Ruschelle: Thank you for taking the time to chat with us at the Horror Tree!
Marc: It’s my pleasure. Thank you for having me.
Ruschelle: Your debut collection, Stories of High Strangeness, has been published by publishing newcomer Copypasta. Many stories we pen evolve from shreds of experiences, albeit fictionalized…well we hope. Where did you gain your inspiration for this collection?
Marc: My inspiration came from just wanting to tell good stories with unusual twists and turns. That is the overriding theme. When you read this collection, you won’t see any overriding theme. It’s not just one thing but ‘rather, a whole bunch of things. It’s, quite simply, a collection of stories. My approach to writing fiction is very organic. I come up with an idea, it rattles around in my head for a while and, if it continues to strike some kind of weird chord with me, I write it.
Ruschelle: You mentioned your early writing repertoire included selling rock musician interviews to magazines and underground newspapers. What was it like interviewing artists on the cutting edge of music in the 1960’s?
Marc: It was a gas! Interviewing an extremely loaded Ozzy Osbourne in his hotel room at 10 in the morning. Flying on The Who’s private touring plane to catch the band in Texas. Sneaking backstage at a concert at my college and walking right up to Cheech & Chong and asking for an interview for the college paper and getting nearly 45 minutes with them. It was still very new and exciting for the musicians and the journalists. I wrote for publications like The Los Angeles Free Press, Zoo World, Phonograph Record Magazine and Rock Around the World. The writers weren’t making a lot of money but, like I said, it was a gas!
Ruschelle: Your experiences sound awesome. You’re a music buff. What gets your creative blood pumping while writing? Does the type of music you listen to influence your writing style?
Marc: I’m probably the world’s oldest metal head. Put on Black Sabbath, Dio, Cirith Ungol. Judas Priest, Iron Maiden, If it’s loud, dark and nasty I’m there. I’m also into 60’s psychedelia. If you’re old enough to remember bands like The Electric Prunes, The Strawberry Alarm Clock, The Standells, Love and just about any band out of San Francisco and Los Angeles, you know what I mean. I like movie soundtracks when they go to the dark, progressive side. I like The Exorcist and The Good, The Bad and the Ugly a lot. All that being said, when I write I write in silence. But more often than not the vibe from the music definitely winds up in a lot of my stories.
Ruschelle: Writing fiction is definitely a different monster than writing from a journalistic standpoint. Was there anything you learned or new skills you honed while conquering the fictional beast?
Marc: When you’re dealing with journalism or biographies, there’s an end game, a deadline that is always in your head. When you write fiction, the story is done when it’s done and not before. When I started to write short stories, the main thing I had to learn was get the story to the point where it works for me and then send it out into the world. I’m not a writer who talks about what he’s working on or even shows it to people when it’s done. My criterion has always been when somebody accepts it and publishes it, then the rest of the world can have it.
Ruschelle: If you could actually meet and hang out with the physical embodiment of any one of the characters you created, which one would it be? It’s the dude with the insatiable libido isn’t it? I bet he’d be fun at parties. LOL
Marc: There’s a lot of extreme, dangerous characters in my stories that if I saw them at a party or walking down the street, I would probably run the other way. Without giving too much away, the people in the stories Dose, What’s In A Name and Remember 85 are not the people one would want to spend too much time with. On the other hand, there are characters in the stories The Out Door, This Will Buy Us A Year and The Delicate Hours that I could probably be around for a while. Once you read those stories you’ll get an idea of where my head is at.
Ruschelle: Do you have another book of horror/fantasy/ Sci-Fi in the works?
Marc: I’ve got a few things that I’m playing around with that tend to lean towards horror and fantasy but are not quite ready to go out for consideration. Two chapbooks of poetry, Shakeout on Sex Street and Existential Jibber Jabbar, a full book of poetry, Melancholy Baby and a chapbook of short fiction called Out Of My Mind. I’ll know when it’s time to take a chance with them.
Ruschelle: Was there a defining moment in your life where you knew you wanted to write for a living?
Marc: Probably when I was 13. I was writing short stories, poetry and television scripts by that time. I didn’t know how good I was at that time but I knew I liked the idea of using my imagination to make magic. I also liked the way my byline looked on things. It would be seven years before I had anything published. But I knew the writing life was for me.
Ruschelle: Is there a topic you feel is too taboo to write about?
Marc: I will not do anything bad to children or animals. Otherwise it’s open season.
Ruschelle: As fiction writers and writers of the horror genre, we often write what we fear ourselves. What fears have ignited your writing?
Marc: The six o’clock news has always been a good jumping off point for me. The way humanity behaves on a daily basis has brought up more than one idea and a shudder on occasion. But finally, the fear that drives me is to wake up one day and have my imagination stripped from me. Fear of not having an idea is what, creatively, keeps me one step ahead of the Devil.
Ruschelle: You’ve written over 60 unofficial biographies of celebrities. That’s quite a few lives to get to know. Which artist started it all?
Marc: Way back in the day, I approached a UK publisher of rock music biographies called Omnibus Press about doing one of their rock books. I received a polite letter back informing me that they normally only use UK authors. But the very last line of the letter said that they were in fact contemplating doing a book on The Eagles and would I be interested? I couldn’t say yes fast enough.
Ruschelle: The Eagles = ROCK ICONS! Was there anything you researched for your biographies that surprised a seasoned journalist like you?
Marc: When you’re dealing with Hollywood types nothing really surprises you after a certain point. My only advice to would be stars would be to save your money and don’t believe it will last forever. Because it rarely does. And that goes for authors too.
Ruschelle: Do you feel any ‘real life’ events from your autobiographies may sneak into your next bit of fiction? The names and specifics to be changed to protect the innocent of course.
Marc: If they have, it’s been on a subliminal level. But Icons have made occasional appearances. I used a real NFL team as a cornerstone to a short story entitled Cut Down Daze that was published a while back and I channeled a number of music personalities by name for a horror poem that will be coming out later this year called Night Rider.
Ruschelle: If you could co-write a book with any author who would it be? And let’s make it an attainable goal and let’s keep it in the realm of the living. Seances and invoking the dead never ends well.
Marc: That’s a tough one because all my influences have long since gone to the great beyond. I’m old school. I firmly believe in one writer/one vision. If I could resurrect the dead we might be here all night. Charles Bukowski, Rod Serling, H.P. Lovecraft, Ray Bradbury any and all of the Beats. Those are my literary gods.
Ruschelle: And literary gods they are. We all learn with age and experience. Well we’re supposed to anyway. In regards to writing and the writing experience, what do you wish you knew then that you know now?
Marc: That’s a toughie because we never really stop learning. As it pertains to the business…To be smarter about things like contracts, money, people. I learned that if you’re serious about writing for a living, you stop writing for no pay and exposure early on. I’ve worked for next to nothing but I stopped working for nothing eons ago. I wish I had been a bit braver in the early days, more willing to take chances. As I’ve gotten older I’ve adopted a say yes to just about any offer and let the chips fall where they may. I know I learned quite a bit about the writing business the day an editor pulled a gun on me when I was trying to collect the $20 he owed me. And that was how to duck.
Ruschelle: Learning to duck is never a bad lesson, LOL. What do you find more challenging, fiction or journalism?
Marc: Both forms have their moments. Journalism can be like a good detective story, tracking down the facts and the people who can shed light on the person you’re writing about. Fiction forces you to stretch your imagination and conceive of ideas, notions and characters and yet have it all make some kind of sense or logic at the end. When I’m writing fiction, my head is in one space. When it’s journalism, it’s in another.
Ruschelle: Rejection is definitely a pill we hate to open our mouths to swallow. Being a seasoned writer do those rejections get any easier? What do you suggest for authors starting out when they receive the dreaded- ‘It’s not you it’s us’ email?
Marc: First realize that rejection is a part of the process. I had a couple of short story submissions kicked back in the last week. You get the twinges the first couple of times but, if you’re intent on a long-term career, you immediately forget about it and send the story someplace else. If you’ve given your best effort, the chances are good your work will find a home.
Ruschelle: Exactly. Eventually writer’s stories find the home they’re meant to have. You’re a New York Times bestselling author. Kudos! Many authors aspire to have those little words swirl around their bios. So, tell us what has that prestigious phrase done for your career?
Marc: My ego was on fire for a few days. It is an emotional and psychological lift like you would not believe. I spent a month picking up The New York Times every Sunday just so I could chart the progress of my book. But eventually reality brings you back to earth. You’ve got deadlines to make, bills to pay, lawns to mow and a dog to walk. But making The New York Times bestseller list is definitely a memory that stays with you forever.
Ruschelle: Since you’re lucky enough to write for a living, you probably have some sort of schedule or ritual. What’s your typical work day like?
Marc: There really is no typical work day for me. It depends on whether I’m on deadline with a biography or at a more leisurely pace with a short story or a poem. But more often then not, I’m up fairly early in the morning, work for 3-4 hours, take a walk for about an hour, then back to work for another 4-5 hours. A good day for me is 1000 words on whatever I’m working on. I once had to write a 50,000 word manuscript in three weeks. Needless to say, I was pulling 15 hour days on that one.
Ruschelle: Is there any one piece of advice you’d like to impart to struggling writers out there who are attempting to embark on writing as a career?
Marc: Write every day. When you’re not writing, read anything you can lay your hands on. It’s cool to go to parties and tell people you’re a writer. But if you’re not serious about it, you’re doomed to fail. Go with your gut at all times. Treat writing as both a creative art and a business but be able to separate the two. You don’t want to be thinking about the business when you’re knee deep in the creative process. And vice versa. Writing for a living is a dream come true. But you’d better take it seriously and be prepared to walk the walk.
Ruschelle: What can your new found fans look forward to from you in the future?
Marc: The future is now. You can get Stories Of High Strangeness (Copypasta Publishing) on Amazon, Smashwords, Roku, Kobo and Barnes & Noble.com. My latest celebrity biography Renaissance Man: The Lin Manuel Miranda Story (Riverdale Avenue Books) is available through Amazon, Smashwords and a bunch of the usual book selling sites. I have poems in upcoming issues of Disturbed Digest and Night To Day. Then there’s something that I’m currently working on that I’m not at liberty to talk about. Yet.
Ruschelle: Thank you so much for your time and wisdom.
Marc: This was fun. Let’s do it again some time.
Marc Shapiro can be reached through Copypasta Publishing at [email protected]
Deadline: July 15th, 2018
Payment: 6 cents per word
“Terra! Tara! Terror!” – SF, Fantasy, Horror. Whether the setting is a cabin in the woods (Terra), Fae (Tara), or spaceship Nostromo (Terror), take us there and spin your adventure. For a bit of mood whiplash, we’d like a mixture of dark and bright stories. Examples: Obsession with odd artifacts (like Roadside Picnic’s golden sphere?), alternate histories, paranormal romance (no erotica, please, we’re PG-13). (Image: The initial letter of the fairy tale “Guleesh” created by John D. Batten for Joseph Jacob’s collection, Celtic Fairy Tales. 1892. commons.wikimedia.org)
Reading Period: June 15 – July 15, 2018
Writer Deadline: July 15, 2018
Publication Date: September 20, 2018
Third Flatiron Publishing is based in Boulder, Colorado, and Ayr, Scotland. We are looking for submissions to our (approximately) quarterly themed anthologies. Our focus is on science fiction and fantasy and anthropological fiction. We want tightly plotted tales in out-of-the-ordinary scenarios. Light horror is acceptable, provided it fits the theme.
Please send us short stories that revolve around age-old questions and have something illuminating to tell us as human beings. Fantastical situations and creatures, exciting dialog, irony, mild horror, and wry humor are all welcome. Stories should be between 1,500 and 3,000 words. Inquire if longer.
Role models for the type of fiction we want include Kurt Vonnegut, Arthur C. Clarke, Dan Simmons, Connie Willis, Vernor Vinge, and Ken Kesey. We want to showcase some of the best new shorts available today.
For each anthology, we will also accept a few very short humor pieces on the order of the “Shouts and Murmurs” feature in The New Yorker Magazine (600 words or so). These can be written from a first-person perspective or can be mini-essays that tell people what they ought to do, how to do something better, or explain why something is like it is, humorously. An SF/Fantasy bent is preferred.
See the “Submissions” tab for preferred formats, etc.
Via: Third Flat Iron.
Deadline: July 1st, 2018
Test Patterns : Creature Features (a follow up to 2017’s Test Patterns)
Seeking: Original stories of 2500-7000 words (no reprints or poetry currently, thank you) and no bio / biblio info attached, please. Payment is $100 for an accepted story. Multiple subs are fine, but we will only select at most one story per author. We are currently estimating a need for about 25 stories for the book total, depending on length
The Theme: We’re looking for stories that involve monsters! Our loose theme is based on the SF/F TV programs of the late 50s/early 60s, (Twilight Zone, Outer Limits; but think of the vibe, not literal pastiche; i.e. twist endings, weird situational reveals, moral / allegorical messages told through a spec-fic lens) but we will consider any well-written speculative tale
The Details: File format should be MS Word compatible, exact file type and / or formatting doesn’t matter much to us, we will handle most of that on the back end to fit the aesthetics of the final book.
We are projecting our window to stay open June 1st through July 1st, but will make an announcement if we fill up before then, again, we are projecting about 25 stories for this volume
Submissions should be directed to our editor;
Duane Pesice at:
Use “creature features” as the subject line to help us keep them sorted and separated, please
We tried to cover all the details above, but any questions can be asked here or we’re always open for PM’s, thanks
Via: Test Patterns’ Facebook.
Tough is a crime fiction journal publishing short stories and self-contained novel excerpts of between 1500 words and 7500 words, and occasional book reviews of 1500 words or fewer. We are particularly interested in stories with rural settings and stories that intersect with the weird or occult. To clarify: think H.P. Lovecraft modernized, without the racist baggage. Think Fatale, by Ed Brubaker and Sean Phillips. Think Hellblazer. We are not interested in science fiction or fantasy, except for stories in which those elements accentuate or play a major role in a crime. We are a crime journal. Our book reviews will reflect these interests.
Tough publishes four or five times per month on Mondays, for which we pay a flat rate of $25 per story or book review–we don’t take reprints, poems, or essays–in exchange for first world serial rights to publish the submission on the website and as of 2018, in a periodically produced print issue, the first of which is due in July 2018. Payment comes via check mailed on publication or via Paypal by special arrangement. Query for details or to pitch reviews.
Queries and submissions should be formatted in .doc, .odt or .rtf and sent to [email protected] MOBI or PDF book review copies–our preferred methods–can be sent to the same address. Otherwise, review copies can be sent to: Tough, 119 Bradstreet Avenue, Revere, MA 02151.
Via: Tough Crime.
‘Scouse Gothic’ Blog Tour – A brief history of Liverpool.
By: Ian McKinney
Scouse Gothic is set in Liverpool. The city, and its distinct character, plays as much a part in the story as any of the other characters, and like them it appears one thing to the casual observer, but has its own dark secrets.
Liverpool is a large seaport in the North-West of England, which at the end of the nineteenth century was considered to be the second port of the British Empire. However its origins can be traced back to the granting of its Royal Charter by King John in 1207. (This is the evil King John of Robin Hood fame, although whether he was evil or just subject of bad PR is still being debated.) At this time it was a small port trading mainly with Ireland, there were no docks and the ships simply beached on the shore to unload their cargos. The growth of the port began in earnest with the construction of the first ‘wet’ dock in the world in 1715. It had room for a hundred ships and meant that much larger ships could now pass through the port. These larger ships could now trade with Africa, the Far East and the Americas. The first trade with America is recorded in 1648: cloth, coal and salt from Lancashire being traded for sugar and tobacco.
It was these trade links that would lead to Liverpool becoming the major slaving port in the world. It became the centre of what was known as the ‘Triangular trade’: produce from the factories of Lancashire traded for African slaves; then those slaves traded in the Americas for tobacco, sugar and cotton, which returned to the factories and consumers of Britain. Although few slaves ever made it to Liverpool, at one point Liverpool’s merchants controlled 80% of the UK, and 40% of the world’s slave trade. The city grew fat on the proceeds of slavery, but with the abolition of slavery in Britain and its colonies, a new trade took prominence, cotton. In fact, the cotton trade became so important that during the American Civil War, Liverpool merchants sided with the Confederate cause. And although public opinion supported the North, warships and weapons were secretly built in Liverpool and smuggled across the Atlantic in Confederate ‘blockade runners’.
In a bizarre twist of fate Liverpool is actually connected to the start of the American Civil War, and its ending. The first shots that began the conflict, when General Beauregard fired on Fort Sumter on the 12th April 1861, were fired from an artillery piece, called the ‘Galena Cannon’, which had been made in Liverpool. While the final shots were fired by the Confederate raider the CSS Shenandoah, its surrender in Liverpool on 6th November 1865 effectively ending any Confederate resistance.
During the 19th Century Liverpool was very much a global city, and on any given day more than 1500 sailing ships would crowd its docks. The ships and their cargos came from the four corners of the world, and the multiracial crews lived in its boarding houses and mixed freely in the teaming bars and brothels that surrounded the docks. Herman Melville the author of Moby Dick, visited here as a young seaman in 1834 and wrote of the experience in his book, Redburn, ‘… sailors love this Liverpool; and upon voyages to distant parts of the globe will be constantly dilating upon its charms and attractions, and extolling its virtues above all other seaports in the world’. It was a wild and violent city, but also for black or Asian crews a very equal city. There was no colour bar and many of these sailors settled in Liverpool and raised their families there. For example, Liverpool has a thriving Chinese community, the oldest in Western Europe (established 1834), with its own Chinese Arch (the largest outside of China).
However the largest cultural impact on Liverpool itself came not from the Americas, Africa or even the Far East, but from much closer to home, Ireland. In 1845 the disastrous Irish Potato Famine killed a million people and caused millions to leave Ireland. In the space of three years, two million Irish landed in Liverpool seeking passage to a new life, and many of the poorest could go no further. In the census of 1861 a third of the population of the city had been born in Ireland. Liverpool ceased to be an English city, but neither was it an Irish one. The mixing of these two cultures, together with the Scots, Welsh, African, Chinese and even Jews escaping Russian Pogroms, made it what it is today. In fact Carl Jung once called Liverpool, ‘The Pool of Life’, as he thought it represented the whole world in one place.
The inhabitants of Liverpool, whatever their creed or colour are officially called Liverpudlians, but more commonly referred to as ‘Scousers’. This nickname being derived from a local stew called, Scouse, which in turn gives its name to the local dialect. The accent is a distinctive mixture of English and Irish and will be familiar to anyone who remembers the Beatles.
Once I’d written the book, I needed a title, and as it deals with the undead inhabitants of the city, I decided to call it ‘The Pool of Life..and Death’. However, on second thoughts, a book about Vampires should really be a Gothic novel, and so that became the subtitle, and the book became: Scouse Gothic.
You can read our review of ‘Scouse Gothic’ right here!
Deadline: August 31st, 2018
Payment: Contributor’s copy and 1st place: 100 dollars plus contributor’s copy, 2nd place: 50 dollars plus contributor’s copy, 3rd place: 25 dollars plus contributor’s copy
The 2018 Spooky Samhain Stories Contest
Do you have a scary story to share? Fiction, fact, or otherwise, share your prose with us and you, too, can win up to $100* and get your story printed. Enter your submission today! Contest will be judged by a panel of three impartial judges, all of whom have a vested interest in the unknown. Scare us, terrify us, and thrill us!
- Simultaneous submissions are fine, but please only send us one story at a time and if your story is accepted elsewhere please email us and let us know ASAP.
- Many will enter, few will win.
- Entrants cannot be related, legally or otherwise, to OPQ staff
- Entries must be emailed to [email protected] by August 31st, 2018 to qualify.
- Entries must match one of the following three themes: ‘True Tales of Terror,’ ‘Spooky Semi-True Stories,’ or ‘Fantastic Frights’
- No entry fee necessary!
- Note: entries will be judged based on quality, thematic appropriateness, and writing chops.
- Though we want to be scared, there are some things that are off-limits. As with our normal morality policy, OPQ will automatically reject stories that involve pedophilia, excessive gore, violence for violence’s sake, and non-consensual sex. As always, we would prefer stories that use religion and/or spirituality as an uplifting theme or a bridge towards a larger, thematic discussion, rather than being derogatory towards one specific religion. That being said, we enjoy looking forward to what your twisted imaginations come up with!
Entries must follow one of the following themes:
‘True Tales of Terror’ are reserved for true experiences you’ve witnessed. Ritual gone wrong? Cryptid got a little up close and personal? Alien attacks at night? Send ’em in. We wanna see every one of them, no matter how small.
Guideline: 1k-4k words. Above or below this limit, within reason, is fine. (Not to exceed 10k words)
‘Spooky Semi-True Stories’ are maybe tall tales, maybe not. They’re more fantastic stories that the reader may not want to know are real or not. Consider a well-crafted story about a shopping mall that may or may not have undergone a quarantine that the local news covered up. The point here is that the reader questions whether the story could have happened or not.
Guideline: 3k-6k words. Above or below this limit, within reason, is fine. (Not to exceed 10k words.)
‘Fantastic Frights’ are out and out fiction, the kind of stories there’s no way to fake. We’re talking full-scale zombie apocalypse, axe-wielding clowns, and the works.
Guideline: 5k-10k words. Above or below this limit, within reason, is fine. (Not to exceed 10k words.)
Note that we cannot take characters or fiction that is not 100% original, though loving homage is always appreciated and encouraged.
*Prize money is divvied up as follows:
1st place: 100 dollars plus contributor’s copy
2nd place: 50 dollars plus contributor’s copy
3rd place: 25 dollars plus contributor’s copy
All 7 runner-ups have the choice to have their pieces printed in our Samhain 2018 edition, and will receive a contributor’s copy as payment for their entry.
All payments will be delivered via Paypal, Venmo, or awarded in person.
Got it all down? Go ahead and submit to us today!
Via: Oklahoma Pagan Quarterly.
Payment: $20 for each original story over 1000 words accepted, or $10 per flash piece (up to 1000 words)
The Future Fire welcomes submissions of speculative fiction with progressive, inclusive and socially aware disposition. We are particularly interested in feminist, queer, postcolonial and ecological themes, and we actively seek out submissions by under-represented voices, including but not limited to women, people of color, LGBTQ+, people with disabilities and writers from outside the English-speaking world.
If you are thinking of submitting a piece of writing for consideration by The Future Fire, please read some recent issues to get a feel for the sorts of speculative fiction we are looking for. When submitting, read the following guidelines carefully:
- We are reasonably flexible with regard to format and length, but are extremely unlikely to publish any story over 10 000 words. (We have in the past occasionally taken longer stories, up to 20 000 words, to be serialised; this will probably be less likely in the future, and obviously would require a story to be of better than excellent quality and value. We must in any case have the whole story before we make any decision.)
- All submissions are read anonymously and judged on their merits and fit to TFF‘s goals. We actively encourage the submission of stories by women, people of colour, LGBTQ+, differently abled/neuroatypical, and other groups under-represented in genre fiction.
- Please send your story to the fiction editor () as an attachment. We prefer .doc, .docx, .rtf or .odt files (query first for any other format). Please use a common, easy-to-read font such as Times New Roman/Palatino and use no other formatting than italics. Do not include your name anywhere in the document. We read and make all decisions based upon anonymised submissions.
- Use the email subject line: TFF submission: Surname, ‘Title’ (word count). Give your prefered name or pen name/byline in full in the accompanying email. Please do not send us your full address or other contact details.
- No multiple submissions: please only submit one story at a time. No simultaneous submissions: please do not send work that is under consideration elsewhere. If you need to withdraw a story for whatever reason, please do so as early as possible.
- We prefer to publish original material. Previously published stories are not out of the question, but you must let us know if a story has appeared elsewhere when you submit. This includes stories posted to blogs, open access writing groups or other public fora, even if they are no longer available there. We are more likely to reprint a story if its previous appearance was in a venue not readily accessible to our main audience, either because of medium, date, genre, or other factors.
- A decision is usually made within one month but sometimes life gets in the way of efficiency, for which we apologise. Important: emails sometimes go astray, so please do query if you feel we are taking an unreasonable time to get back to you.
- The Future Fire is offering payment of $20 for each original story over 1000 words accepted, or $10 per flash piece (up to 1000 words) (to be paid via Paypal on publication).
- Upon acceptance of a story, we shall ask authors to agree to this electronic contract: “
You [LEGAL NAME*] of [ADDRESS] grant us, The Future Fire, the non-exclusive right to publish your work [TITLE] by [PEN NAME BYLINE OR PSEUDONYM] on the pages of our website and in the downloadable e-book versions; all other rights to this work belong to you. We shall upon publication make payment of [$20/$10] ([twenty/ten] US dollars) by Paypal to the account [EMAIL ADDRESS]. If we have not published your story within one calendar year of this contract, all rights shall revert to you. You guarantee that this work is your own and that you have the right to grant us the use of it, and that the work contains nothing that breaks copyright or other laws. Any actions breaking such laws will be your sole responsibility. We will print a copyright notice in your name, but we will not register the work with any copyright office on your behalf. You may reprint or adapt the work anywhere in the world, but we would ask as a courtesy that you wait three months after publication and credit us for first appearance.” (*For the contract we shall need a legal name and mailing address, even if you wish your work to be published under a pseudonym. If for safety or other reasons you have a name you are commonly known by that can be used to identify you in official contexts, please feel free to give us this rather than a “dead” name or other sensitive information. We will in any case never ever share this information with anyone else.)
It is the intention of The Future Fire to keep an indefinite archive of stories published in HTML; if an author has a pressing (e.g. legal) need to have a story removed, however, we shall of course help them to comply. We may not be able to remove the story from the copy of the PDF issue that is deposited with national libraries, archived by the Internet Archive, and other places outside of our control (just as a paper periodical archived in a national library would remain available permanently).
Via: The Future Fire.