Submissions Open for 2016 Anthology: Windward

Level Best Books is now accepting submissions for the anthology entitled Windward to be published in November of 2016. The submission requirements under the new team of editors for Level Best have changed, so please read them carefully before submitting. We’re very excited to be carrying on this great tradition of New England short crime fiction and we can’t wait to read your work. Submissions will be accepted between January 1 – May 31, 2016.

• Stories must be set in New England* or be written by a New England author in the following genres: mystery, thriller, suspense, caper, and horror. (No torture/killing of children or animals).
• Stories must not exceed 5,000 words.
• Stories must be previously unpublished in print or electronically, including self-published works (to include author websites).
• Stories from both published and unpublished authors will be considered.
• The Level Best editors will consider up to two stories from the same author in the same submission year.
• Stories submitted once previously, and not published in the interim, are welcome, especially those that have been revised.
• New England stories are set in the six New England* states: Maine, New Hampshire, Vermont, Massachusetts, Connecticut and Rhode Island. If you have questions about whether your story qualifies, please query before submitting.

*Please note: this is a change from previous years. Authors do not need to reside in New England to be considered for the anthology.

How to submit
• Submissions are open from January 1 – May 31, 2016
• Please email your submission to
• Type Short Story Submission in the subject line of your email (without it attachments will not be opened)
• Include your name, address, phone number, email, story title, word count, and New England state represented by you/your story, and a brief summary of your publishing experience (if any) in the body of the email.
• Send your story as a Word attachment, double-spaced.
• The attachment will be coded to insure anonymity and be sent on to the judges, therefore your name should not appear anywhere on the attachment.
• We will promptly acknowledge the receipt of your submission.
• There is no entry fee.

Daniel Moses Luft

luft-dan-headshot-colorDaniel Moses Luft lives just north of Boston with his wife and two kids. He’s had stories published or forthcoming in Beat to a Pulp, Spinetingler and Powderburn Flash. The story “Skinner Alive” published in the e-anthology Action: Pulse Pounding Tales is a sequel to “Boxed,” his story that appeared in the Level Best anthology Best New England Crime Stories 2012: Dead Calm.

Your story, “Strictly Male Fantasy” seems to portray the inner workings of a bar pretty realistically. Is this an arena you know something about?

Yes, I am very familiar with bars. I have been a bartender for almost fifteen years and I worked for a long time in Harvard Square where the story takes place.

“Strictly Male Fantasy” has the flow and feel of a well-polished bar story, something told over and over. Is it an often retold tale, or something you just made feel that way?

Wow, that really makes me feel good that it’s polished. The story had been kicking around in my mind for awhile and it contains bits and pieces of a lot of things I’ve seen or heard about. People who worked with me might recognize a few things that ended up in the story. So maybe I have told this it before but I just never told it in this exact way. The little speech that Fitz gives about the 1980s definitely overlaps with the location of my 80s experience, so that kind of shorthand speech was pretty easy to write.

Your story in Dead Calm was your first published fiction, but since then you’ve had several stories accepted for publication. What advice do you have for writers who want to up their level of submissions and acceptances?

The thing that’s been working for me this year is to make everything even simpler. For a long time I tried to pack too much physical detail, motivation, plot, and back-story into everything I wrote. I killed a lot of stories that way. “Strictly Male Fantasy” has four characters in it and I don’t know that much about three of them. But I know enough for a ten-page, single-scene story.

What are you working on now?

Right now, this week, I’m writing a short story with three whole scenes in it and it feels long to me. After that I have a number of partially complete stories and have no idea which I will pick to finish.

John Bubar

John BubarAfter thirty-six years as a pilot in both military and civilian aviation, John found his way back to school and his currently finishing his MFA in Writing at the University of New Hampshire. His short story, “Ambush” was published in Level Best Books’ 2012 anthology Dead Calm.

We love No Corners, a story that takes multiple twists and turns. What was your inspiration?

I was in a Creative Writing course and the assignment was to begin a story with, “It all started when…”. My dad had just been diagnosed with cancer and I had recently read Ken Gergen’s, An Invitation to Social Constructionism, which speaks to the role society plays in crafting how we become who we are (and I do a great disservice to that book with that minimalist synopsis). Then there’s Tim McGraw’s song, Live Like You Were Dying. And if stress can cause illness, a notion around which there appears to great consensus, can removing stress cure illness? The reference in the story to a New York Times article reporting on a period of exceptional stress as an igniter of cancer that is found 18 months later is true. I didn’t know what I was saving it for after I read it but…I think we all have this mélange of experiences and information waiting to be used. I still am amazed at what pops up after I start writing.

Your story has several layers of identity changing and identity theft. What got you into this topic? How much research did you have to do?

Identity Theft–Again, my dad. In the last five years of his life, he became worried about someone stealing his identity. We talked about it a lot as he had become well informed. He did my research for me. I just listened and remembered.As to identity changing—I enjoy reading a story where a character’s sense of self changes. I think the answer to the age-old question, “Who am I?” is a moving target.

Everyone who writes short stories talks about building a tight narrative frame, but your story takes place in multiple locations over the course of a year. What challenges did you have in writing it?

In this story, the challenge was to create a tight plan of attack in the mind of my protagonist and have him lay out that plan for the reader. Once the plan was in its execution phase (pun intended) the reader knew it would involve multiple locations over time. Creating that expectation allowed me to take the reader through more time and space than one experiences in many short stories.

What are you working on now?

Something longer and also a short story about a dog named Zeus.

B.B. Oak

Ben and Beth Oak’s story in Blood Moon featuring Henry David Thoreau as their detecting protagonist won an honorable mention for the Al Blanchard Award. Ben and Beth met in a literature course at Boston University and have been enthralled with Henry David Thoreau (and each other) ever since.  What little free time they have away from their writing is spent meandering along New England trails or the historic streets of Boston.  Despite all the murder and mayhem they create on the page, they are upbeat Transcendentalists who believe in the inherent goodness of people.  Their historical mystery Thoreau at Devil’s Perch will be released Nov., 2013.  You can read more about it at

What inspired you to have Henry David Thoreau as a detective?

Ben Oak – His whole life inspired us.  Thoreau devoted himself to investigating the world around him and he had all the makings of a great detective.

Beth Oak – We like to compare him to Sherlock Holmes.  Like Holmes, Thoreau was an avid collector of arcane information that could prove useful in solving a case.  Also like Holmes, he was an expert tracker.  He wrote that he could always tell if visitors had come to his cabin in his absence by observing bent twigs or grass or shoe prints.

Ben – He could even ascertain their sex and age and station in life by some slight trace left, such as a dropped flower, or a bunch of grass plucked and thrown away, or by the lingering odor of a cigar or pipe.  He had the analytical skills of a professional surveyor along with the observational skills of a natural scientist.

Beth – And he trusted his instincts.  As a confirmed Transcendentalist, he believed in following his intuition.

Ben – Along with his nose.  A contemporary of his claimed “no hound could scent better.”  Another friend claimed that Thoreau saw as with a microscope, heard as with an ear-trumpet, and his memory was a photographic register of all he saw and heard.

Beth – It was also said that Thoreau measured a man at a glance and nothing could be concealed from “such terrible eyes.”  Eyes that were quite large and beautiful, by the way.

Ben – And like the best American detectives in fiction, from Chandler’s Marlowe to Parker’s Spenser, Thoreau was a loner by nature, totally self-reliant, with his own inborn code of honor.

Beth – He did indeed march to his own drummer.

You also have a book length mystery called Thoreau at Devil’s Perch coming out next November with Thoreau as the protagonist.  Which did you write first?  How was it to move from long form to short form or vice versa?

Beth – We wrote the book first and about a week after completing it we got an idea that would work well as a short story.  Death from a Bad Heart is narrated by Dr. Adam Walker, who also narrates much of the book.  The short story takes place a year after the book ends.

Ben – Because we knew the historical background and setting so well, the writing went fairly quickly and easily.

Beth – So Ben says now.  It took a lot less time to write than the book, of course, but it was pretty intense.  After we thrashed out the plot the words flowed, but then we had to cut out a lot to meet the word count requirement.  And cutting can be painful.

Ben – Especially when one partner is slicing and dicing the other’s precious words.

Beth – Short story writing requires discipline.  No room for meandering dialogue or needless scenes.

Ben – But plenty of room for disagreement about what stays in and what goes out.

As a husband and wife writing team, do you disagree often?

Ben – Not that often.

Beth – Often enough.

Ben – Okay, quite a bit.

So how do you manage to collaborate?

Beth – Sometimes it’s astoundingly difficult.

Ben – Only when Beth is astoundingly wrong-headed!

Beth – Ben’s sense of humor does smooth things over most of the time.

Ben – Except when it rubs Beth the wrong way.

Beth – That too can happen.  But when we manage to put our egos on hold and work as a team, nothing could be more satisfying than working together.  Our individual strengths as writers complement each other.

Ben – And two heads really are better than one when it comes to plotting.  We keep building on each other’s ideas until we construct this intricate edifice called a story.  Sometimes it gets a little shaky and we have to go back to the drawing board.  But there’s never any doubt we can figure things out if we keep at it.

Beth – So we do.  Well into the night at times.  And in the morning we’re energized.  We give each other passion and purpose.  So what if this passion flares up on occasion?  It’s all part of the process.

Ben – Let the fireworks begin!

What are you working on now?

Ben – The second book in our Thoreau mystery series.  We’re having a great time plotting it out and so far no fireworks.

Beth – So far.  But I’ve been meaning to bring something up with you, Ben.  I think the first scene may be too grisly.

Ben – It has to be for the plot to work.  Besides, that stuff really happened.

Beth – Which makes it all the more disturbing.

Ben – Hey, that’s fine with me.

Beth – But maybe not with me.

And so it continues ……

VR Barkowski

VR Barkowski won the 2012 Al Blanchard Award presented at the New England Crime Bake for her story, “Out to Sea.” She is a third generation Californian, transplanted to Atlanta, who writes about New England. A finalist for the 2012 Daphne Du Maurier Award for Excellence in Mainstream Mystery and Suspense for her unpublished novel, A Twist of Hate, her short fiction has appeared in Mysterical-E and Spinetingler. Her website is Her Facebook page is Her Goodreads author page is and her twitter address is @vrbarkowski.

You’re a third generation Californian transplanted to Atlanta. How do you write so convincingly about the wildness of an almost off-season Monhegan Island in your Al Blanchard Award-winning story “Out to Sea?”

It would have been impossible for me to write “Out to Sea” without the internet. YouTube is an amazing visual resource. A video of the Elizabeth Ann ferry leaving the Monhegan dock in early October actually made me seasick, but it also gave me the opening scene of my story. The personality of a setting is more than physical topography, it’s also the character of its people. I scoured Monhegan visitor resources, read blogs written by Island residents, and dropped in on Monhegan business and community webpages, studying everything from  ferry schedules to grocery store hours. I spent days clicking through photographs in order to write about vistas and what a resident or visitor would see if standing in a particular location. Then I’d run to Google and map the site to make sure my descriptions made sense.

I also read everything about Monhegan I could get my hands on: books, old magazine articles, newspaper archives, even hearing transcripts. I was so caught up with life on the Island that at the end of the day I’d walk out of my office and announce I was home from Monhegan—that’s how it felt.

We understand “Out to Sea” is your first traditionally (non-e) published fiction. Tell us something about your journey as a writer.

I’ve kept a journal most of my life filled with ideas, story snippets, impressions, interesting turns of phrase, and other minutiae. In that respect, I’ve always been a writer.

Five years ago I relocated back to California from the Seattle area. Unemployed, I took a fiction course to fill my time. Two things soon became obvious: writing is what I was meant to do, and I had a lot of catch up ahead of me. I took more classes, attended seminars, read books on writing and joined writers’ groups. I started my first novel and a year later completed my first short story. Writing is a brutal joy, but not a day goes by when I’m not grateful for the privilege of doing what I love.

“Out to Sea” won the Al Blanchard contest and you unpublished novel,A Twist of Hate took second place for the Claymore Award at Killer Nashville.What advice do you have for other short story writers

Read. Don’t limit yourself to a single genre. Reading is the gateway to writing. It serves not only as an example of how-to but also provides endless inspiration.

A good short story contains the same elements as  a good novel: a cogent plot, believable characters, realistic dialogue, and fine storytelling. The challenge of the short story is to accomplish all this in a few pages. Every word must count, so don’t try to do too much or make the story too big. Zero in on a single incident or point in time, limit the number of characters and write with a definite idea of theme and what you hope to accomplish.

What are you working on now?

Crying for Mercy is my new novel-in-progress, a psychological crime thriller about a history teacher at a small New England Catholic high school and his obsessive relationship with the owner of an occult shop.

On the short fiction front, I’m working to develop my two-page vignette about loss, “Tiny Heart,” into a short story.

Woody Hanstein

Woody Hanstein lives in Farmington, Maine and has been a trial lawyer for thirty years.  He is the author of six published mysteries: Not Proven, Cold Snap, State’s Witness, Mistrial, Sucker’s Bet and Alibi Blonde and a number of short stories. He teaches at the University of Maine at Farmington and coaches that college’s rugby team. He is also the founder of the Smiling Goat Precision Juggling Corps.

In “Endgame,” a lonely young man befriends an older neighbor toward the end of his life and as a result receives a legacy.  What was your inspiration for this story?

There really was no inspiration for “Endgame” – I started with an overly timid school teacher and decided he should receive a letter which might shake him out of his doldrums.  I play chess infrequently and badly, but somehow that game still ended up being the passion which tied the young teacher to his elderly neighbor.

The villain in your story, in some ways, is a big bank. Given the turmoil of the last few years, are you making a statement here?

I really never thought of the bank as the villain – it really just got (to the penny!) what was coming to it for cheating an employee.  It’s not a very lawyerly thing to say, but “self-help” can sometimes be a far better way of obtaining justice than simply accepting what a courtroom will produce.  (And now that I think about it, a number of my past Level Best stories have had a “self-help” kind of theme).

What are you working on now?

In my spare time I’m working on another Pete Morris mystery, but I am getting side-tracked both by my efforts to recruit jugglers for the Smiling Goat Precision Juggling Corps — Maine’s pre-eminent (and only) troupe of marching jugglers and also to help prepare my UMF college rugby team to defend its Maine Championship next month.

Adam Renn Olenn

Adam Renn Olenn was born in Providence, Rhode Island and figured out how to read by the time he was three.  He studied English at the University of Virginia and music composition at the Boston Conservatory, and lives near Boston, Massachusetts with his wife and children. He blogs at and you can find him on Facebook at and Twitter at

In “Coronation”, a young writer travels to the home of a Famous Writer to discover the source of his inspiration.  The answer is quite surprising. What was the source of your inspiration for this story?

Accomplished authors invariably get asked where their ideas come from, and often answer to the tune of “I just keep working and they show up.”  I wondered what would happen if the writer’s answer was simply that he was acting as a journalist to his own bizarre experiences.

The idea seemed to come from nowhere.  I was walking to my writing space, wondering what I’d write about that day, and then this notion just materialized in my mind.  It smelled like a good one, so I picked up the pace to get right to work.

“Coronation,” your first published fiction, was nominated for a Derringer Award for best short. Can you tell us something about your journey as a writer?

I wrote poetry and prose through college, but after that I mostly focused on writing orchestral music.  I played in bands for several years after that, and returned to writing in 2008.  I wrote a short story that blossomed into a novel, and have been working exclusively on fiction ever since.

What are you working on now?

I have a few pots simmering on the stove.  I’ve finished a draft of my second novel, and will begin revising it in the next few weeks.  I’m also pushing myself to finish as many pieces as possible for the 2012 edition of Best New England Crime Stories.  I have three ready to go and another three in-progress.  That way I’ll have to decide which stories are the very best fit for Level Best Books.

Pat Remick

Pat Remick is an award-winning short story author and veteran journalist, and has co-authored two non-fiction books. She won the 2007 Al Blanchard Crime Fiction Award and her stories have appeared  in previous LBB anthologies. A member of Sisters in Crime and Mystery Writers of America, Pat is working on a novel. Her web site is Her personal blog is at and she blogs with the Working Stiffs at

In your story, “The Lesson,” a schoolteacher gets a series of messages that at first seem benign, but then get steadily more threatening. How did you come up for the idea for this story? 

I wrote “The Lesson” as a birthday gift for a dear friend and modeled the main character, Richard Springfield, after her cheating, no-good, slimy ex-husband. Having him get his due this way provided great satisfaction. There are clues to his identity in the story but fortunately; taking revenge through fiction doesn’t automatically lead to an arrest or lawsuits. The escalating series of threatening messages was modeled after a successful prank I learned about years ago, but I probably shouldn’t say any more about that.

You’ve been a winner of the Al Blanchard Award, and then a judge on that panel. What do you think makes a good short story?  

I believe a good short story captures the reader’s imagination and conveys setting, character and plot with tight but vibrant prose. Because of the length, a short story author must carefully control all the elements and carry the reader to the conclusion without being obvious. But it’s also important to “play fair” so the reader can solve the mystery if he or she looks closely enough. Being able to lay in the clues and red herrings in a short mystery without the reader becoming aware of the mechanics—or solving the mystery too soon—is a true art form requiring great skill and creativity.

What do you look for as a reader? 

I am extraordinarily fond of stories with a good twist. I absolutely adore being surprised at the end and realizing the author has nimbly manipulated me without my knowledge. Like many authors, I devour books but it’s a rare — and exhilarating occasion – when I finish a short story or novel and think, “I NEVER saw that coming.” I love that experience.

What are you working on now?

I am working on several short stories that are in process and preparing to return to “Murder Most Municipal,” my novel in progress.  I’m doing some non-fiction writing, as well.

Daniel Moses Luft

Daniel Moses Luft has written numerous reviews for Mystery Scene Magazine and, and was formerly a copy editor for Excluding a few quotations he made up for his college newspaper, “Boxed” is his first published fiction.

Your story in Dead Calm, “Boxed,” is about a man named Skinner who is trapped literally and figuratively.  How did you come up with this idea?

Men’s adventure paperbacks from the 70s and 80s all had tough guy names like The Penetrator or The Executioner. I’d like to use my character again and wondered what name could be used and re-used in titles that might feature puns. I will eventually write one called “Skinner Alive.” The story in Dead Calm takes place in a small room with the character reacting to his conditions, so here he’s “Skinner Boxed.” I dropped his name out of the title because I thought it was just too goofy.

“Boxed” is your first published short story. Congratulations! How long have you been writing? Submitting?  Tell us a little about your journey.

I have been writing since I got out of college 20 years ago but mostly I’ve been noodling in my spare time. I wasn’t sending out. About three years ago I decided to write some book reviews and that worked out so last year, after my first Crime Bake 2010, I decided to write some short stories. I’ve had two other stories accepted since Dead Calm came out and they will be published online at PowderBurn Flash, and Beat to a Pulp.

What are you working on now?

Right now I’m working on a longer story about a middle-aged guy who moves out of the suburbs back to Allston while he’s getting divorced. Of course horrible things happen—it’s Allston and he’s middle aged.