One Story has been accepting submissions online pretty much since our launch. We chose this route because it allows us better tracking of submissions and saves writers the expense of printing and mailing their work. It also saves quite a bit of paper.
For the past year or so, Devin Emke, the developer of our system, has been working with the Council of Literary Magazines and Presses (CLMP) to develop a customizable version for other literary magazines. We’re pleased to announce that Submission Manager is now available for sale at CLMP’s web site. Several magazines (Fence, Jubilat, and Ploughshares) are already using the system, and quite a few others will be coming online soon.
We’re so proud of this product and can’t wait to show it off. CLMP will be hosting demonstrations in their offices this fall. If you’d like to be invited to these, or if you’ve got questions about Submission Manager, send an email to email@example.com.
What I love the most about “All Good Things” is the way that Emily Benz uses the setting of the family lake house to tell the story. It is a sensational backdrop, and pressed against it we can see the character of Lee more clearly, and notice all the small and subtle changes that come as she grows from a girl to a woman. I also thought it captured perfectly the chaos of being a part of a large family, as well as that intangible essence that is summer–scraping your leg on a raft, dipping your feet into a pail of water to remove the sand, the sensation of sleeping in a bunk bed, and the joy of cracking a baseball, hard and high and out of the park. There is something magic about this lake house, and by the end of the story I wanted to be there, just as much as Lee did.
Recently One Story published its first robot story, and you wouldn’t believe the volume of scrawled-on-invoice positive responses to it. Turns out Paul Maliszewski is not the only one with automatons on the brain.
Enter “The Upgrade”, a futuristic glimpse into the socio-mechanical problems of tomorrow. Where today engineers are pushing polygons in video games past the acceptable “realistic” benchmarks, tomorrow they are surely upgrading the semantic capabilities of machines nearly human. Can you imagine the implications of being able to communicate as well with your machines as with other humans?
Valerie Trueblood, author of One Story issue #35, “The Magic Pebble” has recently published her first novel, Seven Loves. Seven Loves has been chosen by Barnes & Noble for their Discover Great New Writers program for Fall 2006. Seven Loves also received a rave review this past week in the San Francisco Chronicle, which said, “Trueblood has a poet’s eye and ear for description, and she is masterful in bringing uncanny intensity and focus to fragments of experience.” Congratulations, Valerie!
One Story is now hosting a blog at our website, www.one-story.com. For a long time we’ve been hearing that our readers are looking for a way to discuss One Story online. And here it is! Every three weeks, our editor Hannah Tinti will post a message about the current story, and visitors to the site can then add their own comments. So come by after you’ve read the new issue and let us know what you think.
We’ll also use this space to keep in touch with past One Story authors. Katie Sexton, our main blogger, will let you know where they’re reading, when their books hit bookstores, and if they’re involved in any other exciting pursuits. We’ll talk about the One Story reading series, the role of women in publishing, and also discuss current literature, particularly the world of the short story, and the readers who love them.
I love robots. So when I read the opening scene of this family portrait, I was thrilled. In Prayer for the Long Life of Certain Inanimate Objects, Paul Maliszewski takes a simple, regular occurrence from life that everyone can relate to–the family picture–and then throws in a robot. It’s a wonderful combination of the familiar and the unfamiliar, and it engages the reader, right from the start. Paul does a great job of threading the mechanics of the robot throughout this story, and ultimately uses it to reveal the inner workings of family relationships. There was also a precision to the language here that I found very engaging; it keeps pushing moments to higher levels, like when the father sees a crack in the wall, and then imagines a spider crawling into the crack, and then imagines building a robot that was as small as a spider that could crawl into the crack. Brilliant.