TQR Process: What it is, was and always will be
And then, the paradigm shifted...
At the start of each quarter, all works begin on the Floor [see 'Free Market' menu item, as well as 'Staff'] where the capital managers either reject them or pass them along to the Terminal [ibid]. Specific works will not be discussed by the Floor. It will only discuss capital successes, trends that lead to capital failures, problems with upper management, or who could win the Stanley Cup, as well as various other general concerns. Their rejection gmails are personal form rejections.
A wrench the Floor is tasked with throwing into the otherwise smooth gears of the machine, is choosing two pieces that will bypass the remaining vetting apparatus and go directly into the hands of the Chairman, allowing him the option of rejecting the works presented him by his department heads in favor of the choice picks given him by the Floor.
...the static bastions of a saturated e-zine culture were forced to take notice of a new dynamism...
A third of the way through the quarter, the Terminal shifts into gear. The capital managers manning this interface will mention the specific titles of the works judged therein: in an editorial meeting in the Conference Room, or a discussion in the Terminal's Free Market office. All discussions will skew positive, concentrating on capital successes instead of failure. A rejection e-mail from the Terminal will be a personalized 'big picture' of what it was about that particular piece that didn’t allow it to continue on
...a publication that embraced the strengths of the Internet (its transparency, immediacy, fluidity and intimacy)...
The works that go on will be parceled out to one of two TQR departments, depending on whether the Terminal deems it 'genre' or 'spec/lit fic' -- the former going to The Quarterly Report, the latter to The Quarterly Revolution. The respective department heads (Tessa Quinlan-Renaud and T. Quincy Rockefeller) will then winnow their capital down to two or, at most, three pieces. The rejected works will get a personal e-mail from Tessa or T. enumerating the reasons why the piece was rejected.
...instead of misappropriating the opaque, stagnant and impersonal aspects of a passe ‘print’ world.
Tessa and T. will either come to a settlement or agree to go to court. A settlement consists of the two managers bargaining for which pieces will become capital gains and which will not, assuring that investors a potpourri of genre and literary work.. The nuclear option will be going to court before Rorschalk, in which he will rule on the genre vs. the literary cache held by each litigant and choose between one group to the exclusion of the other. In either case, the discarded works will be given a thorough 'just missed' letter from one of the parties mentioned above.
At the start of each quarter, all works begin on the Floor [see 'Free Market' menu item, as well as 'Staff'] where the capital managers either reject them or pass them along to the Terminal [ibid]. Specific works will not be discussed by the Floor. It will only discuss capital successes, trends that lead to capital failures, problems with upper management, or who could win the Stanley Cup, as well as various other general concerns. Their rejection gmails are personal form rejections.
A wrench the Floor is tasked with throwing into the otherwise smooth gears of the machine, is choosing two pieces that will bypass the remaining vetting apparatus and go directly into the hands of the Chairman, allowing him the option of rejecting the works presented him by his department heads in favor of the choice picks given him by the Floor.
...the static bastions of a saturated e-zine culture were forced to take notice of a new dynamism...
A third of the way through the quarter, the Terminal shifts into gear. The capital managers manning this interface will mention the specific titles of the works judged therein: in an editorial meeting in the Conference Room, or a discussion in the Terminal's Free Market office. All discussions will skew positive, concentrating on capital successes instead of failure. A rejection e-mail from the Terminal will be a personalized 'big picture' of what it was about that particular piece that didn’t allow it to continue on
...a publication that embraced the strengths of the Internet (its transparency, immediacy, fluidity and intimacy)...
The works that go on will be parceled out to one of two TQR departments, depending on whether the Terminal deems it 'genre' or 'spec/lit fic' -- the former going to The Quarterly Report, the latter to The Quarterly Revolution. The respective department heads (Tessa Quinlan-Renaud and T. Quincy Rockefeller) will then winnow their capital down to two or, at most, three pieces. The rejected works will get a personal e-mail from Tessa or T. enumerating the reasons why the piece was rejected.
...instead of misappropriating the opaque, stagnant and impersonal aspects of a passe ‘print’ world.
Tessa and T. will either come to a settlement or agree to go to court. A settlement consists of the two managers bargaining for which pieces will become capital gains and which will not, assuring that investors a potpourri of genre and literary work.. The nuclear option will be going to court before Rorschalk, in which he will rule on the genre vs. the literary cache held by each litigant and choose between one group to the exclusion of the other. In either case, the discarded works will be given a thorough 'just missed' letter from one of the parties mentioned above.
posted by Theodore Q. Rorschalk at 8:11 PM
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