Why Flexi Press?

Remember those flexi-discs that used to come attached to music magazines and how they provided a sampler of some new or old artist or other? Well we decided to trade on this concept as a kind of gimmicky metaphor for what we wanted to do with our micro-collections.

Do you actually produce flexi-discs?

No, we just use them as a conceptual framework by which to package micro collections of poetry in a new way that is suitable for a blog. In a way that is smaller than a poet’s full collection and, in some cases, smaller than the amount of poems needed for a pamphlet even.

We could just as easily have used the home recorded tape or the dub plate or the DJ mix or some other analogous thing but this is the one we decided on. So there you go.

Why did we do this?

Firstly, there are alot of attempts to publish poetry and short fiction online and most (not all, of course) are pretty awful affairs which offer shoddy interfaces and nothing in the way of editorial control. We hope to offer something a little smarter. Secondly, we are part of The Irregular Press and The Irregular Press is dedicated to finding new and interesting ways to publish poetry online and in print form, this could be one. Thirdly, we’re interested in a collision are obsolete formats in this format this shifting age and would find it interesting to be able to garner enough content to produce Top Tens, etc.

As a writer, why should I bother with all this?

Hopefully, this can become an interesting way to work with publishers and writers/artists to publicise new writing and to help promote new print collections, e-books etc. For writers, particularly ones who are au fait with popular culture of the last century (don’t accuse us of looking to the future), can interest themselves and their readers by playing with our three allotted formats.

Everyone will have their own ideas (we hope) but a few that spring obviously to mind include:

  • the whole idea of the relation of the B Side to the A Side of a Single.
  • the whole notion of sequencing a long player with opening tracks, final tracks, last tracks of Side One, etc. Not to mention experiments such as David Bowie’s ‘Low’ where the whole of Side B is taken up with an instrumental tracks.
  • considerations of different genres. The shorter, punchier brevity of the A Side and B Side versus to the longer, more contemplative indulgences of Progressive Rock.
  • spoken word albums, novels serialised in magazines, etc.

Writers, please feel free to offer newer work or to re-contextual older work in whatever way you see fit. The copyright is yours not ours.

Are you serious?

Yeah, we are. Although, there is an element of latitude and play in offering your poetry/short fiction via our formats. For poets, we see no reason why they should interfere with the seriousness of your work or why they should be incompatible with the existing range of poetic forms from the sonnet, the sonnet sequence and the villanelle to free verse.  Similarly, for writers of fiction, we think that short fiction and shorter flash fiction, not to mention the whole idea of sequencing chapters and sections, etc  would be compatible with our formats.

Money? Do you pay any?

Nope, we’re merely hoping to be of use as a promotional tool for work that you’re selling elsewhere. Also, you (or your publisher) retain the copyright of whatever you consent to be used here.

How many words per piece?

Upto you. No particular limit. Adapt the formats how you will.