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Looking at the score, I don't think many would identify this composition as as fugue (or even as fugato, for that matter). The counterpoint is interesting, but ridden with errors, the most prominent of which are the copious parallel octaves.
I don't mean to sound horrible, but if you're confessing that you're 'not an expert at fugal form, counterpoint, modes, or any of that', it would probably make sense to start with something that's not so hugely demanding of all those. Fugue is the ultimate expression of contrapuntal ability, and it takes a great deal of skill to render them musical rather than mechanical (let alone to render them harmonically and motivically correct). It's rather hypocritical of me, because I learnt almost everything I know about counterpoint from studying fugues, but I wasn't able to write them even vaguely convincingly before I'd done a great deal of preliminary exploration.
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