It’s been my privilege to found and direct the Wooster Contemporary Chamber Ensemble the past two years. I’ve learned more than how to direct a collegiate new music ensemble. The past few years have taught me a lot about what an ensemble director looks for when programming music, especially when balancing many other priorities. Here are some tips so that your music gets in front of chamber music directors/performers (and likely other organizations):

You need to exist online. Having your own website is incredibly helpful, though some publisher’s sites are sufficient. I need to purchase your music, and I’d like to contact you directly to send you the concert program so that you get royalties. If I can’t find your email address, then you might miss out.
Your music needs to be findable by instrumentation. If I can’t easily find the instrumentation I’m seeking after, then I probably won’t spend time looking on your site. This needs to be specific (list out the instruments unless it’s a standard ensemble) and easy to find without click on drop-down menus. Better yet, try to get on WorldCat. This means having your music purchased by a library. I have had my best success finding music by looking there because its search feature is outstanding. And don’t worry, I’ll find it there and then go purchase it (though I admit that I started the ensemble without a budget and had to rent my first pieces out through the library).
Have a recording available. If I can’t hear your music, then I can’t project its difficulty. If there’s no recording available for a particular piece, have other recordings available so that I can get a sense of your music. If you don’t have a recording, then have a sample score or score excerpt online so that I get a sense of the music’s difficulty.
Include the music’s duration. If I don’t know the duration, then I simply won’t program it.
Flex instrumentation is superb. My ensemble changes instrumentation every year. If you have a piece that can be for tenor saxophone or for cello (for example), then I can keep it in my back pocket.
Write standout music. Of course, the best way for your music to be programmed is write it well. You don’t have to write revolutionary music, but it needs to sound different than other music. I personally find that it’s harder to find upbeat, energetic music than moody, slow music.
Write some undergraduate-playable music (or not). For me, I care about difficulty of rep because I need my performers to learn the piece well in a month, ideally without a conductor. Some schools have ensembles with graduate students or more advanced undergraduates (bigger schools with more selection). It’s your choice, but you do limit performers when your music exceeds a certain difficulty.

Hopefully, I find your music through WorldCat soon!