New Feature: Post Deadlines as Facebook Events

May 24th, 2013 by

One of our most popular features has been the ability to post calls for work and job openings to your personal Facebook, Twitter, or Linkedin pages. Last night, we released a similar but more powerful feature: the ability to create a full Facebook Event around a submission categories or job listing. This is useful for spreading the word about calls for submissions or contest deadlines because it lets you easily create an event to all your publication’s or organization’s followers. Once you created the event on Facebook, you can easily invite your friends and followers to the event using Facebook’s Social Graph tools. When they accept, your followers will be adding it to their event timelines and will get reminded via Facebook as the deadline approaches.

Here’s how it works:

1) On each Category or Job Listing, you’ll see 4 social media icons.

CreateFacebookPosts

 

2) If you click the ‘Calender’ icon, you’ll be prompted to choose the page you’d like post the event to and for some of the details.

Create Facebook Event Form

Create Facebook Event Form

 

3) After filling in these inputs, your Call will post to your FaceBook page as an Event that people can easily join and share.

If you have any problems or questions, let us know. And if you have other ideas or feature suggestions, please add them here.

Thanks!

 

New Feature: Batch Emailing

May 20th, 2013 by

Submittable customers have always been able to easily create and send Batch Accept and Decline letters. But one of our most requested features is the ability to send normal emails in batch. As of tonight, this feature will be available on all Premier and Enterprise Submittable plans and every Talentd plan. This will allow you to send batch emails and updates to all or selected people within your application. This will make it dead-simple to send out information around deadlines and updates. Here’s a short video on how it works:

 

 

This feature is powerful, but if abused can result in our servers being blacklisted by 3rd party email providers such as AOL and GMAIL.  For now, in order to maintain and monitor its usage,  the feature will only be available for users with permission Levels 4 & 5 on the Premier, Enterprise, and White Label plans. (There is, however, a work around for people on other plans.)

 

Thanks! Let us know if there are any questions or concerns.

-Michael

New Feature: Expand & Compact Views

May 17th, 2013 by

Toggle between Compact and Full Views
If an organization or publisher isn’t using the custom labels feature, the records in the list view can end up with a little too much white space and only a limited number of records will display on the screen, especially on lower resolution devices. To help with this, we’ve released a new feature that allows you to toggle between a Compact and Full view. When you select “Compact View” from the drop-down under the small gear icon on the right-hand side of the header, the labels will be removed and you’ll be able to see a larger set of records on the screen. To get the labels (Full View) back, simply select the “Full View” item in the drop-down menu.

Poetry vs. Google Glasses

May 17th, 2013 by
IsaiahBerlin.jpg

Isaiah Berlin: Not a Fool

In his essay “Historical Inevitability,” the political philosopher Isaiah Berlin dissects the widespread human tendency to assume that history is moving in some specific direction, or according to some pattern, that we can discover. Thinkers across parties and cultural divisions and eras–theologians no less than Marxists, Enlightenment philosophers as well as fascists–have attempted to justify or understand present behaviors in the light of various predictions about the future whose truths seem self-evident to them and their followers. What Berlin so persuasively points out is that even the most prodigious minds are capable of making utterly unwarranted assumptions of this kind. People offer brilliant arguments, often based on empirical observation and data, about how we should act in the present, and yet each assertion and piece of evidence is arranged in relation to some resoundingly unscientific conjecture about the future. We all know we can’t predict the future, and yet we fall for these arguments over and over.

Right now, I think, many of us are invested in a number of assumptions driven by the bewildering rate of technological change. We all have plenty of empirical evidence. We see 35 mm cameras give way to digital, dial-up internet to broadband, CDs to MP3s, and then we see mobile phones come in and replace all three of these technologies and then some, changing our entire approach to each of the individual media and enabling behaviors we never could have foreseen. But then as we try to understand what all of this means for the future, we unconsciously edit out that part about how we never could have foreseen the changes brought about by mobile computing. We make projections about the next leap forward based on the last leap forward, though the nature of the leap was utterly unknowable. The more dramatic the leap, the more dramatic our predictions are bound to be. We use laws and patterns that can be reasonably and rightly applied to technological progress itself–Moore’s law, for instance–to make predictions about how technology will interact with humanity.

This is foolish. It is foolish not because the people making the predictions–Ray Kurzweil or Jaron Lanier or Philip Roth or whoever–are foolish. Indeed they are not; to make predictions that anyone listens to, you must generally have some serious intellectual firepower at your disposal. It is foolish because it reduces humans to abstract data points, receivers of input who essentially march along in lockstep with technological change. In the interaction of technology and humanity, there will always be surprises. Humans will continue to bring their psychological needs, their sociological baggage, and their unconsidered instincts into the interaction; and no matter how wired we might be these days, a lot still goes on away from screens. I know this sounds obvious: “You can’t predict the future.” But that’s not my point. My point is that we tend to forget this except when we are in the grip of some chaotic moment, when it becomes undeniable.

So what does this have to do with Submittable? Good question. We are in a privileged position, I think, as a tech company that serves makers of apparently old-fashioned products: books, magazines, and other old-school cultural artifacts. On the one hand we are in contact with programmers and entrepreneurs who believe books are the equivalent of horse-drawn carriages. In their view, the singularity is not coming, it’s already here. But on the other hand we work with people who are making hand-stitched letterpress volumes of poetry, and it’s very clear to us that however archaic this activity may seem, it is not the equivalent of the horse-drawn carriage for our time. As many of you know, it is precisely technology that has enabled many of the makers of hand-stitched letterpress volumes to enter the marketplace at all. Sure, the marketplace may not be what it once was, and it’s definitely hard to make money in it right now, but it’s far from certain that what we’re witnessing is an overall shrinkage of literature or its audience. It is inarguable that the barriers to becoming a publisher have fallen–book bloggers began pointing this out 10 years ago–and we like to think we’re doing our part to empower anyone who wants to charge into the breach. This is what unpredictable humanity looks like. Technology aids the unpredictable elements and the predictable ones alike.

What Isaiah Berlin gets around to, in “Historical Inevitability,” is a fairly simple reminder that we cannot forget the effect of human personalities on history. So far, no regime or philosophical system or thinker who claimed to see the future has done so successfully, and if Berlin is to be believed, this is largely because they have failed to account for the basic uncertainty that humans introduce into whatever they do. Kingdoms and churches fall, but humans emerge from the rubble each time, more or less the same as they always were. Literature, along with the creative arts more broadly, might be thought of as an ever-shifting, constantly growing repository of human personality–a repository of what is irreducibly human in us. And though I have no idea what will happen once everyone has Google Glasses and driverless cars and we’ve reengineered the climate, or once we pass peak oil and all become subsistence farmers and fight wars over water, I would put my money on literature–on human personalities–emerging on the other side of these developments.

Contest and Residency Application Deadlines Through 6/1/2013

May 13th, 2013 by

5/13/2013    Gertrude Press – Poetry/ Fiction  Chapbook Competition

5/13/2013    Taller Portobelo Norte – 2013 Taller Portobelo Norte Summer Art Colony

5/13/2013    The River Muse – Spring Writing Challenge – Poetry Contest

5/14/2013    Ping-Pong Magazine - The Henry Miller Memorial Library Prize in Poetry

5/15/2013    200 Yards – 200 Yards @ Calumet Photo

5/15/2013    Carve Magazine – 2013 Raymond Carver Short Story Contest

5/15/2013    Engine Books - Novel Prize Entry

5/15/2013    Lost Horse Press – The Idaho Prize for Poetry

5/15/2013    Paper Darts - Paper Darts Short Fiction Award

5/15/2013    Slapering Hol Press – The 2013 Slapering Hol Press Chapbook Competition

5/15/2013    Slash Pine Press – Fall Chapbook Submission

5/15/2013    The Atlas Review – Poetry/ Visual Art / Fiction / NonFiction / Cover Art  Submissions

5/15/2013    Wonder – The 2013 Wonder Book Prize

5/16/2013    Gold Line Press – Ricochet Lyric Essay Submission

5/19/2013    Atlantic Center for the Arts -Residency

5/20/2013    Boldface Writer’s Conference – Registration

5/24/2013    Whidbey Writers Workshop - Emerging Writers Getaway Contest

5/31/2013    American Poetry Review  - Stanley Kunitz Memorial Prize

5/31/2013    Baltimore Review – Poems, Short Stories, Creative Nonfiction

5/31/2013    Black Lawrence Press – The Black River Chapbook Competition

5/31/2013    Booth: A Journal – 2013 Story Prize

5/31/2013    Creative Nonfiction – The Human Face of Sustainability

5/31/2013    Horse Less Press – Full Length Manuscripts Open Reading Period

5/31/2013    Lawndale Art Center - Artist Studio Program

5/31/2013    Main Line Writers Group -Main Line Anthology – Fiction/Memoir/Nonfiction/Poetry

5/31/2013    Oberlin College Press – 2013 FIELD Poetry Prize

5/31/2013    Rattapallax – Furniture in Motion

5/31/2013    Redivider – 2013 Beacon Street Prize

5/31/2013    The Backwaters Press – The Backwaters Prize

5/31/2013    University of Georgia Press – Flannery O’Connor Award for Short Fiction

5/31/2013    Writing Tomorrow Magazine – WT Short Story Award

6/1/2013    Bloom – 2013 Chapbook

6/1/2013    Boulevard – Poetry Contest for Emerging Poets

6/1/2013    Cambridge Writers’ Workshop – Summer Writing & Yoga Retreat in France

6/1/2013    Contests Sponsored by Spark: A Creative Anthology

6/1/2013    Fairhaven Press – Fiction/ NonFiction/Short Stories

6/1/2013    Gazing Grain Press – Chapbook contest with FFTB

6/1/2013    Hunger Mountain: the VCFA Journal of the Arts – Mentors and Tormentors

6/1/2013    Organic Weapon Arts – David Blair Memorial Prize

6/1/2013    Pressgang - Pressgang Prize | Contest

6/1/2013    River Styx – 2013 International Poetry Contest

6/1/2013    Sonora Review - 2013 Essay Contest

6/1/2013    Switchback Books – 2013 Gatewood Prize

6/1/2013    TIFERET: A Journal of Spiritual Literature – Contest

 

 

Upcoming Submission Deadlines Through 5/15

May 7th, 2013 by

5/7/2013    Sundress Publications – 2013 Sundress Publications Chapbook Competition

5/7/2013    CUE Art Foundation – 2013 Call for Curatorial Proposals

5/7/2013    The Connective – article/art/misc

5/10/2013    Ruminate Magazine – Janet B. McCabe Poetry Prize

5/10/2013    Entangled Cover Artists – Indulgence – Grace Under Fire

5/10/2013    MadHat (Mad Hatters’ Review) - MadHat Annual

5/10/2013    Oklahoma Visual Arts Coalition – 24 Works on Paper Artist Entry Form

5/11/2013    Ox-Bow – 2013 Fall Artist Residency

5/10/2013    Ghost Proposal – Poetry/Creative Nonfiction Submissions

5/12/2013    Hemingway’s Playpen – Fiction/ Nonfiction/ Poetry/ Visual Art

5/12/2013    NPR Three Minute Fiction – Three-Minute Fiction Contest Round 11

5/13/2013    Alembic Literary Magazine – Fiction/ Non Fiction/ Script/ Poetry/ Artwork/ Photography

5/13/2013    Gertrude Press – Poetry/ Fiction  Chapbook Competition

5/13/2013    Yeah Write! – Gothic Fiction/ Magical Realism Fiction

5/14/2013    Linden Avenue – Issue Thirteen

5/14/2013    Ping-Pong Magazine - The Henry Miller Memorial Library Prize in Poetry

5/15/2013    200 Yards – 200 Yards @ Calumet Photo

5/15/2013    Apokrupha – Dark Bits

5/15/2013    Carve Magazine – 2013 Raymond Carver Short Story Contest

5/15/2013    El Mundo Zurdo 2013 - BORDERS

5/15/2013    Engine Books - Novel Prize Entry

5/15/2013    Kill Screen - Editorial Interns! Deadline

5/15/2013    Lost Horse Press – The Idaho Prize for Poetry

5/15/2013    Meat for Tea: The Valley Review – Short Fiction/ Poetry/ Art/ Essays

5/15/2013    Paper Darts - Paper Darts Short Fiction Award

5/15/2013    Pea River Journal – Remaking Moby project: media festival and special issue

5/15/2013    QWF-QAHN – StoryNet2 Mentorship Program for Non-fiction Writers from Quebec

5/15/2013    Slapering Hol Press – The 2013 Slapering Hol Press Chapbook Competition

5/15/2013    Slash Pine Press – Fall Chapbook Submission

5/15/2013    The Atlas Review – Poetry/ Visual Art / Fiction / NonFiction / Cover Art  Submissions

5/15/2013    Wonder – The 2013 Wonder Book Prize

Notes on the Upcoming Submittable Redesign

May 6th, 2013 by

Later this week the first major Submittable redesign since August 2011 will be released. The release involves a complete overhaul of almost every component of the platform.

Redesigns are a balancing act. You’re trying to make something new and fresh while not changing it so much that you upset existing users who have put time and resources into learning the existing product. With this release we had some basic goals:

  1. Changes should not disrupt existing users. 
  2. Get out of the way. The goal of Submittable is to allow humans (not algorithms) to find the best content (writing, images, films, and audio) that are sent to their organization. Ideally, the end-user doesn’t know they’re using software. The manuscript or film owns the stage and the software is just a means to achieve the goal of viewing it. In order to do this, the software needs to get out of the way.
  3. Powerful but simple. Aaron Levie gave a talk at Y Combinator last summer. One of the things he said that really struck us was that Box.net hides as much functionality as possible from the majority of the users. Administrators can customize it as needed, but most users only need a few of the features. With this design, we’ve pulled a lot of the features out of the main view.
  4. Architect for the future.  The design would need to easily accommodate future features. (Admittedly, this is mostly for internal purposes. But the engine often reflects the end product.)

Our first pass at the Details page, looked like this:

First Iteration of the New Design

This version did a great job of maintaining the existing layout while updating the look & feel. We felt the right-hand activity bar was a little too dark though and could distract from the content itself.

This was the second version:

Submittable Iteration #2

In this version, Ross flattened some of the design elements and removed wording in the drop-downs to see if they could stand-alone as icons. This would hopefully give the content some more breathing room.

Finally, the third version is where we are now:

SubmittableIteration#3

This iteration moves all the existing drop-downs (Status, Assignments, and Label) to the top row. Also, wording within the components has been removed and are exclusively represented by the icons. This is risky, especially for new users, because the use-case for each element might not be immediately obvious. But with 90% of the users, they only have two goals with each submission: to comment and vote. Accepting and Declining only happens once per submission by one person. So we’ve decided to take a chance that the cleanness of the design will out-weigh the potential that a user doesn’t understand the features.

This is a work in-progress, but we’re excited about this next phase. Don’t hesitate to get in touch with any complaints or suggestions. The full release of the new design will happen by the end of this week.

Thanks!

-Michael

The Death Star Strikes Back

April 8th, 2013 by

A few weeks ago, the Christian Science Monitor published a cover story on the resurgence of independent bookstores. Though the news isn’t all good–of the sales growth discussed in the piece, a noteworthy amount came from products like wine and summer camps for kids, rather than from books–one comes away from the story feeling that the hemorrhaging has stopped. Indies seem to have enjoyed sustainable levels of profit in 2012, with some reporting their best year on record. E-book sales have taken a bite out of print but not a fatal one, and many analysts are suggesting that most of the people who are likely to switch to e-readers have already done so. Meanwhile, booksellers have benefited greatly from the buy-local movement and become one of the most reliable quality-of-life indicators you’ll find. A town without an independent bookstore is a town that is likely to have other problems.

Less than two weeks after the Monitor piece came out, though, the Death Star struck back: Amazon bought Goodreads. The response from Goodreads users on social media has been disproportionately negative, and Authors’ Guild President Scott Turow called the deal “a textbook example of how modern Internet monopolies can be built.” Rob Spillman of Tin House probably speaks for many small publishers and authors in this piece for Salon, in which he bemoans his naivety, his willingness to believe that there could exist a social-media site built around disinterested enthusiasm for books rather than commerce. It is a measure of how well Amazon plays the game that an acquisition no one saw coming suddenly looks like a no-brainer. If the company did nothing else, it bought a lot of valuable data and eliminated a potential competitor. But I would bet that they did something else, too.

One thing it looks like they may have done is take yet another step toward eliminating independent bookstores. I haven’t seen any statistics on overlap between Goodreads users and independent bookstore customers, but it stands to reason that the overlap is substantial. Both Goodreads and indies cater to the most knowledgeable subset of book buyers, and those most disappointed with the merger seem to be owners and patrons of small bookstores.

I wonder, though. I don’t see any of those trends in the Monitor piece being materially altered by the Goodreads deal. I have a hard time imagining the customer of an independent bookstore who could be lured to Amazon by social media at this late date in internet history. Those of us who don’t close our Goodreads accounts may be helping Amazon refine its business by donating our data, and I certainly understand why that alone would be reason enough to quit the site. But I’m not sure we’d be helping them sell books at the expense of indies.

What seems more likely is that Goodreads will help Amazon get better at selling books to the people who already buy exclusively from Amazon. Though we tend to think of economic competition as a strict zero-sum game, it is not always so. It seems possible that with this acquisition, Amazon is not taking yet another piece of the same pie but making the overall pie bigger.

End of March Upcoming Deadlines

March 22nd, 2013 by

We’ve got a bunch of deadlines coming up we wanted you to know about. As always, we recommend visiting an organization’s site or reading work it publishes before submitting.

Residences and Workshops

Atlantic Center for the Arts residencies in choreography, music and visual art. March 24. http://aca35.org/how-apply-master-artist-residence-program-0

Tin House Summer Writer’s Workshop scholarship applications. For week-long intensive workshops in fiction, nonfiction and poetry. March 24. http://www.tinhouse.com/writers-workshop/

 

Journals

Sterling. Accepting fiction, poetry and comics. March 24.  http://sterlingmag.ca/submissions/

La Noria Literary Journal. Open to submissions that draw from Hispanic, Southwest or border traditions. March 24. http://www.publishing.valartout.org/

Stealing Time: A Literary Magazine for Parents. Pregnancy/Birth special issue. March 25. http://stealingtimemag.com/

The Rag. Accepting short fiction, poetry and art. March 31. http://raglitmag.com/

Witness. Accepting fiction, poetry and nonfiction on the theme of ghosts. April 1. http://witness.blackmountaininstitute.org/submit/

 

Contests and Awards

Iron Horse Literary Review’s Chapbook Issue Competition in the novella. March 29. http://www.ironhorsereview.com/#!single-author-competition/c1ivg

Patasola Press’ Siren Series Annual Chapbook Competition for Innovative Female Poets. March 30. http://patasolabooks.tumblr.com/

bosque Fiction Prize for writers 45+. Elizabeth Rosner, judge. March 31. http://www.abqwriterscoop.com/contestsubmissions.html

Arts and Letters Prize. Awards in poetry, fiction, drama and creative nonfiction. March 31. http://al.gcsu.edu/prizes.php

Black Lawrence Press’ The Hudson Prize. For an unpublished collection of poems or short stories. March 31. http://www.blacklawrencepress.com/

Carolina Wren Press Poetry Series. For a first or second full-length book of poetry. March 31. http://carolinawrenpress.org/submissions/contests

ARDOR Short Story Contest. Chris Offutt, judge. March 31. http://www.ardorlitmag.com/short-story-contest.html

SmokeLong Quarterly’s Kathy Fish Fellowship. March 31. http://smokelong.com/home.asp

Press 53 Open Awards in poetry, flash fiction, short-short story, short story and novella. March 31. http://www.press53.com/OpenAwards_2013.html#anchor_134

Saturnalia Books Poetry Contest. Yusef Komunyakaa, judge. April 1. http://www.saturnaliabooks.org/

 

Also, try out our new platform, Amulet, to see a centralized feed of all the publishers, magazines or books that you like on Facebook.

 

Happy spring!

 

The Swirl and Gurgle

March 21st, 2013 by

The business of literature is to blow shit up.- Richard NashPeople are talking about this essay by Richard Nash, posted by the Virginia Quarterly Review and set to appear in the spring print issue. They should be. Nash made his name as the head of Soft Skull Press, and he has been actively working toward developing new publishing models with his start-up Cursor/Red Lemonade. Now he appears to be an executive, as well, at a social-networking lit site called Small Demons. At any rate, if you know who Nash is, you know that he has long had a reputation as the publishing insider with the best grasp on how the book industry might adapt to the digital age. Knowing these things, though, didn’t prepare me for this new essay, which mixes an economic history of publishing from the Middle Ages onward with canny theorizing about what it all means for publishers, writers, and the future of the book.

Here’s the short version: the publishing industry that we talk about, when we talk about the thing that is existentially threatened in the digital age, is not the same thing as the book. What is under threat is a revenue model that came into being around 1930, that for about fifty years made being an author not only a glamorous occupation but an occasionally lucrative one, and that began to fray not, as we all imagine, with the advent of blogging software and social-networking sites and e-readers but with the development of the humble old PDF file, which in combination with Kinko’s gave birth to desktop publishing, allowing independent outfits like Soft Skull to compete on the same field as the big New York presses. This threatened system that we call the publishing industry may have worked well for a time, but now, in Nash’s view (widely shared by many writers and indie publishers we know), it “produces great literature in spite of itself.” Read More »