Fantastic — American Science Fiction and Fantasy Magazine

Format and editorial focus

Physically modest in size, the magazine followed the digest tradition: compact pages, modest circulation, and a focus on fiction rather than long nonfiction features. Content varied with editors. In its early years the emphasis leaned toward fantasy and the strange tale; at other times the magazine ran straight science fiction, reprints of earlier material, or experimental work. Artwork and cover presentation also changed with editorial tastes, including a later effort to incorporate more graphic, comic-influenced art.

Notable editors and changes

Several editors left marked impressions on the magazine’s character. Howard Browne, the founding editor, steered the title during the first years but later moved it toward science fiction. Paul W. Fairman followed and maintained the magazine through a period of uneven quality. At the end of the 1950s Cele Goldsmith (later Cele Goldsmith Lalli) assumed responsibility for both Fantastic and Amazing Stories and is widely credited with energizing the magazines by publishing and encouraging emerging writers.

Writers, influence, and examples

Under Goldsmith the magazine became an important outlet for new and experimental voices. Young authors who would go on to major careers found early publication in its pages; among them were Roger Zelazny and Ursula K. Le Guin, whose early work benefited from the exposure in venues like this. The magazine printed a mix of polished pieces and more adventurous or unconventional stories, making it a useful barometer of mid‑20th century speculative fiction trends.

Business decisions and controversy

In 1965 the magazines were sold to publisher Sol Cohen, who appointed Joseph Wrzos as editor and instituted a reprint-only policy. This approach proved financially viable but generated controversy: many writers and the newly formed Science Fiction Writers of America objected to the handling of reprint rights and payments. By the late 1960s Ted White took over editorial duties and halted the reprint program, attempting to restore original fiction and raise editorial standards. White also broadened the visual style, commissioning artists with comics and graphic art backgrounds for covers and interiors.

Decline, merger, and legacy

The final decade of Fantastic saw further commercial maneuvers. In 1978 Cohen sold his interest to Arthur Bernhard, prompting Ted White’s resignation; Elinor Mavor edited the magazine for a short period before Bernhard decided to close it and fold its assets into Amazing Stories. Although circulation never reached the largest ranks of periodical publishing, Fantastic is remembered for its role as a stepping stone for significant writers, for editorial experiments across fantasy and science fiction, and for controversies that reflected broader industry debates about rights and reprints.

• Publication span: 1952–1980.
• Formats: digest-size print magazine featuring short fiction and artwork.
• Notable editors: Howard Browne, Paul W. Fairman, Cele Goldsmith, Joseph Wrzos, Ted White, Elinor Mavor.
• Legacy: early venue for important authors, and a participant in mid-century debates over reprints and author compensation.