Vestal Review: 25 Years and Still Under 500 Words

If you've spent even a little bit of time in the flash fiction world, chances are you've likely brushed up against Vestal Review at some point. Running since 2000, it's the longest-running flash fiction magazine on the planet, a distinction that means, well, a lot.

We sat down with editor David Galef to talk about what's kept the magazine alive and relevant for a quarter century, what the indie lit landscape looks like from where he's standing, and what he'd tell anyone foolish enough to start their own magazine today.

This interview was originally published on Sub Club. Read the original post in its entirety here.

Benjamin Davis: Tell us a bit about Vestal Review.

David Galef: Vestal Review, running since 2000, is the longest-running flash fiction magazine on the planet. Our mission is to publish captivating flash fiction under 500 words. Since 2020, we’ve been exclusively online, with a cool-looking website. The major challenge we face, like many magazines, is attracting a larger audience.

BD: Flash fiction has become a hugely popular genre. Did you think it would become as big as it has?

DG: The roots of the flash fiction explosion date back to Shapard and Thomas's Sudden Fiction anthologies, starting in 1986, followed by Flash Fiction in 1992. But the internet made the form blow up. Vestal Review began as a print magazine but switched to all online in 2020, when I took over as editor. That format reflected the 21st century better, saved us money, helped the planet, and got us more hits.

BD: What are three factors that stand out in what Vestal Review brings to the publishing world?

DG: We don’t restrict ourselves to certain genres and avoid stories that promote intolerance. Another standout factor is our small reading fee, used to ensure we can pay for what we publish.

BD: OK, so the reading fee debate is always raging on, but you call it a standout feature. Why?

DG: Some people object to the modest fee, and I understand that, but it’s necessary to keep us afloat. Art should be free (and better supported in the U.S.), but I’m uncomfortable with the double standard: Few people object to other sectors charging for their services. And we do pay our contributors and staff, which many places don’t do. But I’d better stop here before I antagonize someone.

BD: What drives submissions at Vestal?

DG: Being a well-established flash fiction magazine with a history of publishing renowned authors helps attract submissions. We offer fair payment, quick response times, and nurturing feedback. Although we win awards and have a significant social media presence, we're always looking to expand our reach.

BD: I see this a lot. “Renowned authors” listed on a publication's website. For newer magazines, how do you attract big names without soliciting?

DG: Most magazines, with obvious exceptions like The New Yorker and Harper’s, probably aren’t going to get many famous names, if they even want them. But if you like their work, you have to solicit, if not beg. No harm in asking.

BD: When a piece comes across your virtual desk, is there a point in most where you know whether it is working or not?

DG: We can generally tell within a few paragraphs whether a piece is working well or a good fit for the magazine, but they’re only 500 words at most, so we give them all a good shot. If submitters pay a fee, it’s only fair to reward them with our time.

BD: What happens between when a piece comes in and when it's accepted or rejected?

DG: Submissions are assigned to contributing editors who evaluate them as “accept,” “reject,” or “maybe.” The editor-in-chief reviews any “maybe” or higher-rated pieces. Our contributing editors, chosen for their expertise, assess sample stories for ratings, detailed evaluations, and editorial suggestions. We also feature a list of new flash fiction books, serving both as a promotional and informational tool.

BD: Writers want to know that their story, in the hands of the right editor, will be understood through a relatable lens. Who are the folks behind the scenes at Vestal Review, and how much does editorial background factor into considering a writer's work?

DG: Vestal Review's staff includes five contributing editors and an art editor. They're a diverse and experienced group, deeply invested in the flash fiction scene. The editors are also working writers, and the art editor is an accomplished artist. Their broadmindedness and expertise greatly influence the selection process.

BD: Can you elaborate on "broad-mindedness"?

DG: Diversity comes in many forms, with underrepresentation that needs to be addressed in race, gender, class, culture. We strive for a broad spectrum—that may be reflected in who the author is or what they wrote. But people also should be more broadminded in what they accept as literature. For instance, I can’t understand why some magazines still discriminate against what they call genre work, like science fiction.

BD: How would you advise someone with these goals for creating a magazine but without the funding to do it? Where would you advise them to watch out, or take it slow, or what to pay attention to along the way?

DG: A fair number of emerging magazines seem to be started by recent MFA graduates seeking a voice, which is fine. They have energy and drive and often good literary acumen. But it rarely provides a living, even with support from crowdfunding, a Patreon niche, or grants. My advice: Don’t quit your day jobs.

Indie lit should prioritize the freedom to publish meaningful work without financial constraints, encourage authors at all career stages, and create magazines worth more than just a cursory glance. This involves embracing both the challenges and hopes of producing art that matters.

Attracting attention often requires something newsworthy or innovative. Indie lit should continue to produce quality work that makes people think, as good literature remains newsworthy.