Interview with Rose Metal Press: Annual Short Short Chapbook Contest
Rose Metal Press is an independent publisher of hybrid genres, including flash fiction collections and novellas-in-flash. For the past 11 years, Rose Metal Press (RMP) has held their annual Short Short Chapbook Contest. SmokeLong discussed this year’s contest with founders Abigail Beckel and Kathleen Rooney to find out what the press hopes to see in this year’s contest submissions and what titles they have in store.
SMOKELONG: Can you start by talking a bit about how the contest has (or hasn’t!) evolved since the first chapbook publication in 2007 to this year’s contest? What goals have changed? What has remained intact?
RMP: The contest has stayed essentially the same since its inception back in 2006. The process remains the same: we accept blind submissions of short short fiction and nonfiction chapbook manuscripts, screen them, send the finalists (usually between 6-8) to a flash celebrity judge, and then publish the winner the next summer in a limited edition with letterpressed covers. Our goal has always been to showcase one of our favorite forms in a format more typically used for poetry than for prose, and to make the highest quality book possible in both its content and its design. We’ve even left the reading fee ($10) the same since day 1, hoping to encourage more submissions while still offsetting some printing costs, but last year we added a $200 prize as well as publication, and we plan to continue that prize. Of course, in the 10 years we’ve been running the contest—going on 11 this year—more places have begun using the chapbook to publish prose, which we think is terrific, and of course the judges and people submitting have changed, but for the most part it’s been pretty steady-as-she goes. In a world that sometimes seems to change too quickly, this is kind of comforting to us—to have this small, dependable thing like clockwork year in, year out.
Our roots with the chapbook contest go all the way back to the start of our press and our goal right from the beginning to find more ways to highlight and promote flash forms. One of the great things about having a consistent contest format is that it’s been a great indicator of how flash has changed and grown as a genre in the last decade. We’ve watched aesthetics change in the field and various techniques and styles become popular. Around 2010-2011, we started to see a lot of linked flash manuscripts come in (we call them novellas-in-flash) and that trend has continued. We even published a book of novellas-in-flash with a study of the form, My Very End of the Universe, built around the terrific novella-in-flash submissions we were getting in the contest each year. This year’s contest winner, Lex Williford’s Superman on the Roof, is a novella-in-flash, for instance, but the majority of the submissions we receive are unlinked (but cohesive, as every collection should be) flash, like last year’s winner, Rosie Forrest’s Ghost Box Evolution in Cadillac, Michigan. It’s a real privilege to have this window, the contest, on what trends and styles are influencing flash writers.
SMOKELONG: What makes a submission stand out? Are there any deal-breakers in submissions?
RMP: It might seem weird to offer a negative definition, but the base level measure of a strong submission is simply that it not make any mistakes, whether that’s a logistical mistake of not following the contest instructions (page count, story length, blind submission, etc.) or an aesthetic mistake (not starting the manuscript with strong stories, having the stories in an order that doesn’t work, having a title that doesn’t feel like it fits the manuscript, etc.). Those kinds of errors are not necessarily automatic deal-breakers, but they do make a contest reader less inclined to keep something in the yes or even the maybe pile. As for what makes a submission stand out to us, we love things that are hybrid not just for hybridity’s sake, but because the piece really *has* to be that way—it’s the best form for the job. In the case of the contest, that means that the stories/essays really only work as flash pieces or connected flash pieces, rather than shortened versions of longer short stories. Many different kinds of narrative techniques and styles can be used to create terrific and effective flash, but the hallmarks of the flash form—compression, urgency—have to feel present and essential in the work. And, we also love things that operate in more than one emotional register, serious-smart, funny-sad, angry-comic, etc.
SMOKELONG: RMP is a publisher, and the goal with any chapbook or standard book is to market and sell them, so are there other considerations beyond the quality of a submission that play a factor when you begin judging? If so, what are they and how do they factor in when you review the submissions?
RMP: As a mission-driven non-profit, we have the privilege of being able to publish books without sales and marketability being our central endgame—at least not in how we choose what we publish. Part of our mission is to expand the literary landscape and to provide publishing opportunities to authors, genres, and books that more profit-driven publishers might not see as marketable enough. Of course, we do want to get the authors, books, and genres we publish the most exposure we can so that more readers get the chance to discover all the amazing writing happening in hybrid genres like flash, so after the editing process, we focus a lot on how to promote a book and how to get it to the most readers and reviewers, which means focusing on sales and marketing. But that’s not how we choose the manuscripts we publish—it’s what we feel like our responsibility to the author is once we accept a book for publication.
We read our submissions blind in order to do our best to not be biased by who an author is or how established (or not) they are. Once we send the submissions to the judge and the judge, in this case Amelia Gray, picks a winner, we work with the winner to make sure not only that their manuscript is in the best possible shape for publication by editing it, but we also help them have the platform (website, social media, readings, etc.) to get the word out about their chapbook. On average, we set up 5-7 readings per author and send out 35 to 50 reviewer copies of any given chapbook winner. We ask our authors to create author websites if they don’t already have them and help promote the book on social media. The more visible an author is when a book comes out, the more readers their book has the potential to reach, mostly because an author’s own community is the biggest initial source of sales, support, and word-of-mouth recommendations.
SMOKELONG: Tell us a little about the 2016 contest judge, Amelia Gray. How did you connect with her? What does she bring to the judging process?
RMP: Amelia got on our radar all the way back in November of 2007 when she submitted a couple of extremely strong manuscripts to our chapbook contest, actually. She didn’t end up winning, but we admired her work a great deal and have followed her career since then. We’re fans of her virtuosity as a writer—her diction, her syntax, her sense of structure and pacing—as well as her subject matter—unsettling, funny, strange, and haunting. Her unique and engaging writing style is showcased beautifully in her story collections Gutshot, Museum of the Weird, and AM/PM. We’re honored to have her be our judge this year and look forward to her decision.
SMOKELONG: Aside from the chapbook contest, what is RMP looking forward to within the next few months?
RMP: This November, concurrent to the contest reading period (November 1 though December 1), we’re launching our latest book, THE BITTER LIFE OF BOZENA NEMCOVA, a collage biography by Kelcey Parker Ervick. It’s about the Czech writer and feminist Bozena Nemcova, who is so famous in the Czech Republic that her face is on the money, but whose talents as a writer, collector of fairytales, and early Czech Nationalist are largely un-appreciated outside her home country. It’s a beautiful and compelling book, full of letters, tales, and artwork, and the innovative fragmentary form really creates a new way of approaching biography and memoir. We’re excited to get it out into the hands of readers.