You may have heard there’s a new Star Wars movie.

Something something something Dark Side.

You may have also heard that there’s new novels, too.

Something something something fully gay lesbeans.

And I did a post a few weeks back about the false historicity of canon in terms of pop culture — we feel that it’s all very real, all a history rather than a story someone just made up, and we like to know what’s TRUE versus what’s FALSE in terms of the fictional historicity of the work. It’s both seductive and a little bit dangerous.

While I was at NYCC, at both panels I was at and also in person, folks wanted to talk about the EU and Legends. Politely, to be clear — I was not harangued by anyone. (If you go to the Del Rey Star Wars books Facebook page, you’ll find the same polite responses and requests — and you’ll find some of that haranguing.) Some folks generally have this sense of, if it’s not the thing I grew up with, if it’s not the thing I expect, then I don’t want it. You start to get that talk of childhoods being killed and all that fun stuff, as if people have traveled back in time to someone’s adolescent years in order to Fahrenheit 451 all their EU/Legends books, but only just before karate-kicking their original Star Wars VHS tapes into a cloud of plastic particulate matter.

While there at the con, I hit on a metaphor I like as to how to overcome this feeling that OLD IS BEST and NEW IS BAD and SOMETHING SOMETHING FIRE THE CANON CANNONS.

And I’m going to share this with you now in the hopes it helps you understand the silver lining, here — this is me trying to turn this feeling from a drain into a fountain.

You know Matt Groening, right? The Simpsons creator.

Well, once upon a time as some know, he did a comic called LIFE IN HELL. Amazing comic. Subversive and socially powerful, and also deeply absurdist fun. He hit on things with childhood and work and school and relationships — I still go back to read them from time to time.

In one of the comics, the one-eared rabbit boy, Bongo, is coloring with crayons.

And a bully comes along.

The bully then proceeds to break all of Bongo’s crayons in half. Snap, snap, snap.

Bongo, for many panels if I recall correctly, stares down at his crayons.

And you think, he’s upset.

He’s a kid.

A bully just broke all his crayons.

How could this not destroy him? Someone came along and destroyed the things he had in his hands. The things that he loved. He can’t create anymore. His crayons are ruined.

But then Bongo says: YAY.

And why does Bongo say yay?

Because, he explains, regarding his bounty of broken crayons: NOW I HAVE TWICE AS MANY.

You think someone broke your stories, your universe, your canon.

Instead, maybe envision it instead as YAY, NOW I HAVE TWICE AS MANY.

And then read it all greedily and happily, in glorious gulps and swallows.

Ilana has a debut fantasy novel out — Last Song Before Night — but before that, she’s done a lot of work as an accomplished blogger and freelance writer, so I’m excited to have her here to speak a bit about one skill most writers don’t think, or know, that they need…

* * *

As an author whose first book just came out from Tor, you could say I’ve achieved exactly what I set out to do. And I’ll be real: I set out to do it a long time ago. This is not one of those instances when the author takes up writing on a lark and a novel comes out. If only. It’s more like, when I was a teenager I decided to start taking seriously this dream I’d always had. I was already thirteen, it was time to get moving.

Maybe it’s because I was living in Jerusalem in the mid-90s and fully convinced — not entirely without reason — that I wouldn’t survive high school. (Buffy was to have incredible resonance, years later.) Being a kid, doing things like having fun or whatever, was a waste of time when life was short. (Plus, being in a class of kids who don’t speak your language is not that conducive to having fun either.) So I did two things. I read a lot, and critically. Whatever I read, I picked apart. I looked at the things that worked and tried to figure out why they worked so well. Sometimes I couldn’t figure it out, so I just reread those glorious sections repeatedly, as if to absorb them into my bloodstream. (In retrospect, this means I can open my old notebooks at random and be like, “Right, that’s when I was reading Dune.”)

Because another thing I was doing was writing my own novel. And I worked incessantly. By the end of high school I had completed the first volume of a projected epic fantasy trilogy. I had written it longhand in a series of notebooks. Teachers knew to be suspicious of these notebooks and occasionally they were confiscated.

Eventually I was to give up on the high school novel, dismissing it as too juvenile. I started a new one while still in college. That novel, in the course of years, became Last Song Before Night.

So this is great, right? I did it. I put focused effort into achieving my goal, by developing the skills necessary for that goal, and succeeded.

Fast-forward to this past year at Book Expo America, when I and three other debut authors had the honor of being on a panel hosted by John Scalzi. Except this wasn’t really a panel. It was a game, for the general public, of “Would You Rather?” We would get questions and need to answer them, cleverly, on the fly.

This was a foretaste of what it means to launch a novel out into the world. My calendar for October has been a series of public appearances, readings, another game of “Would You Rather” with Scalzi at New York Comic Con, and — incredibly — a  New England book tour with Fran Wilde and Seth Dickinson where we’ll be visiting five bookstores in five states in five days or something like that. And answering questions, and being witty, and hopefully impressing the ever-loving hell out of everyone.

I did not do a single damn thing in my life to prepare for this. And it’s made me reflect on this dissonant quality to being a writer: what makes us excel at our work, what gets our books to the level of being publishable, involves being alone, a lot. No matter how many workshops you attend, ultimately the work only gets done when it’s just you and the page. Or just you and the necessary act of reading. All of it intensely alone.

And now my success, or at least a good fraction of it, might hinge on how scintillating I can be in public appearances. I’ve been thinking back and realizing that authors’ behavior at their events has occasionally influenced my interest in their work. If an author seems brilliant and confident at an event, I think we are programmed to expect that same acumen reflected on the printed page.

But there’s one thing I’m learning: Experience helps. With five readings behind me, I’m starting to enjoy doing them. And at the recent panel at New York Comic Con, I was surprised to find that I was not nervous beforehand. I knew all eyes would be on me and I would be expected to make clever responses to surprise questions, but there was a corner of my brain, newly awakened, that said, “You’ve been here before. You’ve got this.”  And also: “Have fun.” Because hey, I finally have a book out. That is pretty awesome.

Now I’m not going to say it was all flawless, but it was better. And maybe that experience will pave the way to the next appearance being better. And the next one.

Recently I went to a consignment shop and found a designer red dress on sale for a ridiculously low price. Not deep red. Not maroon, which I’ve been wont to wear in the past. Shocking, fire engine red. The kind of thing I’d never have worn before, favoring instead more modest shades of blue or purple or green. I bought it.

I haven’t prepared for this, and there are going to be moments when a witty comeback eludes me, or people notice my hands shaking (this happens, especially if I haven’t eaten), or I am simply stumped for a response for several seconds (this has happened too). But if you see me at these events, and I am wearing the red dress, you’ll know I’m wearing it to remind myself that the time for solitary communing has passed. It’s time to be out in the world and visible among people, at least for now. I have a book out, the thing I’ve worked toward my whole life. This is no time to hide.

* * *

Ilana C. Myer has written for the Globe and Mail, the Los Angeles Review of Books, Salon, and the Huffington Post. Previously she was a freelance journalist in Jerusalem for the Jerusalem Post, the Jewish Daily Forward, Time Out Israel and other publications. She lives in New York City.

Ilana C. Myer: Website | Twitter

Last Song Before Night: Indiebound | Amazon

*pinches bridge of nose*

*exhales noisily*

Of course there’s a Star Wars Episode VII boycott. And there’s a hashtag to boot. Because of course there’s a hashtag. One-click buffet-style serving of shittiness, coming right up.

(Behold, the Mary Sue article about it.)

Apparently people are mad because blah blah black dude protagonist with a lightsaber, or girl protagonist, or Latino X-Wing pilot protagonist, and not enough straight white dudes. And folks are mad enough to join in on the hashtag and — nngh. Bleh. Meh. Gnarrgh. I mean, what version of Star Wars did you watch? The one where Luke Skywalker is a racist hick shitbird? The one where the Empire are the good guys because yay oppression and fascism and totalitarian chic?

Okay, first, let’s talk about the efficacy of such a hashtag, which is to say, it will have literally no effect at all. You’re throwing pebbles at mountains, bro. Boycotting Star Wars is like boycotting the sun. It will do nothing. The sun will keep on shining. Its heat will remain radiant and globally present. It will remain at the center of this space and we will continue to orbit it in an elliptical manner. Your efforts will have no meaningful result except to reveal yourself as a cruddy dingleberry dangling from fandom’s ass-hairs.

My greatest desire is to yell at you. To just rant and gesticulate and do the internet dance of anger all over you, because what special dumbness, this is.

But instead I’m going to try to talk to you, in the assumption that somewhere out there in the seething throng of crappy people exists some who are not yet all the way gone to the Dark Side.

There is good in you. No, not you. Not you either. YOU. Right there.

I’m talking to those who can be reached.

As one straight white dude to other straight white dudes, let’s talk.

You are clearly consumers of sci-fi and fantasy pop culture, which is at least a little bit suggestive that somewhere under that stormtrooper mask is a brain with an imagination.

I want you now to imagine along with me, Mister Rogers-style.

Let’s imagine that you are, as you are now, a straight white dude. Except, your world features one significant twist — the SFF pop culture you consume is almost never about you. The faces of the characters do not look like yours. The creators of this media look nothing like you, either. Your experiences are not represented. Your voice? Not there. There exist in these universes no straight white dudes. Okay, maybe one or two. Some thrown in to appease. Sidekicks and bad guys and walk-on parts. Token chips flipped to the center of the table just to make you feel like you get to play, too. Oh, all around you in the real world, you are well-represented. Your family, your friends, the city you live in, the job you work — it’s straight white dude faces up and down the block. But on screen? In books? Inside comic panels and as video game characters? Almost none. Too few. Never the main characters.

It feels isolating, and you say so.

And as a response you’re told, “Hey, take what you get.” They say, can’t you have empathy for someone who doesn’t look like you? Something something humanist, something something equalist. And of course you can have that empathy because you have to, because this is all you know, because the only faces and words and experiences on-screen are someone else’s so, really, what else are you going to do?

Then one day, things start to change. A little, not a lot, but shit, it’s a start — you start to see yourself up there on the screen. Sometimes as a main character. Sometimes behind the words on the page, sometimes behind the camera. A video game avatar here, a protagonist there. And it’s like, WOO HOO, hot hurtling hell, someone is actually thinking about you once in a while. And the moment that happens, wham. A backlash. People online start saying, ugh, this is social justice, ugh, this is diversity forced down our throats, yuck, this is just bullshit pandering quota garbage SJW — and you’re like, whoa, what? Sweet crap, everyone else has been represented on screen since the advent of film. They’ve been on the page since some jerk invented the printing press. But the moment you show up — the moment you get more than a postage stamp-sized bit of acreage in this world that has always been yours but never really been yours, people start throwing a shit-fit. They act like you’re unbalancing everything. Like you just moved into the neighborhood and took a dump in everybody’s marigolds just because you exist visibly.

You have 100 toys, and someone comes along and asks for a toy of their own, and you start screaming about DIVERSITY SJW GENOCIDE REVERSE RACISM SEXISM AAAAAAH.

That’s fucked up, right?

That’s what’s happening, except it’s not happening to you.

I was at NYCC this year and last, and a friend — the artist known as Joey Hi-Fi — pointed out quite correctly that the audience at NYCC is incredibly diverse. And they are at NYCC consuming media that is incredibly not-diverse. I saw it in my own signings. The people who came up and had me sign books at 47 North or for Star Wars? Not a bunch of straight white guys. A lot of women. A lot of faces that were not my own. And some self-identified LGBT folks, too. That’s awesome. Awesome in a lot of ways. Awesome because the audience is bigger than anybody expected. Awesome because it’s expressive of a world that is not singular, not simple, that is far-reaching and full of variety and tons of people who don’t look or act at all like each other but still find common ground in cool stuff like Star Wars. And it’s also sad because, y’know, the content is not equal to the audience. The stories have not yet caught up to reality. That’s true on the page, on the screen, and behind the scenes with the creators and the executives and everything.

Listen, I get it — this problem is not my problem. Inclusion isn’t for me. I’m covered. I am already included. Luke? Me. Han Solo? Me. Obi-Wan, Qui-Gon, Anakin, Wedge, me, me, me. And it’s not just Star Wars. John McClane, Harry Potter, Frodo, Iron-Man. All a bunch of white guys saving the day. Hell, Santa Claus. Or damn near every painting of Jesus, who was clearly not a white guy but is often depicted as a white guy. We do our level best to paint ourselves as the heroes of our own narrative. It’s white guys all the way down. I’m golden over here. I don’t need more representation. I have had my fill to the point where my pop culture belly is a-burstin.

In fact, I’m so glutton-fed I figure it’s time for a diet.

Which is why I’ve tried very hard to vary my reading. Which is why in Aftermath the protagonists are: a Mom, a gay dude, a lady bounty hunter. It’s why the Imperial antagonist is a powerful woman of color. (I’m no culture hero here, to be clear — I did the bare minimum in including different characters. It’s not like I have Sinjir engaging in sweaty man-love with Wedge Antilles. He is gay and he is present and he is visible and that has been enough to conjure  100+ negative reviews and an unholy host of comments, hate mails, and social media ‘interactions.’ Don’t believe me? Here’s four pages of reviews — 1, 2, 3, 4 — and that’s just me searching for the term “homosexual” across the one-star reviews. It’s just the tip of that septic shitberg.)

Point is, I don’t need to see me on the page as often as I have. And while I wouldn’t want to steal someone’s voice and make it my own, at the same time, in a sci-fi novel, I think we’re okay. And writers of any salt or stripe are expected to know how to write beyond the singular experience of being who you are. And readers should be able to read just as capably. What, you can get behind a protagonist who is a dragon, or a Wookiee, or an animated monster, but you can’t get behind another human being who looks different? You gotta have some empathy. No one can make you understand different people. You have to try. You gotta draw the bridge between you and other humans. It exists. But you have to see it. You have to believe in it. You have to be the one to reach out and look for the similarities of experience, not just the differences. (But differences matter, too. And it’s important to grok why that is and not erase those differences or those experiences.)

You gotta realize the world isn’t for you.

It’s for everyone.

And that needs to start happening in media, too.

Nice thing with Star Wars is, it is happening. Look at the protagonists of The Force Awakens. Look at Lucasfilm. They’re openly committing to finding a woman director for Star Wars. Kathleen Kennedy notes: “Fifty percent of our executive team are women. Six out of eight of the people in my Story Group are women. I think it’s making a huge difference in the kind of stories we’re trying to tell.” Some of the story group are also people of color. It’s a start. Especially when it’s starting in one of the biggest SFF franchises ever. Perfect? No. Nothing is. But it’s nice to see changes happening. It’s nice to see some equity there between the audience that consumes this stuff and the people who make it. Stories matter to people. Characters matter. Creation matters. Nobody should be excluded. Inclusion is awesome.

And if you oppose that — you know, hey, fuck you. Go on and throw pebbles at mountains. Go on and boycott the sun. Let me know how that works out for you.

Meanwhile, I’m gonna be over here enjoying what’s to come. I suggest trying it. Loving stuff instead of hating it. Accepting the world as it is, not the world as you mistakenly hope it will be.

To everyone else: may the Force be with you.

And hey — NEW TRAILER TONIGHT.

*teeth vibrate with sonic joy*

*fingers become lightsabers*

*wampa roar*

HEY LOOK AT THAT.

Official description:

It’s Atlanta’s senior year of high school, and she is officially infamous. Not only has she saved herself from a predator, brought down an untouchable dogfighting ring, and battled a pack of high-school bullies, but she’s also proclaimed to the Internet her willingness to fight for anyone who needs help. And Atlanta can’t believe what’s coming out of the woodwork. From an old friend to a troop of troubled girls with connections to a local fracking company, there’s definitely fire in the water. As always, the girl with the unforgettable name is not afraid to burn it all down if it means making things right. But as high school races toward its inevitable end and the hornets begin to swarm from all directions, Atlanta must decide how much of herself and her growing group of friends she is willing to risk…before it’s too late.

Book comes out February, 2016.

You can pre-order it right now.

Cover Contortions

Read for Pixels is a campaign to raise funds to help stop violence against women globally.

This year, Jim C. Hines has come out of retirement and entered the arena with a promise that, should the campaign get $10,000 in funding, he will once more do a cover pose — where he apes the pose made by a contorted woman on a SFF book cover in the tradition of gender-flipping.

Well, this year I have been challenged.

I HAVE BEEN CHALLENGED.

And in a fit of abject foolishness, I have accepted this challenge.

Which means Jim and I will do a cover pose battle, and you can help choose the cover.

But all that only happens if the campaign makes $15,000 in funding by its date.

And it only has a couple weeks left.

So, get on over there and make it happen. Donate here.

The Mockingbird Killer Has Returned

Last month, Blackbirds returned to print.

And this month, Mockingbird is back.

(The Cormorant returns in February if you wanna pre-order.)

So, so, so excited to have these so they can get in people’s hands.

You can find the paperback at most bookstores. I think the hardcover has a much shorter print run for both books, and my understanding is you can only get those through Amazon or BN online. And believe you me, the hardcover editions are sexy-sexy.

Go make grabby-grabby.

And don’t let Miriam Black touch you.

(Miriam Black book trailer here, if you haven’t seen it.)

Thunderbird Delayed?

Is Thunderbird’s publishing date changing? Maybe. I’ll let you know when I have more info, but the goal would be to do something a bit more innovative with the publishing schedule for the final three books — something that gets them out in more rapid succession so that there’s not a year between books (which was the original goal). I actually just finished edits on that book and they were the weirdest set of edits — like, they were heavy edits, but nothing fundamentally changed about the book. Not a rewrite, just a great deal of massaging — a stronger edit to lift the book toward theme, toward better language, toward apt character.

Meanwhile, some don’t realize that there’s a novella set between Cormorant and Thunderbird called “Interlude: Swallow.” It’s part of a trio of tales by me, Kevin Hearne, and Delilah S. Dawson! It’s called THREE SLICES and you should go shove it in your brain-mouth.

Event in Charlotte, NC

I’m going to be doing an event at Queens University in Charlotte, NC on November 19th. 8pm, open to the public. Come say hi! Or throw things at my head. Nice things. Like wads of money and rare birds and various gems of various sizes. Event deets here.

The Oklahoman Reviews Zer0es

A great review right here if you care to read it.

(Note, the review is a bit spoilery.)

“What follows is a white-knuckle race to discover the truth about Typhon and stop it before it’s too late. “Zeroes” is one of the most satisfying hacker novels to come down the fiber optic pipeline in a long time.”

Check out Zer0es at Indiebound, Amazon, or B&N.

And Finally, The Shield!

The Shield #1 is coming out THIS WEEK.

*breathes into a bag*

My first real comic! Me and Adam Christopher, holding hands and leaping into the FOUR-COLOR MAELSTROM, BABY. Woo! Nothing can stop us now.

A round up of some Shield-related media:

Entertainment Weekly!

Bleeding Cool!

Adventures in Poor Taste!

And a cool review from Graphic Policy:

“The story by Adam Christopher and Chuck Wendig, unfolds a spy thriller, hurling the reader the reader into a world of high stakes politics and secret identities. The art by Drew Johnson is luminescent and drawn with realistic tones, which serves this action packed narrative. Overall, probably the best comic to come out of the Dark Circle imprint and one that is long overdue.”

Also, Adam and I will be doing a couple events together! He’ll be touring the US for his new Tor novel, Made to Kill (which is rad and you want it), and he and I will be doing an event at KGB Bar / Red Room in NYC with WORD bookstores on November 3rd. Then, a week later, we’ll do a thing at Doylestown Bookshop in Doylestown, PA. That’s on November 13th (FRIDAY MWA HA HA HA) and you can find out more here. Hope to see you at one of the events!

It’s that time again for the challenge I love so much —

You take two pre-existing pop culture properties, randomly mash them up, and then write a piece of fiction inspired by and utilizing that mash-up. You’re not writing fan-fiction in those worlds — you’re capturing the essence of them for a new story. (So it’s like, when you pitch an original novel to an editor and you say, IT’S LIKE DANCES WITH WOLVES MEETS BATTLESTAR GALACTICA. And they’re like, what? And then you both laugh uncomfortably.)

Here, we’re gonna do a horror-flavored edition

One table is PURE HORROR.

The second table is not at all horror.

You will mix these up for maximum awesome.

Roll a d20 or use a random number generator once on each table.

Then, write a story — we’ll say up to 3000 – 5000 words in length — and post it at your blog and give us a link back here so we can all read it and go ooh and ahh.

(I know, technically not a flash fiction challenge. DON’T SASS ME.)

Given that this challenge is a bit longer, we’ll make it two weeks for your timeframe, which will finish this out right on October 30th, the day before HALLOWEEN.

*crash of thunder*

*cackling ravens*

*Jack-o-Lantern smokes a cigarette and leers at you*

Go forth and write.

The Horror Table

1. The Exorcist
2. The Walking Dead
3. Interview With A Vampire
4. Frankenstein
5. The Babadook
6. Poltergeist
7. Gremlins
8. It
9. Rosemary’s Baby
10. It Follows
11. Hellraiser
12. Psycho
13. Evil Dead
14. The Shining
15. Texas Chainsaw Massacre
16. The Descent
17. The Thing
18. Nightmare On Elm Street
19. The Ring
20. Carrie

The Not Horror Table

1. Harry Potter
2. House of Cards
3. Back to the Future
4. The Marvel Universe
5. Mad Men
6. Scooby Doo
7. Scandal
8. Planet of the Apes
9. Transformers
10. Sex and the City
11. The Muppets
12. Die Hard
13. Star Trek
14. Pitch Perfect
15. 50 Shades of Grey
16. Fast and the Furious
17. The Shawshank Redemption
18. Casablanca
19. Doctor Who
20. The Martian

What would you do if you discovered everyone in your house, on your street, and in your town dead? Then discovered you weren’t alone and what was out there was hunting you? Melissa Allen knows exactly how it feels. With only a voice on the phone for help, she must stop what is happening before the monsters find her.

1: Twitter is Great for Research

It all started when I asked twitter this question: “How long do you think it would take the world to notice if everyone in a state went to sleep at 2am and died?” The answers brought up things I had not considered in my personal answer: Is it a border state? Does it have a military base? A nuclear power plant? An international airport? Is it a flyover state where distribution centers live? After taking in these options, along with population density, we came up with an answer that gave me the basis for NEVER LET ME SLEEP.

As a bonus, one of my medically-minded twitter followers contacted me with a plausible reason that would cause people to go to sleep, then die. It never comes up in the book, but I know the answer if asked.

2: Primary Sources are Even Better for Research

The internet is great for research but it will never replace the value of going to a primary source. I contacted my local FEMA PR person to ask what FEMA would do in the case of the world losing contact with a state. The answer was enlightening. I spent time talking to a medical professional about the medical aspects of the second Melissa Allen book and she saved me from making a complete fool of myself. My protagonist is a teenager with mental illness. I spent time talking with several people who lived the kind of life Melissa lived and got the inside, real answers of what the life of a functioning young adult with a medicated mental illness is like. My book would not have had those realistic details without going to a primary source.  No matter what your book is about, it will always benefit with primary source based research.

3: “Wouldn’t it suck if…” is the Author’s Best Tool

Multiple times while I was writing NEVER LET ME SLEEP, I thought “Wouldn’t it suck if X happened right now?” Stuff I hadn’t planned. Stuff that would make Melissa’s life that much more difficult. Stuff that I immediately wrote and updated my outline because, sometimes, the complication really complicated Melissa’s life and my story. But, because of all those “Wouldn’t it suck” moments, the story is better for them and moves at a much more active pace.

4: Google Street View is Awesome

I have never been to Onida, South Dakota. But I know the town’s layout. I know how the streets line up with each other. I know what the houses and businesses look like. Google Street View allowed me to walk the town over and over for months while I was writing NEVER LET ME SLEEP. To stop and look at the sign in the yard of a small house that turned out to be a walk-in medical clinic. To find exactly the right place for Melissa to glimpse the monsters for the first time. To see which houses were two story and which weren’t so I could put Melissa’s house in the correct part of town. Google Street View is a wonderful tool to visit places you’ve never been and get a feel of the landscape around you.

5: Sometimes the Protagonist Dictates the Novel’s Ending

NEVER LET ME SLEEP was supposed to be a one-off novel. I’d left Melissa in an ambiguous place, wondering if everything had happened was real or if it was all in her not inconsiderable imagination. Melissa wouldn’t let me do that. After I’d written “The End” I kept thinking about her and she kept railing at me about how this wasn’t going to be the way her story ended, dammit. I’d never had a story or a protagonist flat out tell me, “This is not it. There’s more to the story,” before. It was a strange and interesting place to be. So, I wrote a new ending. One that would allow me to get some rest and to stop thinking about Melissa Allen for a little while.

***

Jennifer Brozek is a Hugo Award-nominated editor and an award-winning author. She has worked in the publishing industry since 2004. With the number of different projects she juggles at one time, Jennifer is often considered a Renaissance woman, but prefers to be known as a wordslinger and optimist.

Jennifer Brozek: Twitter | Blog | Facebook

Never Let Me Sleep: Amazon | B&N