Marketing My Writing: Part II

The following is the second essay in a series (that I might or might not continue to write) exploring my own curiosity and dread at having to market my first novel.

“Like-Watching,” and Facebook Givers/Takers

Back in the day, there seemed to be only one real use for Facebook: the term “social networking” was broad, but it pretty much covered all the bases. You started an account for purely social reasons, whether that was to meet new people, or re-connect with old school friends, or keep in contact with those you barely see, or (somewhat nefariously) keep tabs on the social activities of others.

What drew so many people to Facebook originally (and what continues to draw them to the site) is that “pure social function” that I mentioned in my last post. Facebook really does have the potential to be an amazing force for good. How often would I talk with my cousins across the country if not for the social network? How  else would I be able to share pictures of my son with so many people who actually do want to see him grow, but who live states away?

Seen through another lens, however, Facebook also has the potential to be an impressively destructive force, one that produces crippling anxiety because you see it as revealing only emptiness and absence and disinterest and hate. The function for users is less about connection, and instead about personal revelation, the speaking of one’s mind, the sharing of ideas/ information/ life details that the user hopes the world will see and/or read. I won’t spend this post talking about how people share “hate” on Facebook: once again, just close your eyes and picture election season, or the gun control debate. Yeah, we know what hate looks like. (See Hello There, Racists for a visual.)

But what do I mean by “emptiness” and “disinterest” and “absence”?

When we see the function of Facebook as journal or autobiography, and our friends as our readers, we no longer care about connection, but instead about consumption and reaction. In other words, when I post something to Facebook (a status update, a photo, etc.), increasingly I have begun to measure its value by the number of comments that I get, or the number of likes. As I mentioned in my last post, these features allow us to see the tangible and immediate reaction not just to our writing (if, say, we write something funny about the Oscars) but to our very lives (if we post a major announcement). And here’s the rough part: too often, I measure value not by the accumulated comments and likes, the positive glass-half-full view, but by the number of comments and likes that I don’t get.

Yes, sometimes you’re too busy living your life to care about such things. When my baby boy was born and I uploaded my first photo with my son, I didn’t give a rat’s ass who liked it. (Hell, I was too exhausted to think about something like that!) Over a hundred people wound up liking the photo, or commenting on my wall, or whatever, and I genuinely appreciated it all, how much the world seemed to care about this milestone in my life…but I was immersed in the moment itself, and the posting of pictures and updates was an uncontainable outpouring that had nothing to do with audience reaction. I just wanted to share because I was happy.

But milestones are not a daily occurrence. If they were, then they wouldn’t be “milestones.”

So what of the times when you make a Facebook contribution and you’re not “too busy to care” how the world will react? When, say, you post a status update and a photo of your new haircut, and the “likes” are thinner than you’d expect? When you get zero comments? Maybe likes and comments are not intended to be validating votes, but that’s our current culture: we vote on American Idol and The Voice and a thousand other shows that I don’t watch, and—despite having zero credibility as critics—we write reviews on Goodreads and Yelp and Untappd and Flixster and imdb.com and Amazon. On Facebook, where there are no true “reviews” of a status update or photo, no real judges and no polls, isn’t the “like” our unit of measurement, our vote about what we find to be valuable/ important/ funny/ heart-warming/ etc.? All these status updates, and I chose this one to like.

The more you consider a tepid response to something you find important, the more you find yourself thinking about all of the people who could have commented or “liked” a comment and yet did not. You think: did my wife not see this? Did my brother not see this? Is the entire world “too busy to care” about looking at Facebook right now? Is the world more consumed with important things, and I alone am worried about the status of my status update? Do they all hate it? Oh God, what have I done to offend [Insert Name]?

When this becomes your state of mind, you start “like-watching.”

Some updates and photos and comments carry heavier weights than others, of course. If I post via Untappd what beer I am currently drinking, I really don’t care what sort of response I get (it’s usually an accident anyway, a failure to turn off the “post to Facebook” button on the application). Some postings might need only a single like to make you happy, a sign that someone in the world cared when you typed “Oh man, I’m tired. Rough day at work.” The “like” becomes the equivalent of a back-pat, or a hug, or a high-five, just real (albeit virtual) acknowledgement of your shared humanity.

For other postings, though, only the sheer volume of “likes” from across multiple target audiences will satisfy you. (i.e. “I posted a comment about my most fervent belief, and I stated it as eloquently as possible! Must get agreement, or I will think I didn’t get my point across!”) The more important your update, the more you need the approval…the opposite, after all, is disapproval (in your own mind, at least)…and when you being to suspect that the world has disapproved of you, you begin to experience regret: man, was it ever a mistake to post that comment about how bored I am! The world thinks I’m pathetic! The world thinks I’m frivolous! AHHHH!

You start setting mental goals for what you hope will happen: how many likes will it take to make you happy, how many shares, how many comments, and whose validation do you care about most, whose approval are you trying to win, whose goat are you trying to get? You start comparing your own update to those of friends and family and acquaintances: how is that [Insert Name] was able to type simply “Ugh. Traffic!” and get 78 likes, and yet you typed an update about losing fifteen pounds and only got 17 likes? Does this say something about you, about how little the world thinks of your weight loss, or maybe about how they all think you’re a liar, or maybe that they all think you should’ve lost that weight a long time ago so just shut up already! You like-watch, because Facebook is your stage and the world is your audience and no one wants to take a bow in silence.

*

Over time, the more you like-watch, you also start to realize that Facebook is a world of “givers” and “takers.” We all fall somewhere on a broad spectrum here.

On the one end, there are the givers, the Facebook users who are always quick to leave you a comment, as if they are constantly plugged in and waiting for the opportunity to interact and serve as the world’s counselor. From the giver, nearly every status gets a like, and as a result, scores of Facebook friends are affirmed in their beliefs, or their sense of humor, or their general satisfaction with existing, or whatever. God bless the givers.

On the other end, though, there are the Facebook “takers,” the friends who never respond to wall comments, to messages, who never drop you a like, but who still manage to consistently update the world on their own lives. The taker soaks up all the praise, all the affirmation, but never pays it forward; this is the person who fills his pockets at the “give a penny, take a penny” dish…

I can’t say whether givers “like-watch” more than takers. I’d like to think that they don’t, that they’re just generous and caring and understanding, that they’re not looking for everyone to reciprocate the gesture, that they are truly acting selflessly. I’d like to think that. I’d also like to think that I’m a decent friend to the digital world. But how many status updates and photos do I view each day, even if only casually as I wait in line for a Diet Coke and scroll through my phone to occupy the time? How many? And how many do I like? How many comments do I leave? Some, sure, scattered here and there whenever I feel compelled to action. But what’s the proportion? And am I fair? Here I am, making sweeping conclusions about what a certain number of likes means for my own value as a human being, and yet I slide past someone’s photo of their newborn.

*

All of this to say: lately, I’ve been confused about whether I’m a giver or a taker.

And obviously, this all comes back to the novel, and my concern at how to market the thing.

I’ve got a book that will be published in less than a month, and its success depends upon my ability to spread the word about its publication. Say nothing about it to friends/ family/ colleagues/ etc., and no one will buy it or read unless they stumble upon it. So boom: Facebook is perfect for marketing purposes! However, use my Facebook as a constant sales and marketing tool, and it not only clouds the once-pure function of the social networking utility (I’m no longer using Facebook to keep connected, but instead to sell, which feels dirty), but also pegs me forever as a taker. An obvious one.

And I’ll be honest here: I never wanted to be the guy who uses social media to market his shit. Like, everyone else is posting about the NCAA basketball tournament, and this guy is posting Stephen Covey quotes and links to his business, and telling people to sign up for webinars or whatever. This taker never comments on anyone else’s postings, unless it’s to offer his services for something you didn’t even know he did (“Well, I see that you’re in the market for a new car! Give me a call, buddy!”). It’s like getting sales calls from friends who you thought were calling to catch up.

When I start “like-watching” a status update about my book, I pay careful attention to the reaction, thinking: okay, cool, this person now knows about the book, and now this person too. I start thinking: maybe this will translate into sales; maybe each of these “likes” represents someone who will buy/read the book! I start thinking: but wait, only three fucking people liked this comment about my novel, so does that mean I’ll only sell three total copies? Holy shit, I’m a failure.

I start to see my world of Facebook connections as consumers rather than friends.  Each is a potential book-buyer, so have I posted enough about my book to reach them all? Have I approached the book from the proper angles so that these friends can be interested, and then these friends, and then these friends?

And oh crap, do I post too much about the book? Have I started to lose friends because it’s the only thing I post about? Should I vary my content? All right, so I’ll post only baby pictures for the next week, not another word about my novel! But oh crap, I’ve posted so many baby pictures and have received so few likes: is the world getting sick of the baby?

I worry about what time of day I post a status update. Will it be lost in the crowd if posted too early or too late? Before noon? After 6 PM? The last time I posted an update about my blog on Facebook, Boston suddenly went on lockdown and the world was atwitter over the cinematic search for the second bomber…needless to say, zero people were interested in my unrelated update. So: do I wait for moments/ days when nothing is happening, and hope my updates are read?

And—as a general rule—what day of week is best for a posting? Certainly not Friday, right? But wait, Friday is the day to slack at work…so Friday, right? That’s when everyone will be on Facebook the most. And man, I just thought of a great status update to post, but I just made that last post about my novel an hour ago, and so…am I contributing to my own posting’s quick expiration if I post again too soon? Better hold off, better hold off. Time it just right, Nathan.

*

All of this, I admit, is ridiculous. A real writer—a serious writer—would not worry about such things.

A real writer would write. A real writer would tackle the necessary marketing tasks with professionalism rather than doubt. And then a real writer would go back to writing.

Can you imagine Norman Mailer like-watching? Cormac McCarthy? All those “men’s men” authors I mentioned in my last post? Can you imagine Hemingway considering whether he is a giver or a taker, or even making a status update about his new book, worrying whether anyone bought it? (Side-note: I haven’t read a biography of Hemingway. Maybe he was super self-conscious? Maybe that’s why he killed himself? Hmmm. Reconsidering.)

And yet here I am, on the morning that Beating Windward Press has revealed to the Facebook world the different cover concepts for American Fraternity Man. Typing this blog post, then checking Facebook. Back and forth, back and forth, like-watching, examining who has commented, who has said what, then silently admonishing myself for caring, for reducing friend to consumer.

And then, of course, wondering what my next update will be, and when.

It’s enough to get me fantasizing once again about the sweet freedom of deleting my Facebook profile…But then, of course, how would I update the world about my novel?

Previous Essay: Facebook Anxiety

Daddy Cool

Just got my copy of Daddy Cool in the mail.

What’s Daddy Cool? It’s an anthology of writing by fathers…for and about kids.

It’s an interesting book, edited by Ben Tanzer (who’s got two other books about fatherhood that are in the publication pipeline), and it represents a trend that I hope will continue: an interest (in the world of small-press/ indie literature) in reaching young readers. This book isn’t just intended for a middle-grade and YA audience, though many of the stories are; it also attempts to reach dads themselves, and to be a collection that fathers can read alongside their kids. In other words, I can read Story #4, about fatherhood, and then my son can read Story #6, a middle-grade story about a boy’s adventure.

The problem, I suppose, is that it might wind up being too all-inclusive for some readers. You’ll have to do some internal shape-shifting to become a member of the different audiences being addressed and invoked here, and the difference in voice from one story to the next can be a little awkward. But then again, that’s actually a problem that all anthologies face; it’s just that most anthologies are meant only for adults, and the differences in voice generally appeal to different genders, or to different geographic/educational/socio-economic segments (i.e. I might love Story #1 of Best America Short Stories, because I am a Florida male reading a story about a Florida male, but I might be really out-of-it during Story #7, which follows some literary tradition of which I am completely ignorant).

But Daddy Cool is definitely worth checking out, and 100% worth supporting. We need more anthologies like this one, and we need more small-press publishers who are willing to go out on a limb and produce YA and middle-grade work. Sometimes we get so comfortable with being readers, and so caught up in our literary/academic texts (which pay off only because we’ve read so much, and because we’ve been part of the literary/academic conversation for so long) that we forget the very real need to produce work that can create readers. Daddy Cool can do this, and it’s awesome to see Artistically Declined Press take on this challenge.

I should add, as a side-note, that my story “The Sketchpad,” appears somewhere in the thick of the anthology. It’s a mixed-media story, text and image (a la Roald Dahl), and it was one of the toughest things I’ve ever had to write. Seriously. I don’t know how YA writers do it. I was so worried about writing something fun and engaging, while also not coming across like I was trying too hard, and not coming across like the old dude trying to write something “young,” and also not condescending to the younger audience and…well…the story is in there, and I hope it’s a worthwhile piece. Someday, I really hope I don’t have to watch Jackson read my story and make a stink-face (the “Dad, your story kinda sucked” face).

Order here. Great gift for fathers and sons alike.

Marketing My Writing: Part 1

The following is the first essay in a series (that I might or might not continue to write) exploring my own curiosity and dread at having to market my first novel.

“Facebook Anxiety”

Every time that I hear of someone deactivating or deleting their Facebook profile, I give a silent “whoo-hoo!” and/or “you go, girl!” (depending on gender). The thought of untethering myself from the world of social networking, allowing myself to float free and to drift away from constant phone and iPad monitoring, is exciting and liberating: a life where one portal has closed, and where my energy can now be directed at things that matter. When I hear that someone else has successfully accomplished this, it’s akin to hearing that someone has sold all their possessions and moved to Alaska, or that someone has given up Diet Coke and coffee.

Just imagine the beauty of your world without Facebook…never again scrolling down your “newsfeed” on a Friday night to see how much more fun the entire world seems be having than you…never again witnessing real-time photos from friends who seem to be on constant honeymoons while you work under fluorescent lights all day…never again getting bombarded by pictures of what everyone else is cooking at any given time…never again suffering through another election season (do I need to describe this?) or seeing another fucking Willy Wonka meme.

Imagine this world. This has got to be one of the most common first-world, middle-class fantasies these days (and therefore deserves some sort of hashtag, whereby I register my complaint with my frivolous issue, but also mask it with self-awareness at my frivolousness…the hashtag offers a nice balance).

But it’s fantasy. For each of us who still logs in to Facebook regularly, there’s something keeping us there. Maybe it’s the pure “social” function of the site, its ability to connect you with a friend from high school, or with an old family member. Maybe it’s the creepy ability to keep tabs on an old ex-boyfriend, or a co-worker or subordinate, or to learn more about those you only barely know in person, to see their lives in ways that you never imagined…Maybe it’s become your newssource, and how the hell would you know what’s happening in the world if you didn’t follow the feed, follow the reactions, and follow the story links?

And ironically, it is for this reason that Facebook has become a hotspot for many writers. Like, literary writers. Yeah, I know. Sounds weird. The stereotypical writer who boards herself up in some cold cabin and pounds out a manuscript on a centuries-old typewriter and refuses visitors and barely even knows what it’s like to have a conversation with a living, breathing human being anymore because she’s, like, deep into the world of her poetry…well, she’s got a Facebook page. And man, it’s crazy the things she “likes”: Amazon, The Loft, Taco Tuesdaze at Tijuana Flats.

Facebook has allowed me to connect with more other writers than I ever thought possible, many of whom I’ve never met in person but whose work I read and follow, and who—in turn, maybe?—follow my own work. I’ve become familiar with the journals they edit, the schools at which they teach, the new stories and poems and essays they publish. I spend too much time following links to sites I’ve never heard of, reading work that I never would’ve known existed…and I’ve bookmarked what seems like a thousand stories and articles that I know I’ll never get a chance to read.

More on this in another post. It deserves to be talked about, the way that Facebook has opened up my reading habits to new authors and to great online reading…For now, though, it’s only important to know that—for writers—this sort of interaction and connection (and this ability to share our work, and to develop readers in a truly intimate way) is pretty much what we’ve always wanted. How amazing to know that you can post a link to a new published story, and someone can read it on his/her lunchbreak, and then comment on your link and say “Awesome stuff! Love that story.” Immediate reader reaction. Immediate knowledge that someone else out there actually read your work, that you didn’t just publish a piece in some magazine or journal based out of New Hampshire that (for all you know) no one has or will ever read. I can’t overstate this: it’s incredible.

So why the hell does it also make me so anxious? It’s incredible, yes, but why lately do I feel paralyzed with Facebook, nervous about every single posting I make, about who comments, about who “likes,” about when it’s all right to make another posting, and when I should vary my subject matter in my status updates…? Why, these days, do I spend more time worrying about my contributions to Facebook than actually reading or contributing?

*

Maybe this question is easy to answer.

My novel, American Fraternity Man, will be a physical object in just a month.

And lately, I’ve been terrified not just at the prospect that the thing will soon have real readers, people who will take issue with Page 5 and Page 35 and the entire scene from pages 67-90, and the acknowledgements page, and the author photo, and…shit, do all writers feel this way? I’d like to think so, that ours is a shared anxiety at reception…But anyway, I’ve been terrified not just at the prospect of readers, but at the soon-to-be-constant Facebook postings I’ll need to make about the sale of my novel.

readings

I know, I know. We need another hashtag about White People Problems or something. Life is soooo tough for poor little me, and why don’t I go back to my beautiful baby and hot wife and mold-free house (and fantastic Florida weather) and just drink my craft beers and watch an episode of Mad Men and just shut up? And, like, seriously, it must be so rough to have a book coming out, right? Poor me. Etc.

But when one considers that I spent nearly seven years writing, revising, then submitting this book to publishers and literary agents, then writing, revising, and re-submitting, etc., it’s at least a little understandable that I might be anxious and/or apprehensive about the book’s reception, right? It’s not like I pooped this thing out over the weekend, and it’s no big deal what happens I hit flush. (#bestmetaphorever) Seven years of work, and ultimately, what if it’s received with the sound of one hand clapping? The book doesn’t sell. And my readings and “release parties” go sparsely attended. And all of the friends who I’d thought would support it—from family to groomsmen to colleagues to former students to fellow writers—ignore me and get upset at my annoying postings? (And side-note: does this make me “not a real writer”? When I publish something, should I have some sort of Hemingway “I’m too good for the world, and fuck the readers if they don’t appreciate me!” type of literary lion toughness? Somehow I don’t think Cormac McCarthy or Richard Russo have these sorts of worries.)

But hell, I worry about this crap all the time. Last Fall, I created a Facebook event for my “32th birthday.” (An irrelevant birthday needed a grammatical error in order to feel fun.) I took the self-deprecating route in order to not really care whether my birthday was a big deal or not: I’m gonna go drink beer and eat bratwursts at my favorite German restaurant, so, like, come to celebrate my irrelevant birthday if you want…if not, whatever…I mean, it’s 32…who cares, you know?

But the book is not an irrelevant birthday: the book has become this lofty object, this symbol of my own writing career, a surefire litmus test of whether I’ve got any readership, any audience interested in my work, any reason to continue. It’s become a confirmation or denial of the seven years spent working on the project. Should I have just taken up golf lessons instead? Should I have learned how to draw caricatures, or tended bar and made a boatload of cash? Should I have used those seven years to instead finally paint the scratched door to my office? Oh man, the possibilities.

Because here’s the problem with Facebook, the reason it causes me to worry so much (even with my 32th birthday, to be honest). And it’s the exact same reason that writers love the site so much. Once you create and post something on Facebook, from a status update to a link to an event, it records the tangible reaction to that creation. And that shit can sting. Put another way, it offers hard data about how much the world cares about you. Write a status update about a life event (marriage, new job, first attempt at cooking beignets), and it will tell you how many people “like” it. Better yet, it’ll tell you precisely who liked your update. Did your wife find your update funny? Did your best friend? Or did you only manage to cull the favor of those whose own updates you’ve never really liked? Oh God, my only “like” was T—— or R——-. NOOOOO! Time for a divorce, or time to quit the new job, or whatever.

Next Up: “Like-Watching,” and Facebook Givers/Takers

American Fraternity Man – Pre-Sale and Chapbooks

I haven’t written much about this subject on this blog yet, but that will change very soon…

My first novel, American Fraternity Man, will be released this May. And yes, it’s required summer reading for anyone who makes it a point to read a novel during the summer months.

Are you curious about the book? I hope so. If not, I can be mysterious, and make passing references to sex and alcohol and parties and conspiracies (“This book’s got it all!”), etc. I can also say cryptic comments in the movie-trailer voice (“One man. One mission. One book.” Etc.).

But the best way to learn more about the book is to come to There Will Be Words this coming Tuesday (April 9), a monthly prose reading series in downtown Orlando, where I’ll read a short excerpt of the book. The excerpt has also been printed in a limited-run chapbook, available to those who (this is the exciting part) pre-order the book. That’s right! The book–starting on April 9–will officially be available for pre-order! That makes it official, methinks.

Don’t worry. That’s not the actual cover of the book, and this isn’t the actual book itself. This is just a limited-run, hand-crafted chapbook, and the illustrations come from the interior of the novel (there are some text/image moments throughout). We won’t have the photos of the cover art to share for a couple more weeks, but rest assured: I will be posting them to this blog as soon as I get them, probably because I will be bursting with excitement.

That’s all for now, though. Stay tuned for more information on the book. And consider yourself invited to There Will Be Words on Tuesday, April 9. Please help pack the room; after reading Adam Mansbach’s hilarious “Hell is My Own Book Tour,” I’m terrified of reading to empty spaces!

15 Views: Volume II

Today is Wednesday, March 27.

Tomorrow night, we will celebrate the release of 15 Views Volume II: Corridor, a book which collects stories about the Metro Orlando region, and stories about the Tampa Bay region, all written by writers representing those areas. (“Corridor,” if you’re unfamiliar is the name given to the stretch of I-4 that runs between Orlando and Tampa…commuter hell.)

This is a book that I co-edited with the talented John Henry Fleming, whose Fearsome Creatures of Florida (a literary bestiary of all the legendary and mythological creatures said to inhabit our weird state) is a true undiscovered gem. Definitely a must-read for anyone who–like me–loves the strangeness of this state, and thinks that there’s something dark and ancient and maybe-evil lurking about.

We were lucky to get a fantastic roster of established/ award-winning writers, including Peter Meinke, Jocelyn Bartkevicius, Jeff Parker, David James Poissant, and Susan Hubbard. But there are also a number of emerging writers whose names you might not know today, but who will certainly become household names in no time: Jaroslav Kalfar, Leslie Salas, and Ed Bull. Seriously. Great. Writers. The collection also features a number of comics (one written by Robert Venditti, of The Surrogates fame), and a script from the bizarre and awesome Pat Rushin (whose film, The Zero Theorem, directed by Terry Gilliam, will be released sometime around awards season). And the interior of the book is decorated with paper-cut art from the super-talented Lesley Silvia. Some of it needs to be seen to be believed. My name is on the cover of this book as “editor,” but really, I’m just lucky to be mentioned in the same breath as some of these folks.

The pre-sale (in which you can order the book at a discount) runs until tomorrow at Burrow Press’s web site.

After that point, you can buy the book on Amazon and other major retailers.

The release party is tomorrow: Thursday, March 28, at 6 PM, in Urban Re-Think in Downtown Orlando. Here’s the link.

Buy a copy. Have a drink with the authors. Celebrate the literature of Florida’s I-4 Corridor.

Functionally Literate

Had the opportunity to do a super-fun reading while I was at AWP in Boston in early March. The reading series is called Functionally Literate, hosted by the very funny (but not very tall) Jared Silvia. #burn

Check out the following link to see video of all of the readers, including Jeff Parker (who read a “found poem” of Ron Artest quotes, which was hilarious), James Fleming (who read a story about Mr. T which I probably can’t explain in a way that make sense), Don Peteroy (who read from his book “Wally”), Juliana Gray (a poet, who also read a few pieces from Erica Swanson), and David James Poissant (who read a quiet piece from the Beloit Fiction Journal, I believe, and who has continually surprises me with the range of his work).

My story was called “How To Tell Whether Your Demon Baby Needs To Go To The Doctor.” I think that was the title? Let me know what you think.

FL

Stocking Stuffers

For those of you looking for the perfect stocking stuffer, might I suggest 15 Views of Orlando (the book for which I served as the humble editor)? I get no kick-backs from sales. All proceeds go to benefit the Urban Think Foundation, and Page 15 (the literacy organization under the foundation’s umbrella), and it’s gotten some great recent reviews.

Check out what The Nervous Breakdown, and [PANK] had to say about 15 Views of Orlando.

And if you’re still looking for stocking stuffers, check out my other book recommendations at the Urban Think page here. (Click on “Burrow Press” to see my picks.) Extra incentive: purchases made by clicking on these links will result in proceeds for the foundation, also. So buy some books, and then feel good about yourself!

Oh, and then there’s this, too: The Way We Sleep, a beautiful coffee table book full of essays, stories, interviews, and comics, is still available at Black Friday prices here (10 bucks). I’ve got a comic collaboration with Ben Tanzer in this anthology, but there are many artists with far more talent who contributed. Check it out!

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Also, check out the latest installment in my comic adaptation of Alex Kudera’s Fight For Your Long Day here at Atticus Review, and then go buy a present for a poor, underpaid adjunct teacher.