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This past weekend I was fortunate enough to have been invited to be a part of the 2012 Tallgrass Writing Workshop. This thing has been going on every year for the past 27 years; I definitely do not take lightly the privilege of being part of such a legacy. Aside from participating in general camaraderie, I taught two sessions. Both of which seem to have been pretty successful (despite my habit of talking WAY too much). For the benefit of those who were not able to attend my sessions (due to simultaneous, better sessions), I have uploaded my two original slideshows for the viewing pleasure of all. The social media one even has audio included. Neat! Click the links below the images to access the slideshows. Watch at Slideshare.net (with audio) | Watch using Google+ SURVIVING ONLINE: Why Social Media is Not a Waste of Time for Authors Some writers claim that time…

Here, in this part 2 of a 2 part-er, I look at a few examples of book design: Cover Alteration, Slipcases, and Integral Design. Examples include Donna Tartt's The Secret Friend, Chuck Palahniuk's Diary, Douglas Coupland's The Gum Thief, Mark Z. Danielewski's Only Revolutions and House of Leaves, Adam Novy's Avian Gospels, Chip Kidd's The Learners, and a collection of three Tim Hall books. View part one here.

I've been wanting to read "Click-Clack" to a live audience for a while. It's perhaps one of my more unsettling stories. So, I thought, where better to read it out loud than in a sweaty, un-air conditioned room above Prospero's Bookstore. The crowd seemed to dig the story, as much as one can considering the heat. The version linked here contains a few sound effects as well. A lot of my fiction deals with what I call domestic grotesque situations. None are perhaps more fitting to this term than "Click-Clack." If you like it, pick up more of my fiction, specifically my two story collections Charactered Pieces and Mumurs: Gathered Stories Vol. One.

Nathan Pettigrew, one of the two minds behind the lit site Solarcide, asked me for an interview a few days ago. This guy knows how to ask questions, ones that not only evoke my own passion for the subject matter but also make it easy for me to answer in a way that is hopefully entertaining for readers. Head over to Solarcide now. Read the interview. Learn of my greatness. Here's a taste of Nathan's humbling intro: He’s one of literature’s most lethal rising stars and highly prolific with not one, but four new releases in 2011. His debut novel from earlier this year, Stranger Will (Otherworld Publications), established Caleb J. Ross as a true talent to be reckoned with. His writing can be described as stylistically beautiful while depicting some of the darkest and most disturbing worlds that fiction has to offer. Picking up on concurrent themes throughout his work pertaining…

"Click-Clack" is a favorite of my stories. It has a rhythm and a focus that I am particularly proud of. So, it makes me all warm and bound to read Matthew C. Funk's review of the story at Spinetinger Magazine. Spinetingler, for whatever beautiful reason, has decided to review a handful of stories from the recent Warmed and Bound anthology, in which my story, along with 37 others, appear for your reading pleasure. Rather than blather on, I'll just post a few of Mr. Funk's words: Click-Clack by Caleb J. Ross is attuned to these mortal rhythms, and makes them sing seamlessly in a narrative that is as much a ballad as it is lyrical prose. This vignette is a song masquerading as short story. It achieves this with a brilliance as flawless as any modern masterpiece of music. Ross crafts wondrously illustrated personalities. Jack and Ernie are vivid as both symbols in a fable…

Pablo D'Stair returns with his second installment of his Six Personal Investigations of the Act of Reading, this time with my novel, Stranger Will, as the article's referent object (with a focus on Genre). I simply could not be more delighted. He's already tackled Stephen Graham Jones' The Bird is Gone: a manifesto and is prepping investigations of Goodloe Byron's The Wraith (which I am currently reading), Amelia Gray's, AM/PM, D. Harlan Wilson's Peckinpah: an ultraviolent romance, and Brian Olu's So You Know It's Me. This guy could run his own online psychology classes, I swear. I'd enroll (mostly so I could shoot virtual spitballs at his touchscreen whiteboard). Here's a bit from Pablo's Stranger Will investigation: There can come a point where the magnetism of the internal conflict of a central character can be abandoned or toned down for "the reveal" the exposition of the superficialities of the plot…

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