In the last post I revisited Strands, a possible project idea from the early days of Ficticities. Back then I abandoned the project as weak tea that can’t be brewed, but based on subsequent experience I’m reconsidering. So, walking it through by example, here’s how a new issue of Son of Strands might take shape…
Strand. Let’s say that the topic for the upcoming issue is “Funeral.”
Request for Manuscripts. Son of Strands will be listed in online registries of short fiction magazines, issuing an open call. In addition, specific individual requests might be extended to writers whose work the publisher/editor admires or who’ve had pieces previously published in the magazine. Writers finding their way to the Son of Strands website are presented with an issue-specific call for submissions: Funeral, in this example. Consider the various elements that surround a funeral: obituary, announcement, hearing the sad news, organizing the funeral ceremony, prep/presenting the remains, gathering the mourners, wake, cortege, hymns/readings, eulogy, interment, etc. The deceased can be a human or a group of humans, an animal or a species, an inanimate object or an abstraction; the funeral can take place in this world or some other world, in the past or present or future. You can write a story, a fragment, a list, a lyric, a lamentation, a dream, a theory, an instruction manual, etc. Any mood is appropriate: reminiscent or absurd, realistic or weird, adventurous or introspective. The 2,000 word maximum is a suggestion rather than a limit.
Manuscript Vetting/Editing. The call for manuscripts might elicit hybrid writings intended specifically for this publication and this issue — texts that might be difficult for the authors to shop around to other magazines if they’re rejected by Son of Strands. Consequently it would seem preferable that a manuscript selection policy be adopted that operates according to an iterative revise-and-resubmit cycle rather than the usual binary logic of accept/reject. How many individual texts make up an issue of the magazine? The magic number I have in mind is 14, which might add up to around 15K words. Is it fear of success to be concerned about receiving too many manuscripts? They could each be published separately online of course, but Son of Strands wants to focus attention not just on individual pieces but on the issue as a whole. Maybe two separate issues on the same Strand?
Issue Editing. Putting the individual pieces together into an issue will be like assembling a sculpture from found objects, an abstract mosaic, a cubist painting, a Frankenstein monster. Each piece, while possessing its own unity or integrity, won’t be framed in isolation from the other pieces. Each piece is also a fragment or shard. Is it possible to reassemble the shards into the lost whole to which they originally belonged, like putting together pieces of a jigsaw puzzle or reassembling a shattered Grecian urn? Assuredly not. The edited assemblage will accentuate the jagged edges and the angular facets and the misfitted junctures — a creation among the ruins, a mid-apocalyptic creation. The issue might include a brief Intro about the issue topic — Death — and the assemblage. At the end there might be a single topic-related Interview question to which each author crafts a very brief response. A concluding Contributors section will include hotlinks to authors’ websites, recent publications, etc.
Formatting. The issue will be published in an online open-access format. Most online litmags emphasize the individual texts while losing sight of whatever holistic aspects the texts collectively comprise. Son of Strands’ formatting will accentuate the issue-ness while also highlighting each piece separately. Some litmags emulate the look and feel of a print mag, with readers turning virtual pages to work through the entire issue from front to back. The emulation format respects issue-ness, but it makes it hard for a reader to flip to a specific text within the compilation. Maybe the way to go is to publish the entire issue as a single “post” on the website, but with a navigable Table of Contents, a page break between each individual text in the issue, and an easy way of navigating between individual texts.
Distribution. Distribution will be open access and online: no print versions. The magazine acknowledges and links to each contributing author publicly on social media (Twitter, Facebook, etc). This way of promoting the authors’ work will let their friends and associates know about Son of Strands, hopefully luring them to read their friends’ pieces and maybe more of the issue as a whole.
Next Issues. The unifying thematic strand might go upstream from Funeral to Death — cause of death, bedside confession, last words, last rites, murder scene, forensics, autopsy report, etc. — and downstream to Afterlife — pearly gates, zombification, loved ones’ reminiscences, reading the will, trust funders, discovery of secrets, etc. These three issues could be further edited and consolidated into a single compiled ebook.
Toward Postcapitalism. The issue-specific themes, explored via the assemblage of disparate fragments, bespeaks an ambiguous apocalyptic world, a jagged reality that’s either falling apart or pulling itself together, a mad scientist’s laboratory where something “post” might bubble up from the beaker. The big-tent inclusiveness of its short fictional texts extends the realm of creation beyond the traditional narrative limitations upheld by commercial publishing. The editorial commitment to revise-and-resubmit, the emphasis on the issue as a coherent collective text, and the direct correspondence of publisher/editor with authors all point toward the possibility of authorial collaboration in writing, editing, and publishing. Open access supports the decommodification of fiction. The continuity of topics and the movement toward ebook compilations opens up the possibility of collectively editing, publishing, and distributing single-author open-access ebooks.
So here’s the problem. I like this scheme. In fact, I like it so much I can imagine writing the whole freaking issue myself, and doing it in less time than it would take me to solicit and edit a compilation of texts written by other writers. But if I wrote it myself, who would read it? The multi-author compiled work would reach out via social media to 14 writers each issue, and at a second degree of separation hundreds of the authors’ online friends and followers would be alerted. With twelve issues per year, Son of Strands could reach thousands potential readers, not counting word of mouth and reblogging. But if I write 12 issues in a year I’ve got the same handful of friends who might be interested enough to take a look.
So suppose I go ahead and launch Son of Strands as editor-publisher of a compilation of short fictions written by others. Suppose I manage to get one issue out, then follow it up with a second issue, and a third. Writers like it; so do readers. As far as I’m concerned proof of concept has been established; the pilot testing phase is ready to transition into full production mode. Time to hand the machinery over to somebody who actually finds enjoyment and fulfillment out of turning the same crank over and over again. Meanwhile, I’m ready to try something else. That’s why I set up Ficticities as a laboratory in the first place: I’m not an ops guy.