too tightly to this, as it tends to change as the talk comes together.
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As long as the core concepts are there, the rest will follow.
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The rule of three helps me focus on what I want to do here, as well as 5-25, which books in the core technology concepts with the story to tie it all together.
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This leads us to the last section, which would be the pitch.
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It's the final sell of the talk and for me, where I explain some of the thinking behind what may not be fully obvious in the rest of the CFP.
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That said, the more that is not obvious, the more trouble I'm likely to encounter with reviewers.
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As a previous reviewer of some of the CFPS here, the pitch is usually the last thing I consider when reading through submissions.
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Therefore, I need to be sold on it much earlier in the process, likely in something like the abstract.
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The talk should stand on its own by this point, with the pitch used for final clarifications rather than absorbing a lot of content that likely belongs in other sections.
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That rounds out the CFP process.
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The reason I spend so much time on the outline is that it serves as the skeleton that drives and storyboards my talk.
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I get a stack of index cards, set a timer for five minutes, and sketch out what I’d like each stage of the story to look like.
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It doesn’t have to be pretty; the goal is to get ideas on paper and visualize the talk instead of obsessing over minute details.
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It may turn out to be a horrid idea, I may rearrange everything, or I may completely change my outline in this phase.
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However, this definitely helps me refine my talk down. These are a small portion of the cards from my most recent talk.
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Sometimes I stick with my plan, and other times, I go in a completely different direction.
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Now, the big thing is keeping track of what exactly you're doing. I tend to use Google spreadsheets to keep track of everything.
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What I do is turn each step from the individual sketch to eventually slide decks.
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I use this to heavily budget my time and try to see how much I'm signed up for, which helps me see if I'm going overboard.
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This may compel me to drop art or some sections of the story to make it more realistic.
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You might notice the corner of my spreadsheet mentions a 100-hour time commitment; I’m not joking, and I wish I were!
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This does take a significant amount of time.
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This brings me to a very important point: if you get nothing else out of this talk, I want you to hear this: don't overcommit.
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I'm fairly decent at estimating how long a project will take, but this comes from a lot of practice and many years of experience.
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Things tend to take much longer than you think, and that can consume significantly more time than you can imagine.
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Therefore, focus on the core of your talk, getting the main message through first, and then add the flourishes—like icing.
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If you don’t keep a careful plan, you will find yourself unpleasantly surprised a few weeks before the conference.
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When I say 'plan,' I mean down to the day. Avoid signing yourself up for five hours of art the week before the conference!
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As that will be a very difficult thing to do, I know from experience.
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Make sure to know what you're signing up for and trim that down during your initial planning.
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I have learned this the hard way, and it can come back to haunt you.
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You don’t want a crash landing the week before the conference as you're trying to bring everything together.
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This brings me to the fun part: creating the lemurs themselves and the art surrounding them.
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In the old days, I would use pencil and paper for a lot of this work. I would start everything in a sketch pad before scanning it.
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By 'scanning', I mean I would take pictures of it with my phone and then transfer those to my iPad.
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Resolution didn't matter back then; pack it up, and congratulations, you have a digital sketch!
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Anyway, point being, with fashionable lemurs, I decided to take the leap and go completely digital for the first time.
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Now, all I use is an iPad, with the exception of the index cards, which is a habit that won’t die anytime soon.
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One important thing I always use is a matte screen protector to make it feel more like drawing on paper, as otherwise, my Apple pencil would slide around.
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The new version of the iPad made this much easier, especially with that matte protector to keep me on track.
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As for applications, this was one of the first talks I did with lemurs, and I originally used Adobe Illustrator Draw.
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However, that has since been deprecated, and I now use Adobe Fresco for my drawings.
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Its successor allows me to use vector artwork, which is very useful for creating stickers and scaling images.
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I could even create giant cutouts of cartoon lemurs, which surprisingly is quite affordable, although difficult to transport to and from conferences.
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I don’t think poor Red here survived the flights!
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Anyways, back to the tools! Let's take a brief look at the simplified process of creating Red, step by step.
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If you note the timestamps on the screenshot, it's because I kept locking my iPad while trying to take them.
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Normally, this process takes me about 10 to 15 minutes for a simple character.
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I start from a blank canvas using a vector brush, which allows me to scale things up to lemur size cutouts.
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In principle, I carry over traditional habits, like using blue pencil to lay out my initial sketch.
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This helps me see more clearly amidst the black inking and other phases of the drawing.
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From there, I create a new layer and start inking, meaning I fill it out with black ink to finalize the drawing along the blue outlines.
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The blue lines don’t need to be exact. They just provide a rough guide for what I'm creating.
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Once the base outline is complete, I fill in areas that will be solid black or white to prevent color overlap.
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Then I hide the blue layer, duplicate that outline layer, and now you’ll see why shortly.
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I begin color blocking by filling in the bottom duplicate outline layer with colors.
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I utilize the Hue, Saturation, and Brightness levels, which is one of my favorite tools in this application.
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For instance, if I need a darker orange tone for the outfit, I can adjust accordingly.
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After that, it's time to start shading the drawing.
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The cheat I typically use is to not color the entire area in. Instead, I draw outlines where shadows should go.
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Next, I use the Hue, Saturation, and Brightness sliders to darken those segments by about five to ten percent.
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I then fill that in to complete the look.
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I often utilize a color dropper, which allows me to grab tones from around the image and modify them to use them effectively.
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Honestly, I typically wing this process, and over time I will fix any inconsistencies in shading.
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An interesting trick is that I don’t just modify the saturation for shading; I also adjust the hue.
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For instance, I take a gold tone, shift it left a bit for an orange shadow, and decrease brightness.
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My rule of thumb is to select a warmer hue for shadows to add some grounding and cooler hues for highlights.
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This helps create distinct transitions.
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As for why I use duplicate outlines? Quite frankly, it's because I don’t like coloring inside the lines!
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This technique allows me to get close to the lines and fill in the rest.
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After this, I tend to hide the background and add layers to a group, which contains the outline, coloring, and hidden blue lines.
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This lets me manipulate all these layers together.
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For example, I may decide to center the character if there’s too much empty space and adjust the size accordingly.
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The iPad has a lovely feature called Export to Time-Lapse, which I often use to demonstrate my process.
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However, it doesn’t show which specific tools I used or the details on color and shading.
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That’s why we covered the previous section together.
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This entire process results in something that looks like this—a sped-up version of creating a complete lemur.
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I really do envy this speed; I wish I could draw that quickly!
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As for how I manage to create so many characters and organize them, there are often 200-plus slides in each of these talks.
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Sometimes with multiple scenes, character designs, and various elements, there can be a lot going on.
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To manage complexity, I ensure everything is well named for easy navigation.
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Let's take a look at this particular build. I start with the background, and subtly, you can see the foreground.
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This allows me to position characters behind or in front of elements in a scene.
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Every character is a distinct entity, which enables me to move them around, use keynote animations, or apply other techniques.
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This brings me dangerously close to animation, which I really shouldn’t do, considering how much time I already spend on these.
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Keep in mind, the principle rule of creating is to be lazy and reuse elements.
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In my first conference, I redrew 68 slides from beginning to end, which took way too long.
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Now, let’s look at this slide and consider how I approached it.
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Those who know me understand I absolutely hate perspective—even though I’ve tried repeatedly to mastering it.
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But I discovered a useful trick while playing Minecraft, where I trace perspective buildings in the game.
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Starting from the base, I trace and try to get an idea of how I want everything to look.
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As a result, I embellish trees, clock towers, buildings, and even add mountains.
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After shaping everything, I start color blocking and add shading, which includes some mood lighting.
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Finally, I add some ambient lighting to bring the scene together.
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All in all, that specific illustration took me about five to six hours to complete.
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I do wish I could draw that quickly, though!
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Let's move on to discussing how I organize slides for my presentations.
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As I mentioned earlier, I can sometimes have around 200 slides for my talks.
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Keynote allows you to nest slides, which helps keep track of sections and subsections.
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Once you reach that number of slides, it becomes a challenge to keep on track.
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Trust me, scrolling up and down while editing is a frustrating exercise!
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Now, how do I incorporate code into Keynote?
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You may recognize this from my past talks, where we discuss topics like prepending a module.
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With the layout of code on the slides, several techniques come into play.
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The title appears at the top left, which is particularly useful for viewers watching the presentation later.
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Often the title indicates exactly which section we are discussing, which is very helpful.
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Additionally, if a section is convoluted, I might include subtitles.
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The next feature is the focal character—each section has a core character presenting it, providing visual contrast.
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The background color of each slide corresponds to the color of that particular lemur.
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For example, an orange lemur will have an orange background, yellow for a yellow lemur, blue for a blue one, and so forth.
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Furthermore, the newest addition in my last talk is a subsection count, similar to a page number.
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This helps further distinguish sections within the presentation and serves as a cheat to remind me if I’m moving too fast or slow.
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Lastly, I include my Twitter handle so that people can find more resources I've shared.
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Together, these elements make it easier for viewers to navigate through the content.
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Moving our focus now to the right section where most of the magic happens.
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One common trick I employ is using an invisible rectangle drawn on the slide.
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This allows me to adequately center sections within that shape, which is essential for keeping slides organized.
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Alignment guides are incredibly handy here; otherwise, I'm left guessing at alignment and precision.
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Now, coming back to the code itself, I like to use Magic Move, which helps direct focus during specific segments.
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In part, this allows me to highlight the module first and then show the class method that has been prepended.
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Notice how the colors differ between the talk method in both the prepended module and the class. This is intentional.
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The colors represent a superset of syntax highlighting, which I refer to as concept highlighting.
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This adds clarity about which part of the code pertains to which section.
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One trick I utilize is to gray out sections that I'm not currently discussing, guiding the audience to the focal point of the slide.
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In this case, notice how the method is highlighted in red, indicating it comes from the Talkable module instead of the Lemur class.
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I also like to employ pseudo Ruby to illustrate values in this section of the code, which emphasizes how data flows through each step.
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Though some might inquire about the magic trick I used to achieve this, unfortunately, I break my own rules in this instance.
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I usually do the highlighting entirely by hand, and I should probably find a more efficient method.
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Now, a quick interlude: for those who recall, I do cartoon voices during my talks.
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Here’s a keyboard for reference; I’ll give you a brief demonstration using octaves.
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The scale ranges from zero to five, with zero representing very low growly voices, and five indicating high soprano.
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I am blessed with the range, remarkably spanning from F sharp zero all the way to A4.
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For those who have heard me sing karaoke, I boast quite a range, which comes in handy for cartoon voices!
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When I’m singing, I typically stay between bass and baritone, which is one to three on the scale.
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However, when it comes to mimicry, I can stretch my voice more broadly.
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But I must be cautious not to strain my voice, avoiding characters above four because of the toll it takes!
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Now let’s wrap things up with timing.
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Practice is key! It’s essential to go through your talk from beginning to end several times, noting anything unusual.
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You’ll be surprised at how much you catch each time you review.
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And if you can, set up a dry run because only focusing on slide transitions can lead you to miss key speaker notes.
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If you're only looking at notes, you'll miss slides—and vice versa.
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In a talk, minor mistakes will often go unnoticed to the audience, yet they'll continue to nag you for the next week!
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I try to avoid that situation!
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I usually go through my talk about 10 to 15 times before I deliver it live.
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Speaker notes help me pace myself and keep centered on the main theme and teaching points.
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Even though I've winged it a few times, sticking to speaker notes aids me in timing my delivery.
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One of the best pieces of advice I received about conferences is to use checkpoints.
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On my dry run, I keep a sheet of paper to record the time I hit each significant section.
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I repeat this three times to calculate an average for each key segment.
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This helps me adjust my speech pace throughout the talk.
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An essential part of this process combines with my 5-25 rule.
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That is, five minutes for storytelling, twenty minutes for core content, and five minutes for conclusion.
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Normally, if anything, I make up time in the outro section and come close to that 30-minute mark.
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Above all, have fun! The goal of these talks is to spread joy and inspire others to envision new possibilities.
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We should allow ourselves to dream and unconstrain our thoughts from the strictly professional.
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This is at the heart of the Ruby community; we’re meant to share joy and what gives us life.
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I look forward to seeing what makes you happy one day too.
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To wrap things up, it has been quite a journey over the last few years giving these lemur talks.
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I hope many more are yet to come.
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Feel free to find me on these various social networks, or follow along on anything else!
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As always, thank you to everyone who has supported me over the years.
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From reviewing slides and drawings to tolerating my late-night brainstorm messages, thank you for your time!
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With that, we'll call it good and say, 'Goodbye!'
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Foreign.
