Book Covers and Comics!

A couple quick updates, from Nathan Holic the artist (as opposed to Nathan Holic the fiction writer, or even Nathan Holic the editor or Nathan Holic the sometimes-blogger)!

Last Fall, I had the opportunity to teach a class called The Rhetoric of Comics. It was a blast, and I savored every second of it. I also created a course-specific blog for the class, which is one reason why I haven’t been updating this–my author site/ blog–very often in the last few months. It’s tough to keep so many portals constantly updated. Anyway, though, the class is now over, but the blog still exists. If you’re interested in seeing some of the assignments and the student work from the class, just click here.

I’m also excited to announce the publication of author-punker Lavinia Ludlow’s second novel, Single Stroke Seven, which will burst onto the scene in March. Lavinia asked me to draw the cover of the book, which you can see below. To order the book, click here.


You can also read some of Lavinia’s writing advice/ lessons here. She references some of our interactions as writer-editor team a few years back, so I get a name-drop or two.

And finally, because I was teaching a Rhetoric of Comics course last Fall, I spent a lot of time writing/ drawing comics. (That’s what happens. When I teach a particular genre, I wind up immersing myself in it, and really spending all of my creative time indulging in that genre.) So, in addition to creating the course syllabus and all of the assignment sheets as comics (see two example images below), I also wanted to draw at least one complete original comic.

At the end of the Fall semester, I received two different opportunities to do so.

The first was an invitation to participate in the ongoing Transit Interpretation Project (TrIP) here in Orlando, which asks local artists to use public transit in the city and then “interpret” the experience. Orlando is, quite simply, not a city known for its incredible public transit, and so many of the pieces of artwork offer commentary on the issues that riders face. My own contribution was a little more light-hearted, but (I think) also speaks to how/why public transit is used in the city (more as a lark than as a reliable method to get somewhere)…my wife and I took a “date day” on the SunRail, and you can read my comic here.

Finally, novelist Alex Kudera asked me to contribute a comic adaptation of one chapter of his novel Fight For Your Long Day for a brand-new classroom edition of the book. This was a pretty involved project, and one of the longest comics I’d created in awhile. Below is a single page, and I’ll offer updates when the edition is published. You can read Alex Kudera’s blog for more information.

Away From Therapy2 - jpg

What’s going on this Spring? Well, I’m teaching, and finishing final revisions on a novel I’ve been working on since 2010 or so. And then there’s AWP in Los Angeles at the start of April, where I’ll sit on a panel to talk about my Rhetoric of Comics course. So there are some things coming up for writer-teacher-editor-artist Nathan Holic. Maybe I’ll write another blog update to let you know about them? Maybe…maybe…That might be a productive use of time.

An Essay, and a Review

Last week, The Orlandoan was gracious enough to publish a series of my essays analyzing the depiction of Orlando in three young adult novels. The essay was occasioned by the release of John Green’s Paper Towns (which takes place in Orlando). I haven’t seen the movie yet, so feel free to post comments about it if you have…I love The Orlandoan, though, and was excited to be a part of their site.

Also last week, Entropy Magazine reviewed my book The Things I Don’t See, and critic Lavinia Ludlow had some great things to say about it. Follow the link, and read more! Here’s a brief excerpt:

This novel is a prime example of how our individual fears and insecurities might possibly be more mutilating than reality itself, and how we unintentionally punish those closest to us for fear of them making the same mistakes, especially children. A quick and well-written read, Nathan Holic’s The Things I Don’t See is an extraordinary piece of work.

Cincinnati Review

It’s been a little while since I’ve posted, and I keep forgetting to post/update, but I figured: today is a good day for a blog post.

If you haven’t already seen/read, The Cincinnati Review (and author Don Peteroy) did a great write-up of my new novella, The Things I Don’t See.

Check it out here!

If you haven’t already picked up a copy of the book, you can order online from Main Street Rag (the publisher), or drop me an email for a signed copy, or (if you’re in Orlando) swing by Bookmark It in East End Market, or trudge to the Barnes & Noble Bookstore on the University of Central Florida campus.

Launch Week

Here goes!

So my new novella, The Things I Don’t See, has technically been “available” for a little over a month. If you pre-ordered, you should’ve received it in the mail by now. If you’ve seen me walking around town, you should’ve seen that I wear it around like a sandwich board. And if you’re friends with me on Facebook, you should know that I did a “soft release” at the first-ever “Wine and Sign” for BookmarkIt in East End Market. But, for about a thousand different reasons, I haven’t planned a much-larger “release party” (confetti, party hats, people yelling “whooooo!”, etc.), and I haven’t been very active in trying to “market” the book (shouting constantly from my Facebook pulpit, participating in reading events, etc.).

The reason for this, as you’ll see, is that I have a very big week ahead of me. I’m just going to call it “LAUNCH WEEK” because why not? Yes, the book is out. But seriously, does the ENTIRE WORLD know that it’s out? If not, then it’s time to launch the thing.

This coming week (4/12 – 4/18), there are three places where you can catch me reading from The Things I Don’t See, and where you can pick up a signed copy. That’s right! I’m peddlin’ and hustlin’ all week long (in a totally non-dirty, non-creepy way). And, as far as I know, none of these places/events interferes with the Game of Thrones season premiere, or the Daredevil series premiere (that’s totally on the Netflix, peeps, so you can actually watch that WHILE attending one of my events!).

Looking forward to launching my book with style, and with large drunken crowds whose noisy chatter overpowers my reading voice. So mark your calendars! Bring your checkbooks! And see you soon!

Tuesday, April 14: There Will Be Words

7:00 PM. Reading with Cate McGowan and Jamie Poissant (both of whom also have new books out!). For more info, and directions, check out the Facebook event page.

Wednesday, April 15: UCF Town & Gown Luncheon

11:30 AM, Morgridge International Reading Center (technically, this is a private event…so let’s hope there’s purple lettuce and interestingly shaped butter for the rolls!)

Saturday, April 18: UCF Book Fest

The UCF Book Festival is an annual event coordinated by the College of Education. It takes place over the course of a full day, and features a wide range of authors, from memoirists to novelists to children’s book authors to food writers.

Check out the full schedule and list of authors here: (Links to an external site.)

I’m reading from my new novella at 2 PM, but there are some great panels and events throughout the day.


Hope to see you there!

Things I Dont See


We Creep Closer…

As we creep closer to the release date for The Things I Don’t See, my new novella, it’s exciting to see that other people are, like, actually talking about the book.

The first is the Orlando Weekly, our alternative newspaper here in town. They’ve been incredibly supportive of the work I’ve done with Burrow Press, and of my first novel (American Fraternity Man), and it was exciting to see The Things I Don’t See mentioned in an article today about books they’re looking forward to in 2015.

The second is The Drunken Odyssey, my favorite literature and culture-themed podcast, hosted by the brilliant and funny John King. John reads the first page(s) of my new book at the start of his latest podcast, then delves into the 15 Views of Miami collection (I was the series editor!) as he interviews editor Jaquira Diaz, who put together a truly amazing book. Listeners also get to hear Jaquira read a page or two from her novel, which is totally worth the price of admission. (It’s a free download, of course, for the uninitiated.)

And also pretty cool: there’s this, from the blog of bestselling author Jeff Vandermeer, who recently visited Orlando. He talks with Ryan Rivas at Burrow Press (with whom I’ve spent a lot of time and energy in constructing the “15 Views” series), and says some great things about the Orlando literary community. Ryan’s such a smart, caring, and hard-working editor and publisher…it’s awesome to see him getting the regional and national attention that he deserves for his efforts.

That’s all for today. Happy holidays to all of my loyal blog followers, and–if you’re looking for a way to spend that extra $6 in your paycheck–remember to hit up the Things I Don’t See pre-sale, which concludes very soon!

The Things I Don’t See – Pre-Sale!

Here is the posting I’ve been looking forward to sharing!

My new novella, The Things I Don’t See, has an official page on the Main Street Rag Publishing Company’s online bookstore, and an official release date. In fact, you can even order it right now.

It would actually be my suggestion (gentle, but still enthusiastic) to follow this link and place your order during the limited-time-only pre-sale event. I honestly don’t know how long the pre-sale lasts, and while I realize that this is an over-clever infomercial type of expression (“Act now!” etc.), I can seriously tell you that–should you have even the remotest interest in ordering, and/or reading, and/or just sort of touching the book–you’ll want to order while the price is $6.00.

Yes, $6.00 pricetag during the pre-sale. Not a typo. Soon, the price will double to its actual “regular” cover price of $12.00. I am not a publisher, and I know nothing about print runs, and overhead, and all of that, so all I can say is that $6.00 is pretty frickin’ awesome, and it’s a price that will soon go away, and so, like, follow the link above and go buy at least two copies so that you’ll have an extra one in case teenagers break into your home and steal your first copy.  I mean, $6.00? That’s how much I pay for used copies of unpopular books when I search through Amazon’s marketplace…and my book is neither “used” nor “unpopular,” so…

Below is the cover to my novella, and I think it looks pretty spectacular. A million thanks to Lesley Silvia for the gorgeous colors, and for turning a sketch of mine into a full-color replica of an old 1950s EC comic cover.

Things I Dont See

The Writing Process Blog Tour – Continued

A week or so ago, I posted my entry in the “My Writing Process” blog tour.

I tagged three writers, John King, Mark Pursell, and Teege Braune, who continued the tour.

For your easy reading pleasure, I have compiled the links to their blog posts here. Enjoy!

Mark Pursell, at the Burrow Press Blog

John King, “A Word From the King

Teege Braune, “Process This!”

My Writing Process: Blog Tour


First, a word about the writer who nominated me for the blog tour.

I’ve known Vanessa Blakeslee (blog here) for almost a decade now, which is a little bit insane to think about. (Side-note: can something be a “little bit insane”? I don’t know. Anyway.) Vanessa was finishing up her Masters degree at the University of Central Florida, just as I was starting my own. I remember that–just as I had the wide-eyed, over-eager, over-idealistic look of a first-year writing student–she had the exhausted look of a student neck-deep in thesis work, in bureaucratic bullshit (formatting guidelines, graduation forms, etc.), in freshman composition papers that still needed grading…So we met in 2004, I think, but she probably hated me back then because my desk wasn’t yet overcrowded with the crap that ultimately overwhelms most grad students.

I don’t know whether Vanessa had yet published any of her work back then, but I do know that–as a young grad student, and then as a young teacher in the creative writing classroom–I was able to follow along as her career blossomed. Back in 2005 and 2006, we didn’t follow a young writer’s slow build toward success through Facebook status updates or author sites…we followed mostly through hearsay, gossip, grapevine talk, a smile on the face of a professor as she sat down to our workshop and told us about a former student’s latest publication. So I’d hear about Vanessa’s short fiction, and her acceptances at various colonies and writer’s retreats, and I was able to see the career take form in the same way that a little brother watches an older sibling slowly master a sport, going from first lesson to starting pitcher.

Vanessa Blakeslee is now a superstar, of course, one of those writers who makes a lot of internet lists that tell us which writers to watch. Her first book, the short story collection Train Shots, has garnered all sorts of acclaim (as well as a gold medal in the IPPYs), and she’s now got a two-book deal with Curbside Splendor, a Chicago-based publisher that I’ve also been following since they published their first book (Victor David Giron’s Sophomoric Philosophy), which I purchased on a whim during a vacation to Chicago…Vanessa has arrived, in other words, so if you care about the future of literary fiction, you should start reading her now.

So here are the questions for this blog tour that I’ve been tasked with answering. After my responses, I’ll introduce the three authors I’ve “tagged” to keep the blog tour rolling along.

1) What are you working on?

Right now, I’m driving myself “a little bit insane.”

I’m in the final revisions of a novel that I’ve been working on since 2009, I think. It’s a book that’s changed in shape quite a bit (though not in concept) and has grown progressively weirder and more epic in scope. This seems to be the case with everything I write…it’s impossible for me to develop a tiny perfect idea, to write a 150-page novel…no, no, my ideas start multiplying, reproducing, until the 150-page novel is 500 pages and spans cities, states, continents, decades.


The book is called Bright Lights, Medium-Sized City, and it’s my “Great Orlando Novel,” a personal description that has (ultimately) forced me to constantly consider new angles and new approaches. If I hadn’t started describing it that way, maybe it would’ve stayed 150 pages, and it would’ve just been the intimate portrait of an investor at the end of the housing bubble (2009) who finds himself losing everything he’d “earned,” while at the same time Orlando finds itself losing the momentum it had built for four decades on its explosive climb to becoming the nation’s next major metropolis. That’s the story at the heart of the book: this one character, and this one city, experiencing the same downward spiral. And how can they recover? Hell, can they recover, or are they both going to become Detroit? What happens to Orlando if the tourist industry dries up, after all?

But when I started considering the possibilities for this book beyond just this single character, the novel suddenly became a much richer and more compelling experiment. It’s written in the second-person POV, just like Jay McInerney’s Bright Lights, Big City, but because this is Orlando, I also allowed myself to play around with the idea of the 2nd-person POV being a “gimmick” (what could be more gimmicky than Orlando, except maybe Vegas?), and I looked at the many uses of this POV. I also researched the city itself pretty heavily, and while the main story takes place in 2009, with the backdrop of the Orlando Magic’s NBA Finals run contrasting with the overall tone of despair that we saw in the foreclosed neighborhoods inside and outside of the city, I also zoom in to take a look at several other time periods in the city’s history. We see quite a bit of the Land Boom of the 1920s, for instance, which mirrors the housing bubble of the 2000s. And, because this is a city novel in the Tom Wolfe sense, we get to visit with a large cast of Orlando characters, from Dwight Howard to Mayor Carl T. Langford, and we get an incredibly comprehensive list of set pieces, from the Orlando History Center to the golf courses of Metrowest to the perfect perfect houses of Avalon Park.

So yeah, that’s what I’m working on. And I’m in that desperate phase of final revisions where I just have to stop the self-doubt and believe that what I’ve got is pretty fucking good. Self-doubt, self-doubt: always there on a writer’s shoulder.

2) How does your work differ from others of its genre?

Like so much of the work that I enjoy reading and watching, my work is a sort of blending of genres, a fusion, if you will. Think Star Wars and Firefly, the fusion of western/ science fiction. Think Game of Thrones, the fusion of fantasy/ political thriller. I love this sort of blending, because I think it keeps both the writer and the reader on their toes, while also maintaining some of the things that we love about a specific genre.

In the university setting, there’s been a long-running debate about what qualifies as “literary fiction,” and what is “genre fiction,” but it’s a stupid debate, really, because “literary fiction” is its own genre. It’s got its own tropes. There’s a certain type of character who would appear in a work of literary fiction but would never appear in any other genre, and–in fact–would never appear in the real world. Books of literary fiction have their own super-literary covers, their own super-literary titles. Break it down further, and you can look at alt-lit as its own genre, Oprah lit as its own genre, etc. Genre is unavoidable, and any writer who argues otherwise is mostly just trying to stake a claim to their very own genre classification (which might be true…maybe you wrote the very first thing of its kind…but if it’s successful, it won’t be the last, and then boom: you’ve got a genre).

So my work, I hope, can take some great strategies from the best of the “socially realistic fiction” genre…I’m thinking of social novels (those that attempt to show a specific place/time, and the conflicts that matter in that specific place/time, and that can offer us some social commentary on that particular moment and place) like The Jungle and Anna Karenina, but also Then We Came to the End and White Teeth and The Corrections and Angry Black White Boy…I’m also thinking of the genre of the “city novel” that Tom Wolfe champions, because I love the idea of books that try to characterize a city and its many different facets (or even just one specific corner of that city), books like Wolfe’s Bonfire of the Vanities and A Man in Full, but also Michael Chabon’s The Amazing Adventures of Kavalier and Clay and Jeffrey Eugenides’ Middlesex and Bret Easton Ellis’ Less Than Zero and Jonathan Lethem’s The Fortress of Solitude…these books that just leave you feeling like you know this city better somehow, like you got a tour that no one else has ever received.

I love those types of books, but also love books that play with and twist around “genre” tropes. Horror. Science fiction. Fantasy. So…Ryan Boudinot’s Blueprints of the Afterlife, and Ron Currie Jr.’s Everything Matters! and Stephen Graham Jones’ The Last Final Girl. Even some of the Jennifer Egan work that sort of takes on the “spy thriller” genre. And Bret Easton Ellis’ Lunar Park, and Alan Moore’s Watchmen, and Michael Chabon’s Yiddish Policemen’s Union, and Philip Roth’s The Plot Against America. Books that acknowledge how fun the non-realistic genres can be, and don’t shy away from them.

I don’t think that’s the type of writer I’ve always been. American Fraternity Man, my first novel, is much more socially realistic. The story would’ve been weakened by incorporating some other magical element. But more and more, this is where I see myself going: socially realistic fiction, fused with something completely bizarre and perhaps unrealistic, some genre elements completely unbefitting of (pretentious voice here) “literary fiction.” Sounds like a recipe for a lot more self-doubt, right? And a lot of rejections from lit mags.

3) Why do you write what you do?

This is a quick one to answer: because it’s fun.

Reading is fun, and enlightening, and emotionally compelling. And I want to create the same feelings that I have when I read something I love.

Why the specific genres? Not sure. Because that’s what I’ve grown to enjoy reading, no different than someone who loves Mexican fare and Californian fare, and wants to create a Cal-Mex menu. I love what I feel when I read these types of works, and so I feel drawn to continue in their tradition, and build upon them, and to ask the question “What if?” and see what happens.

4) How does your writing process work?

I feel like I talk about “process” a lot. In my classes. In conversation with other writers. In my own head, with myself. But I don’t know if I’ve ever committed my “writing process” to print. In other words, I don’t think I’ve ever written these conversations and lectures down in tangible form. Because the crappy part about talking about writing process is that, once spoken/written, it almost feels like you’re committing yourself to this one particular process forever.

Maybe that sounds dumb. But this is what I mean: the more I talk about process, the more I find myself using that same process just because I’ve told others that this is my process. I don’t want to make a liar out of myself, after all. And so I start to feel weird about stepping outside of that mold. Because this is my process, I can’t use any other process.

This is all subconscious, by the way…lest some snooty internet troll happen upon this and declare me to be an idiot, I’ll just defend myself by saying that we all follow subconscious routines that have been dictated by what we think we’re supposed to do, or what we’ve decided we’re supposed to do. And the more you follow a specific habit, the less likely you are to break that habit (unless you’re aware of it, and really try). And “writing process” is, I fear, a little bit like that for me. I’ve talked about it so much that I now find myself wondering whether this “process” is truly the best process for me, or if I’ve just convinced myself that it is.

Well. Self-doubt aside: here it is, written out for maybe the first time, though it’s been delivered in oral form a half-billion times:

I draft by hand. (Mostly: I draft blogs on the computer, and I draft student critiques on the computer, and emails, etc., but when it’s a manuscript that I really really care about (not that I don’t care about those other things, or this blog, but you get the idea) it’s got to be drafted by hand. I need to unplug from the computer, first and foremost, because I am easily distracted. If I hear the ding of my email, or see a little red notification on my Facebook tab, I’m on it immediately. No matter if it’s an urgent email, or a piece of junk mail, this toggling winds up killing my rhythm. It takes valuable time away from my writing, too…Let’s just say that I give myself an hour of writing time. That’s all I’ve got. Add up the emails and other internet distractions, and I’ve just taken away fifteen minutes from the meager time I’d allotted myself. Not cool.

I draft with a black liquid-ink pen. The kind of pen that I would never use if I was a server at a restaurant, because customers would always be stealing it. I want the pen to glide over the page, and I don’t want to have to be concerned about ink flow, about scribbling the pen until the mark shows, about having to press down extra-hard to leave a mark, or even (later) about the ink fading or seeming too light when I have to reread what I’ve written. I use a dark black ink pen, and I try not to lift it from the page…keep it there, keep it moving.

I use the little half-sized lined notepads, not the full legal pads. I try to write at least ten pages in a single sitting, and the little notepads help to make this a reality. They’re a psychological boost, let me think that I’ve written more than I have. Maybe it’s only three pages of typed text, but ten pages seems like a really productive day. I want to feel good when I’m drafting. When I’m revising, I’ll feel frustrated, discouraged, but I want to have fun while I’m actually writing the story for the first time…if it’s not fun for me, how’s it ever going to be fun for the reader?

I like to draft my work at coffee shops. Outdoors in the winter and spring (it’s Florida), and indoors in the long hot humid unbearable summer (it’s Florida…there is no Fall). I need human activity around me. I need to be reassured that the world is still going on, because that’s a feeling that disappears when I’m stuck indoors revising on my computer. Oh, and I also need caffeine. Lots of it. More. More.

I like music, but I like it when the music disappears. Give me acoustic rock any day of the week, the type that could be happy or sad depending on the particular moment in the song, or even the type of day you’re having, the type that doesn’t get too loud and intrusive, but (again) the type that reassures you that you’re not the last person on earth…the way you sometimes feel when you’re stuck indoors revising on a computer.

And revision? That’s a different process entirely, and unless I want this blog to go on forever, I’ll end it there. Let’s just say that revision can be endless, awful, and that it’s always my goal to find some way to make it slightly more enjoyable: so, for instance, I’ll print out each new draft after I’ve typed, and I’ll take that draft to the coffee shop, and I’ll handwrite my notes and edits and insertions onto that typed-out page with my trusty black ink pen…trick myself, in other words, that I’m still drafting.

The head games I play with myself.

My Tagged Authors:

Next up on the “Writing Process” blog tour are three of my Orlando literary cronies, three writers and gentlemen with whom I’ve shared many a literary conversation, many a craft beer or cocktail. And all three have blogged for John King’s The Drunken Odyssey site, too, so I figured this would feel like a real community conversation, just a bunch of dudes talkin’ ’bout writing, you know?

Mark Pursell is a lifelong geek and lover of words.  His publishing credits include Nimrod International JournalThe New Orleans Review, and The Florida Review, where he also served as poetry editor.  His work can be seen in the first volume of the 15 Views of Orlando anthology from Burrow Press.  He currently teaches storytelling and narrative design for video games at Full Sail University in Winter Park, Florida. I’ve known Mark for almost a decade, also, and we’ve both entrusted one another with our writing on more occasions than I can count…when it comes to writing/viewing interests, there are few writers with whom my own interests align more than Mark Pursell.

Teege Braune is a writer of literary fiction, horror, essays, and poetry. Recently he has discovered the joys of drinking responsibly. He may or may not be a werewolf. Teege is also the reigning “Best Bartender in Orlando,” according to Orlando Weekly, and will always be the man just off camera in my own author photos.

John King’s work has appeared in Palooka, Gargoyle, Turnrow, and others, including 15 Views of Orlando.  He is a reviewer for The Literary Review and Shakespeare Bulletin, and is a regular contributor to Celebrations magazine.  In 2010, he finished his MFA in creative writing from New York University.  He hosts The Drunken Odyssey, a podcast about the writing life. At one point, I shared an office at UCF with John King, and on another occasion, I shared a pizza with him. (Replace the word “shared” with “stole,” and the word “with” with “from,” and you have a more accurate picture of what happened when John King sat down to order a pizza and enjoy his dinner in peace.)


Speech and Consequences

For your afternoon reading, here in May, my final personal essay for my year-long stint on the UCF Forum (a group of eight faculty and students who wrote a syndicated column every week on an alternating basis). To read a little more about the UCF Forum itself, check out this article in the Central Florida Future.

My final column, which has a different name depending on which publication chose to pick it up and run it, was one of my favorites from the year, and actually surprised me by getting republished in the Ocala Star-Banner. At the start of the year, the columns were getting syndicated and picked up mostly by online publications (Huffington Post, notably), but the last couple have appeared in print newspapers as well. Below, you’ll find links to a few of the publications that have run this final essay. Let me know what you think, and if you haven’t read any of the other essays from the past year, head over to the “Publications” tab at the top of the page, select “Nonfiction,” and you’ll get a rundown of them all.

This is What Happens When We Forget That Speech Has Consequences.” At the UCF Today web site.

This is What Happens When We Forget That Speech Has Consequences.” At the Huffington Post.

When We Forget That Our Speech Has Hard-Hitting Consequences.” At Ocala Star-Banner.

This is What Happens When We Forget That Our Speech Has Consequences.” At ContextFlorida.

You’ll also be able to find it in the print edition of the Brevard Business News, but I’m not sure that’s out yet. They republish online as a pdf edition, and here’s a link to the pdf where they published my “Digital Decluttering” column.

The most interesting part of this experience has been the online feedback and reader response that I’ve received. The past few days, especially, after I was published in the Ocala newspaper, I’ve gotten emails from a very different set of readers than I’d initially expected when I signed onto the project…these were newspaper readers in Ocala, not UCF students and faculty/staff who just happened to be reading the UCF Today web site online. I’d never expected to have a column in a newspaper, and yet there I was, there I am, and it’s been pretty damn cool.

Thanks to everyone for reading. Now: back to writing fiction.

UCF Book Fest

The UCF Book Festival schedule is out!

Check it out here, and be sure to visit my two panels/events.

The first is: How Fiction Writers View Orlando with Burrow Press, at 11 AM on Saturday, April 5 (on the UCF Arena main stage).

The second is: The Life of an American Fraternity Man with Nathan Holic, at 1 PM, in Room Cypress B.

All is free to the public, and copies of my book will be available (for sale by the UCF Bookstore). Yes, I’ll obviously be signing copies.

Other Notes:

I unearthed another review of my book. Check it out here: Quite Spectacular.

And I wrote another column, which is currently up at the UCF Today web site: it’s called “The Anxiety of ‘Read It Later.'” I’ll post links when it goes to Huffington Post and Context Florida, also.

Oh, and finally, I’ll be leading a workshop called “Revising Your Novel” on April 1, at the Orange County Public Library. More specifics on this very soon.