Submissions  for the Spring 2023 issue of The Dribble Drabble Review are open. This carefully curated, biannual (Spring and Fall), online literary e-zine advocates for all things little-ature. A solid group of international writers continue to respond to its call--delivering exceptional quality short-form compositions. Note: TDDR is open themed, so let those imaginations go wild.

    Dribbles should be written at exactly 50 words with Drabbles written at exactly 100 words (not including titles). Send your original, unpublished entries to the editor via the contact info provided below the More Tab above; send up to five entries in each category, formatted as you like, with your name and brief bio (all in the body of your email). Your bio should not exceed approx. 50 words, please. It's visually awkward when one's bio is longer than one's piece; I am sure you understand. Submit prose, poetry, or prose poetry for that matter! Deadline: midnight, CST, on March 15, 2023. Regrettably, ONLY ACCEPTED SUBMISSION WILL BE NOTIFIED within 60 days of delivery: due to the sheer number of entries. Too, entrants agree that submission in and of itself will serve as an author's permission to publish (with first electronic and non-exclusive archival rights) as well as the right to publish in future print anthologies.

     Simultaneous entries are permissible, but notify us if your piece is selected elsewhere in order to pull it from our pool of prospects. Rights revert back to the author upon production of the next sequential edition of TDDR. Too, we do require, in regard to reprints, that TDDR be indicated as your piece's original publisher.

     We will do our best to accommodate special formatting, while we also reserve the right to edit upon need. Note: in forms as short as these, we do encourage active / present tense, but it is not a mandate.

     Please abstain from sending any erotica, politically infused or discriminatory / hate-related themes.

    This is a non-monetary opportunity; but, there is also no cost to submit. Compensation will consist of supporting our writers with quality presentations of their work, a strong artistic community, and individual promotion.


We also nominate for The Pushcart Prize, Best of the Net, Best Microfiction, and Best Small Fictions Award Anthologies.

 “It’s the Pow! Wham! Splat! of comic book fame, but in more meaningful, literary terms.” 

--An interview with Keith Hoerner, editor of The Dribble Drabble Review, conducted by John Brantingham, editor of The Journal of Radical Wonder


I have never met Keith Hoerner in person, although we have corresponded a bit by email. I admire so much about what he does. I admire his writing, and the way he gets down into things that matter, down under the skin of things. I admire his work so much, we devoted a whole month to it, one piece every day for June 2022, and I hope you read them all. I also have loved his magazine The Dribble Drabble Review for a while now. It has an interesting focus: Dribbles defined as stories in 50 words (exactly) and Drabbles defined as 100 words (exactly). I work almost exclusively in short form, and I’m interested in people who do the same. So, I asked him if I could interview him about his work and his magazine, and I’m thrilled that he said, “Yes!” Here is the interview:

John: I have tried to write pieces to submit to The Dribble Drabble Review, and I’ve failed every time. There’s something about the limitations of 50 or 100 words that makes it difficult for me. I understand writing in form and appreciate it. I even have a book about how to write in poetic form, but I find a 50-word story so much more difficult than a sonnet or sestina. So my question is… do you use this form because it sparks something inside of you, or because it inspires you to write a certain way or on a certain topic?

Keith: If a person can understand poetic form, that person can surely navigate Microfiction’s short, short story format. The primary technique in Microfiction is actually borrowed from poetry itself, and that is the act of concentration. Poetry has always been credited with saying more with less. Now, it is “Flash’s” turn to do the same; the constraint of 50 or 100 words, exactly, as in the writing of a Dribble or a Drabble — simply makes the writer work a little harder. Harder, in that, the arc of the story (exposition, conflict, rising action, climax, falling action, resolution / denouement — or the untying of the knot) must be achieved more quickly and more deftly…

       I am personally drawn to the challenge of writing with an eye to concentration. How interesting, how big can I make a Dribble or a Drabble — so it elevates the genre into little-ature? How do I use its components to shape the form to meet my needs? For example, what about title? I would challenge writers to cease slapping a simple, non-descript title on a given piece (as a default) when it can be used to flesh-out the exposition of the story. For example, take my Drabble: “Meeting a Boy on the Street, While Carrying the Cremated Remains of My Alice.” That’s 15 glorious words that establish the context of the story but do not count toward the 100-word count requirement. You gotta love it.

John: Yes, I do love the title. So, what is it that can be accomplished with Microfiction that cannot be accomplished with other forms of storytelling?

Keith: Sadly, today, too few people read — so why not usher them back into the reading by pandering a bit by writing in shorter lengths?! It’s the immediacy of Microfiction that sets it apart from other forms. By its sheer nature, the reader is plopped right into the action. It’s the Pow! Wham! Splat! of comic book fame, but in more meaningful, literary terms. As another analogy: not only is the reader put in the front seat of a writer’s roller coaster, the reader is driven past fast and furious, hyper-focused detail and description. The speed! The spins! The satisfaction! Until the reader coasts to the story’s end, and the effect of the ride lingers…

John: Do you also work in longer forms of fiction or do you prefer to keep it short?

Keith: I’ve written a novel-length memoir, many traditional short stories exceeding 5,000 to 8,000 words or more, but my passion of late has been Flash Fiction and the even shorter Microfiction (up to approx. 750 words). These tiny tales allow me the completion of more ‘canvases’ ideal for a mind prone to jumping around like mine. I can capture a particular story in shorter form, explore its landscape, then (Voila!) traverse to the next vista.

John: I’ve heard it said, and I’ve said it myself, that Flash feels a lot less artificial and gets close, for me at least, to what real life feels like. Would you agree?

Keith: Yes, I do agree. The intimacy brought to a reader of Flash (due to the immediacy of presenting the action / conflict) gets closer, more quickly to the daily concerns and feelings of real life; it’s a unique and thrilling benefit of the short, short story. It is brief in composition, so it strips back that sense of artificiality found in longer forms, making Flash long on impact — because the writing only has a brief time to craft its spell.

John: So if you have a mission with your Flash, what is it? I see a unity to your work, and I’m wondering if you could maybe pin that down. Or maybe it’s important NOT to pin it down!

Keith: If there’s an identifiable mission to my work, I’d love to hear of others’ impressions. For me, I would say it’s important not to pin it down — from my perspective. My observations come at me from all my surroundings: people, random phrases in earshot, movies, news, interesting or odd observations… anything I feel I can add Keith Hoerner’s (what I hope to be) new and unusual perspective on it. That’s the mark of creativity to me: "an imaginative awareness of being."

     Before I go, I’d like to thank you, John, for your kind words and courtesy. Too, I’d like to congratulate you as editor of the new and impressive venue that is The Journal of Radical Wonder. I do hope my work lives up to such a glorious moniker.





 The Word on the Street 

"The Dribble Drabble Review is a literary and photographic marvel"


Dave Alcock, England



Andrea Damic, Australia

"Thanks for giving little-ature, as you cleverly put it, this wonderful platform"


Blake Kirkland, USA



"Thanks for providing a platform for excellent short-form writing; you're really doing something special with your journal"


Kim Lozano, USA

"OMG, I love the name and concept"

Abby Rose Manis, USA

"It's a pleasure to see such a quality debut; there are so many wannabes"

John Mannone, USA



"This journal is so beautiful; I am honoured to be part of it"

Valerie Pocock, Canada

"A very worthwhile read"

Kevin Russell, USA



"A fine issue. Full of gems. Bless your heart, your eyes, and your solid sensibilities"


Bob Thurber, USA

"Beautifully presented"

Lynn White, USA