Hmm. On vibes I think you can safely and easily expect each hand to be able to reach an octave span; it depends some on the player and what part of the instrument you're in generally (e.g., on marimba you can probably get a noticeably wider range - maybe out to a 10th - at the upper end of the instrument, where the bars are closer together). On vibes that extension is probably not going to be as noticeable, though I think you could still ask for a 10th at the upper end.
Range between each hand, in my experience, depends a lot on the length of the arms of the player. I wouldn't get too crazy -- maybe an octave to 12th or so between the inner mallets -- especially since you may begin to lose agility and accuracy as the hands get too far apart. Think about it - the pianist can touch the keys without playing them and know where they are, but the percussionist needs to look at the keys all the time. If they have to turn their head back and forth to see both hands, you're likely going to start getting flubbed notes.
The biggest "gotcha" I've encountered actually relates to voicing. Given the distance and placement of the accidental bars, if you have a 4-note chord with two black keys and two white keys, it is easiest for the percussionist to play the two black keys in the middle. That way, their hands are splayed outward (hold some sticks and try it, you'll see).
It is also pretty easy to play both black keys in one hand, or black key on the bottom/left of both hands (though in the latter case note that the percussionist may need to move their body to the left or the right of the instrument, making fast jumpy passages trickier). It gets difficult when you start voicing the two black keys on outsides of the hands; the player will have to turn their arms in in order to hit all four notes at once. This also sharply limits the distance available between the hands.
Furthermore, in fast passages you probably don't want to jump around between different "configurations" of the voicing so that the player has to keep switching which mallet on which hand is playing on the black vs. the white keys.
Also, small intervals on the same keyboard (white keys vs. black keys) within one hand, if I recall correctly, can be awkward too. Think about trying to get the two mallets that close together with the standard grip. The player might turn their hand so that the two mallets are playing at different parts of the bars.
The physicality of percussion in general is one of the most important oft-overlooked things I see in writing for it. They're moving around so much, and it will really help your work to try - as best you can - to replicate the basic physical actions necessary to play the part you're writing.
There's plenty of other things to keep in mind, but I think this hits most of the highlights.
Disclaimer: I'm not a percussionist by any means, just a composer who has at some point made every mistake single described above :)