By Stephanie Lenz (Baker)
Shock Totem is an American print literary journal specializing in horror and dark fantasy (horror-infused fantasy). Issue 1 was released in mid-2009, Issue 2 in mid-2010, and Issue 3 in January 2011. Editor K. Allen Wood (@kallenwood) is a friend to many of us here at Toasted Cheese and he was kind enough to take some time to discuss writing, editing, music, and giant Nazi chickens.
Toasted Cheese: Most important things first: what’s the latest addition to your music collection? What are you listening to these days?
K. Allen Wood: I like your style, Stephanie. Let’s see. I’m not sure I know what my latest addition is. I do have a small pile of recent additions on my desk, though; it includes albums by Foo Fighters, Cavalera Conspiracy, Therapy?, Jet Red, Cynthesis, Anathema, Ari Hest, Bad Religion, Ben Harper & The Innocent Criminals, KMFDM and, get this, a 1992 demo by Wicked Maraya… on cassette!
As for what I’m listening to these days, it’s always an eclectic mix. I typically set iTunes to shuffle and press play. Currently iTunes shows that I have 85,758 songs on my external hard drive, so it’s always an interesting mix. For instance, the last ten bands played, according to Last.fm, were Queensrÿche, Shootyz Groove, Twilight Ophera, Ultimatum, Stuck Mojo, Incubus, 3 Doors Down, Live, Sprung Monkey, and Project 86.
It never gets old.
TC: What made you decide to create Shock Totem as a print rather than electronic journal? Do you ever feel pressured to create an electronic version?
KAW: Well, in the beginning we were going to be an electronic journal. I knew the traditional print cost for magazines was far beyond my budget. I’d seen too many publications close for that very reason, so I knew I couldn’t manage it financially. I didn’t even want to try. So creating an online journal was more practical, if less appealing.
But then Apex Digest shut down as a print magazine. I was bummed. They were my favorite magazine (I need issue 3, if anyone has an extra). I wanted Shock Totem to at least have the potential to sit on someone’s bookshelf like Apex sat on mine.
So I decided to look into print-on-demand publishing, which would all but eliminate the upfront cost of traditional printing. I tried a few different companies before choosing the one I felt was best and just went for it. I knew the stigma behind POD publishing would be a hurdle, but I also knew that it wasn’t the technology that was the problem, it was the horrible writers using it and the foolish critics that couldn’t comprehend the difference between the two. Done right, done well—which I think we’ve achieved with Shock Totem—it’s arguable that POD publishing is better than traditional publishing, at least for small-press outfits.
And no, I never feel pressured to turn Shock Totem into an electronic journal. It would save me some money, but I think we’d lose a lot of readers.
TC: Would you mind retelling how the title “Shock Totem” came to be, including the discovery that there already existed a book named Shock Totem (by Thom Metzger)?
KAW: It’s all John Boden’s fault. We’d been tossing around a long list of potential names for a while. Most were terrible, some laughable, and others kind of cool. But nothing really stood out. We had a short list of favorites—Nightfall Overture, Scrawl, Shades & Shadows, Blood Tells—but nothing really seemed fitting. It was basically a Best of the Worst list.
One day, John mentioned Shock Totem. Nick and I immediately liked it. It just sounded cool, you know. When asked where the name came from, John said something like, “I don’t know. The words just popped into my head earlier today.” So we added it to the list of potentials and kept thinking of more possible names. But we kept coming back to Shock Totem. At this point we’d already decided to be print magazine, so given that and taking into account the definition of shock and totem, it was the perfect name. And so it was decided.
Sometime later, Nick broke the bad news. He’d Googled the name and found out that it was also the name of an old book by Thom Metzger. That’s when John remembered he’d actually read the book back in college. Doh!
Of course, at that point, we were set on using it. We didn’t want to think of something else, so we decided to go ahead and keep it. We found that Thom Metzger taught at a college in New York, so to be gracious and professional, John contacted him and asked him if he’d be okay with us using the name. We didn’t have to ask, you know, as titles can’t be copyrighted, but we felt it was the right thing to do.
Thom gave us his blessing, and thus, we exist.
TC: Your cover art is amazing and diverse from issue to issue. Is it solicited or submitted?
KAW: So far the artwork for each issue has been solicited. From the beginning I had a very clear vision of what I wanted in terms of artwork. I don’t know that Nick and John were on board with that vision at first, but I think they dig it now. I just really like the digital medium, things that are fantastical but look realistic. Artists like Travis Smith have been a big inspiration to me and I wanted to see that kind of work as the face of our issues.
When we branch out into non-magazine releases, which will be later this year or next year, then we’ll go for a different kind of style.
That said, we are open to artwork submissions.
TC: How does the editorial process work for Shock Totem? In other words, once an author sends you a submission, what happens to it?
KAW: First, a team of five pigmy lady-boys transcribe each submission into handwritten script. Each story is then placed on a gold satin pillow, packaged inside a miniature Kiss Kasket, and flown out to each team member via a murder of crows. Most never arrive, for whatever reason, but those that do make the magazine. It’s unorthodox, but it works for us.
Some people probably think that way of doing business is unfair and unprofessional, so here’s the hooey-fooey but more acceptable answer: These days we have a submissions management system through which authors upload their stories. It’s a great system and much easier for us to interact with the authors. For me in particular. (You’d be amazed—and probably baffled—if I told you how submissions were handled for the first two issues.) While I may be the Head Cheese, we’re a team of five and we all have an equal voice. So majority rules. Three votes either way seals the deal.
TC: Are you able to meet face to face with your editors or do you handle much of Shock Totem’s business via Skype, email, chat, etc.?
KAW: We do most of our work through email and on super-secret forums. This past summer, though, Kurt Newton and I drove down to Pennsylvania and met up with John and Nick. I’d met Kurt at Rock and Shock the year before, but other than that it was the first time any of us had met. We stayed at John’s mother’s house, way up some mountain in Orbisonia. It was a ridiculously ridiculous week. (Ask Nick about the tragic and hilarious eruption of Mt. Pissuvius.)
This coming July, John, Nick and I will be at Necon, and I imagine it’ll be a good time. Next year, we hope to meet up with Mercedes at KillerCon in Vegas.
But I think it’s best that we handle Shock Totem business online and in emails. We joke around so much it’s a wonder we get anything done as it is; we’d never get anything done if we put this thing together in person.
TC: I’m positive that every submission is given a fair shake but what would make you stop reading a submission (a subject, a phrase, a technique, anything)? Is there anything you’ve seen enough of in the inbox?
KAW: Since I’m the one that does the main editing, I’m more inclined to quickly reject stories that have a lot of grammar issues, problems with flow or spelling or formatting. The other guys tend to look past those things. They read for story, but I don’t have that luxury; I have to think about what happens after.
We accepted a story for our first issue that had a lot of issues. There was a great story there, but it needed work, it wasn’t fully realized. Being new to editing and a little too inexperienced, I naïvely thought, with the author’s cooperation, that we could make the story shine. Unfortunately, it was a nightmare. The author fought me every inch of the way. In the end, after about six months, the story was getting worse not better, so I reluctantly passed on it. The author wasn’t pleased, to say the least.
So that’s why I quickly vote NO on stories that would require too much editorial involvement. There may be a good story in some of those, but I now realize it’s not my job to fix it that much. Typically, though, we all read the majority of submissions through to the end.
As for things we’ve seen enough of, there are a few things that elicit a collective sigh. The eat– or kill–the–baby endings are really lame. You can see those coming a mile off. I could do without the whole Nazi angle. We’ve gotten stories with Nazi zombies, Nazi werewolves, Nazi were-raccoons, giant Nazi chickens, and many more. Sadly. But we’re still open-minded enough to know there are exceptions to everything, so we have few restrictions on what we’ll read.
TC: You don’t do “themes” yet the stories always fit well together. Your reviews are eclectic—books, films, music, games—yet cohesive with the creative content. Is that due to consistency in the editors’ tastes or do you consciously choose pieces that jive thematically?
KAW: Well, I think our diverse tastes help with that, believe it or not. John likes surreal, bizzaro kind of stuff; Mercedes is into dark and whimsical tales. I like stuff that is more fantastical. We each have our favorite styles, we all dig a broad range of styles beyond that, but at our collective core, we like the same thing: dark fiction. And everything is tethered to that core.
I also think most if it comes down to us having the integrity to stay true to the standards we set before our first issue came out. And that really comes down to one thing: Publish stories that we enjoy. If you publish fiction for any other reason, you simply don’t care enough. We don’t publish our friends because they’re our friends. We don’t publish stories because the author is popular. We print what we enjoy.
TC: Shock Totem has earned a reputation for being a “tough” journal in which to be published. Do you enjoy that reputation and do you think it has an impact on the submissions you receive?
KAW: At first it was like a badge of honor. When you see other publications accepting eighty percent or more of their submissions, it feels good to not be like that. But it’s a childish way to look at things. Having a low acceptance rate doesn’t mean you’re a good publication, you know.
And I do think being a tough market makes it harder for us. I can’t tell you how many authors have complained to me about how many times we’ve rejected them. Some people do it to bust my balls, but others are clearly angry about it. A few have even told me they’re never going to submit to us again because we’ve rejected them too many times, as if the act of sending us five different kind of stories should guarantee an acceptance. It’s baffling and sad, especially when you know they’re good writers.
So yeah, I think having a low acceptance rate makes it harder on a certain level. Of course, if it were easy I guess there’d be a lot more magazines out there.
TC: Is the content of Shock Totem similar to what you write or is it simply what you like to read?
KAW: A little of both, I think. Probably for all of us.
TC: Shock Totem 3 is almost the size of Shock Totem 1 & Shock Totem 2 together. When did you notice an increase in submissions, considering the timeline of when you launched until today, and did the quality of the submissions follow suit?
KAW: We got an obscene amount of submissions at first. Like forty a day for the first few months. And most of them were atrocious. The moment we upped our pay rate to 5 cents a word, the quality increased tenfold. Eventually the amount of submissions dipped a bit, for whatever reason. Maybe because we’re considered a tough market, I don’t know. Now we average about ten to twenty submissions a day.
Our third issue is bigger because we got a large number of quality submissions during that reading period. If only it were always that plentiful! We probably should have saved a couple stories for Issue 4, though, because Issue 3 was damn expensive. Haha.
TC: Do Shock Totem‘s sales support your paying writers or does that come out of your own pocket? Has this changed over the course of the journal’s existence?
KAW: Profits from sales help, but the bulk of the cost comes from my pocket. Nick and John help when they can, and I’m grateful for it, but they have families, you know, so that comes first. But to give you a little more insight, we have recouped from sales half of what it cost to do Issue 1. But Issue 1 sold a hell of a lot of copies—over a thousand—in its first year of release. Unfortunately, Issue 2 and 3 have sold less. But I think—or hope—that says less about the product and more about why so many people bought our first issue.
In a recent interview with The Atlantic, Stephen King talked a bit about short-fiction outlets. In part, he said, “…a lot of the people who read those magazines are only reading them to see what they publish so that they can publish their own stories.” I think that’s why Issue 1 sold so well: A lot of writers were checking out the new pro-paying market, not necessarily the new fiction magazine.
That’s okay of course. We may be selling less now, but we’re still selling well. And hopefully our upcoming digital editions will increase our sales, thus reader base. We also have a few more things planned for this year that should help as well. My wallet could use the break. Haha.
TC: Has Shock Totem introduced you to new subgenres or writing styles? Are there subgenres you’d like to see more of as submissions?
KAW: I’ve always been a reader with broad tastes, so I don’t know that I’ve been introduced to new subgenres, but doing this magazine has definitely given me new insight into writing styles, or what works and what doesn’t work. I’ve learned much more than I would have otherwise, I think. Or at least much quicker.
And personally, I’d like to see more steampunk come our way. Of a darker sort, you know.
TC: Very often I say to someone, “You have to read this story” and hand them the journal (Brian Rappatta’s “The Dead March” in Shock Totem 1 springs to mind). Do you notice yourself especially eager to get an issue to print because you have to share your discoveries with your readers?
KAW: Of course. Traci L. Morganfield’s “The Music Box,” Leslianne Wilder’s “Sweepers,” John Skipp’s “Worm Central Tonite!” and Aaron Polson’s “Wanting It” come to mind. “Beneath the Weeping Willow,” by Lee Thompson, is one from our upcoming issue that I can’t wait to see what people think of it. It’s a heartbreaking tale, and the ending is so bittersweet.
But depending on the person, I may suggest any story. I really like them all.
TC: Shock Totem had a flash fiction contest in 2010 (the winning story “Ruth Across the Sea” by Steven Pirie was published in Shock Totem 3). Will you run the contest again this year? Do you plan to add more contests?
KAW: Yes. It’s ongoing. Our third bi-monthly contest started May 1. There will be two more after that. (The contests take place on our forum, for those interested.) The final judging will be done after our September contest is complete, and the overall winner will then appear in Issue 5.
And we plan to have other contests, just one-off deals, you know, where people can win books or CDs, things like that. Our new website—which is updated constantly and far more interactive than our previous site—is where we’ll hold those kinds of contests.
TC: In what ways has Shock Totem evolved away from your original expectation for the journal (for better or worse)?
KAW: We’re almost the complete opposite of what we first set out to be. We opened our doors as an e-zine paying 1 cent a word, and now we’re a print magazine that pays 5 cents a word. And despite the additional cost to us, we’re definitely better for it.
But as I mentioned at the beginning of Issue 1, our overall vision remains the same: Shock Totem is a magazine full of stories that we, as readers, enjoy the hell out of.
We’re also pissing fewer people off. Or I am, anyway. Haha.