research paper on short stories examples

EH -- Researching Short Stories: Strategies for Short Story Research

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• Strategies for Short Story Research

Page Overview

This page addresses the research process -- the things that should be done before the actual writing of the paper -- and strategies for engaging in the process.  Although this LibGuide focuses on researching short stories, this particular page is more general in scope and is applicable to most lower-division college research assignments.

Before You Begin

Before beginning any research process, first be absolutely sure you know the requirements of the assignment.  Things such as  

• the date the completed project is due 
• the due dates of any intermediate assignments, like turning in a working bibliography or notes
• the length requirement (minimum word count), if any 
• the minimum number and types (for example, books or articles from scholarly, peer-reviewed journals) of sources required

These formal requirements are as much a part of the assignment as the paper itself.  They form the box into which you must fit your work.  Do not take them lightly.

When possible, it is helpful to subdivide the overall research process into phases, a tactic which

• makes the idea of research less intimidating because you are dealing with sections at a time rather than the whole process
• makes the process easier to manage
• gives a sense of accomplishment as you move from one phase to the next

Characteristics of a Well-written Paper

Although there are many details that must be given attention in writing a research paper, there are three major criteria which must be met.  A well-written paper is

• Unified:  the paper has only one major idea; or, if it seeks to address multiple points, one point is given priority and the others are subordinated to it.
• Coherent: the body of the paper presents its contents in a logical order easy for readers to follow; use of transitional phrases (in addition, because of this, therefore, etc.) between paragraphs and sentences is important.
• Complete:  the paper delivers on everything it promises and does not leave questions in the mind of the reader; everything mentioned in the introduction is discussed somewhere in the paper; the conclusion does not introduce new ideas or anything not already addressed in the paper.

Basic Research Strategy

• How to Research From Pellissippi State Community College Libraries: discusses the principal components of a simple search strategy.
• Basic Research Strategies From Nassau Community College: a start-up guide for college level research that supplements the information in the preceding link. Tabs two, three, and four plus the Web Evaluation tab are the most useful for JSU students. As with any LibGuide originating from another campus, care must be taken to recognize the information which is applicable generally from that which applies solely to the Guide's home campus. .
• Information Literacy Tutorial From Nassau Community College: an elaboration on the material covered in the preceding link (also from NCC) which discusses that material in greater depth. The quizzes and surveys may be ignored.

Things to Keep in Mind

Although a research assignment can be daunting, there are things which can make the process less stressful, more manageable, and yield a better result.  And they are generally applicable across all types and levels of research.

1.  Be aware of the parameters of the assignment: topic selection options, due date, length requirement, source requirements.  These form the box into which you must fit your work.  

2. Treat the assignment as a series of components or stages rather than one undivided whole.

• devise a schedule for each task in the process: topic selection and refinement (background/overview information), source material from books (JaxCat), source material from journals (databases/Discovery), other sources (internet, interviews, non-print materials); the note-taking, drafting, and editing processes.
• stick to your timetable.  Time can be on your side as a researcher, but only if you keep to your schedule and do not delay or put everything off until just before the assignment deadline. 

3.  Leave enough time between your final draft and the submission date of your work that you can do one final proofread after the paper is no longer "fresh" to you.  You may find passages that need additional work because you see that what is on the page and what you meant to write are quite different.  Even better, have a friend or classmate read your final draft before you submit it.  A fresh pair of eyes sometimes has clearer vision. 

4.  If at any point in the process you encounter difficulties, consult a librarian.  Hunters use guides; fishermen use guides.  Explorers use guides.  When you are doing research, you are an explorer in the realm of ideas; your librarian is your guide. 

A Note on Sources

Research requires engagement with various types of sources.

• Primary sources: the thing itself, such as letters, diaries, documents, a painting, a sculpture; in lower-division literary research, usually a play, poem, or short story.
• Secondary sources: information about the primary source, such as books, essays, journal articles, although images and other media also might be included.  Companions, dictionaries, and encyclopedias are secondary sources.
• Tertiary sources: things such as bibliographies, indexes, or electronic databases (minus the full text) which serve as guides to point researchers toward secondary sources.  A full text database would be a combination of a secondary and tertiary source; some books have a bibliography of additional sources in the back.

Accessing sources requires going through various "information portals," each designed to principally support a certain type of content.  Houston Cole Library provides four principal information portals:

• JaxCat online catalog: books, although other items such as journals, newspapers, DVDs, and musical scores also may be searched for.
• Electronic databases: journal articles, newspaper stories, interviews, reviews (and a few books; JaxCat still should be the "go-to" portal for books).  JaxCat indexes records for the complete item: the book, journal, newspaper, CD but has no records for parts of the complete item: the article in the journal, the editorial in the newspaper, the song off the CD.  Databases contain records for these things.
• Discovery Search: mostly journal articles, but also (some) books and (some) random internet pages.  Discovery combines elements of the other three information portals and is especially useful for searches where one is researching a new or obscure topic about which little is likely to be written, or does not know where the desired information may be concentrated.  Discovery is the only portal which permits simul-searching across databases provided by multiple vendors.
• Internet (Bing, Dogpile, DuckDuckGo, Google, etc.): primarily webpages, especially for businesses (.com), government divisions at all levels (.gov), or organizations (.org). as well as pages for primary source-type documents such as lesson plans and public-domain books.  While book content (Google Books) and journal articles (Google Scholar) are accessible, these are not the strengths of the internet and more successful searches for this type of content can be performed through JaxCat and the databases.  

NOTE: There is no predetermined hierarchy among these information portals as regards which one should be used most or gone to first.  These considerations depend on the task at hand and will vary from assignment o assignment.

The link below provides further information on the different source types.

• Research Methods From Truckee Meadows Community College: a guide to basic research. The tab "What Type of Source?" presents an overview of the various types of information sources, identifying the advantages and disadvantages of each.
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43 of the Most Iconic Short Stories in the English Language

From washington irving to kristen roupenian.

Last year, I put together this list of the most iconic poems in the English language ; it’s high time to do the same for short stories. But before we go any further, you may be asking: What does “iconic” mean in this context? Can a short story really be iconic in the way of a poem, or a painting, or Elvis?

Well, who knows, but for our purposes, “iconic” means that the story has somehow wormed its way into the general cultural consciousness—a list of the best short stories in the English language would look quite different than the one below. (Also NB that in this case we’re necessarily talking about the American cultural consciousness, weird and wiggly as it is.) When something is iconic, it is a highly recognizable cultural artifact that can be used as a shorthand—which often means it has been referenced in other forms of media. You know, just like Elvis. (So for those of you heading to the comments to complain that these stories are “the usual suspects”—well, exactly.) An iconic short story may be frequently anthologized , which usually means frequently read in classrooms, something that can lead to cultural ubiquity—but interestingly, the correlation isn’t perfect. For instance, Joyce’s “Araby” is anthologized more often, but for my money “The Dead” is more iconic . Film adaptations and catchy, reworkable titles help. But in the end, for better or for worse, you know it when you see it. Which means that, like anything else, it all depends on your point of view—icon status is (like most of the ways we evaluate art) highly subjective.

So, having acknowledged that there’s no real way to make this list, but because this is what we’re all here to do, here are some of the most iconic short stories for American readers in the English language—and a few more that deserve to be more iconic than they are.

Washington Irving, “Rip Van Winkle” (1819) and “The Legend of Sleepy Hollow” (1820) I agonized over whether I should pick “Rip Van Winkle” or “The Legend of Sleepy Hollow” from Irving’s oeuvre. Both have many, many adaptations to their name and are so ubiquitous as to have drifted into the folklore realm. The latter certainly has more memorable recent adaptations, but the former  is the only one with a bridge named after it . Ah, screw it, we’ll count them both.

Edgar Allan Poe, “The Tell-Tale Heart” (1843) Poe’s early stream-of-consciousness horror story, unreliable narrator and heart beating under the floorboards and all, is certainly one of the most adapted—and even more often referenced —short stories in popular culture, and which may or may not be the source for all of the hundreds of stories in which a character is tormented by a sound only they can hear. (Still not quite as ubiquitous as Poe himself , though . . .)

Herman Melville, “Bartleby, the Scrivener” (1853) Once, while I was walking in Brooklyn, carrying my Bartleby tote bag , a woman in an SUV pulled over (on Atlantic Avenue, folks) to excitedly wave at me and yell “Melville! That’s Melville!” Which is all you really need to know about that .

Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890) I will leave it to Kurt Vonnegut, who famously wrote , “I consider anybody a twerp who hasn’t read the greatest American short story, which is “Occurrence at Owl Creek Bridge,” by Ambrose Bierce. It isn’t remotely political. It is a flawless example of American genius, like “Sophisticated Lady” by Duke Ellington or the Franklin stove.”

Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892) Odds are this was the first overtly Feminist text you ever read, at least if you’re of a certain age; it’s become a stand-in for the idea of women being driven insane by the patriarchy—and being ignored by doctors, who deem them “hysterical.” This is another one with lots of adaptations to its name, including a memorable episode of The Twilight Zone , which concludes: “Next time you’re alone, look quickly at the wallpaper, and the ceiling, and the cracks on the sidewalk. Look for the patterns and lines and faces on the wall. Look, if you can, for Sharon Miles, visible only out of the corner of your eye or… in the Twilight Zone.”

Henry James, “The Turn of the Screw” (1898) Technically a novella, but discussed enough as a story that I’ll include it here (same goes for a couple of others on this list, including “The Metamorphosis”). It has, as a work of literature, inspired a seemingly endless amount of speculation, criticism, unpacking, and stance-taking. “In comment after comment, article after article, the evidence has been sifted through and judgments delivered,” Brad Leithauser wrote in The New Yorker . Fine, intelligent readers have confirmed the validity of the ghosts (Truman Capote); equally fine and intelligent readers have thunderously established the governess’s madness (Edmund Wilson).” And nothing that inspires so much interpretive interest could escape the many interpretations into other media: films, episodes of television, and much other literature.

Anton Chekhov, “The Lady with the Toy Dog” (1899) Widely acknowledged as one of Chekhov’s best stories, if not  the  best, and therefore almost no students get through their years at school without reading it. Has been adapted as a film, a ballet, a play, a musical, and most importantly, a Joyce Carol Oates short story.

W. W. Jacobs, “The Monkey’s Paw” (1902) So iconic—be careful what you wish for, is the gist—that you probably didn’t even know it started out as a short story. My favorite version is, of course, the Laurie Anderson song .

O. Henry, “The Gift of the Magi” (1905) According to Wikipedia, there have been 17 different film adaptations of O. Henry’s classic short story about a couple’s thwarted Christmas; the essential format—Della sells her hair to buy Jim a watch chain; Jim sells his watch to buy Della a set of combs—has been referenced and replicated countless times beyond that. I even heard Dax Shepard refer to this story on his podcast the other day, and so I rest my case.

James Joyce, “The Dead” (1914) The last story in Joyce’s collection  Dubliners and one of the best short stories ever written; just ask anyone who wanted to have read some Joyce but couldn’t crack  Ulysses . (Or anyone who could crack  Ulysses  too.) And let’s not forget the John Huston movie starring Anjelica Huston as Gretta.

Franz Kafka, “The Metamorphosis” (1915) Everyone has to read this in school, at some point—which is probably the reason why it’s been parodied, referenced, and adapted many times in just about every format . And why not? What could be more universal than the story of the man who wakes up to find himself transformed into an enormous insect?

Richard Connell, “The Most Dangerous Game” aka “The Hounds of Zaroff” (1924) “The most popular short story ever written in English” is obviously the one about aristocrats hunting people. Widely adapted , but one of my favorite versions is the episode of Dollhouse in which a Richard Connell (no relation except the obvious) hunts Echo with a bow.

Ernest Hemingway, “The Killers” (1927) I was tempted to include “Hills Like White Elephants” because of the number of people forced to read it to learn about dialogue (happily, there are other options ), but “The Killers,” while less often anthologized, is more influential overall, and gave us not only two full length film adaptations and a Tarkovsky short but Tobias Wolff’s “Bullet in the Brain,” which I do think is a very good story to learn from, if not for dialogue, then for story-making.

Zora Neale Hurston, “The Gilded Six-Bits” (1933) Hurston is most famous for  Their Eyes Were Watching God , but those who know will tell you that this story of love, marriage, betrayal, and love again—which was also made into a 2001 film—is a classic, too.

Shirley Jackson, “The Lottery” (1948) The short story that launched a thousand letters to  The New Yorker —or if not a thousand , then at least “a torrent . . . the most mail the magazine had ever received in response to a work of fiction.” Still taught widely in schools, and still chilling.

J. D. Salinger, “A Perfect Day for Bananafish” (1948) The very first story to destroy many a young mind. In a good way, obviously.

Ray Bradbury, “There Will Come Soft Rains” (1950)

Bradbury’s work has thoroughly permeated pop culture; plenty of his stories are widely adapted and referenced, so I could have chosen a few others here (“The Veldt” is my personal favorite). But every year, the image of a smart house going on long after the death of its occupants becomes more chilling and relevant an image; we can’t help but keep going back to it.

Daphne du Maurier, “The Birds” (1952) I know it’s really the Hitchcock film adaptation that’s iconic, but you wouldn’t have the Hitchcock without the du Maurier.

Flannery O’Connor, “A Good Man Is Hard to Find” (1953) Another oft-assigned (and oft-argued-over) story, this one with so many title rip-offs .

Elmore Leonard, “Three-Ten to Yuma” (1953) I know, I know, it’s “Fire in the Hole” that gave us  Justified , and we’re all so very glad. But “Three-Ten to Yuma” has more name recognition—after all, it was adapted into two separate and very good films, the former of which (1957) actually created contemporary slang : in Cuba, Americans are called yumas and the United States is  La Yuma .

Philip K. Dick, “The Minority Report” (1956) As a whole, Philip K. Dick’s work has had massive influence on literature, film, pop culture, and our cultural attitudes toward technology. Most of his best-known works are novels, but when a short story gets made into a Steven Spielberg/Tom Cruise film, you’re basically assuring iconic status right there. (Or at least that’s how it used to work…)

James Baldwin, “Sonny’s Blues” (1957) Baldwin’s best known short story pops up in plenty of anthologies, and can be thanked for being the gateway drug for many budding Baldwin acolytes.

Alan Sillitoe, “The Loneliness of the Long Distance Runner” (1959) Not only is the story itself widely known and read—just ask Rod Blagojevich ( remember him? )—that title has been rewritten and reused thousands of times for varying ends—just ask the reporter who wrote that piece about Blagojevich. Or Adrian Tomine .

John Cheever, “The Swimmer” (1964) Cheever’s most famous story nails something essential about the mid-century American sensibility, and particularly the mid-century American suburbs, which is probably why everyone knows it (it’s also frequently anthologized). Or maybe it’s more about Burt Lancaster’s little shorts ? Either way.

Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966) Another frequently anthologized and unwaveringly excellent short story; and look, it’s no one’s fault that Laura Dern turns everything she touches iconic.

Toni Cade Bambara, “The Lesson” (1972) Yet another story often assigned in schools (the good ones, anyway), which hopefully means one day we’ll wake up and find out that everyone has read it.

Ursula K. Le Guin, “The Ones Who Walk Away from Omelas” (1973) As others have pointed out before me , Le Guin’s most read and most famous short story is almost always chillingly relevant.

Donald Barthelme, “The School” (1974) This one might only be iconic for writers, but considering it’s one of the best short stories ever written (according to me), I simply couldn’t exclude it.

Jamaica Kincaid, “Girl” (1978) Another staple of a writer’s education, and a reader’s; “are you really going to be the kind of woman who the baker won’t let near the bread?” being a kind of bandied-about shibboleth.

Raymond Carver, “What We Talk About When We Talk About Love” (1981) I struggled choosing a Carver story for this list—”Cathedral” is more important, and probably more read, but “What We Talk About When We Talk About Love” has transcended its own form more completely, at least with its title, which has spawned a host of echoes, including Haruki Murakami’s What I Talk About When I Talk About Running , and Nathan Englander’s What We Talk About When We Talk About Anne Frank , to the point that I think it’s recognizable to just about everyone. A quick Google search will reveal that the framing has been used for almost everything you can think of. There’s—and I kid you not—a What We Talk About When We Talk About Books/War/Sex/God/The Tube/Games/Rape/Money/Creative Writing/Nanoclusters/Hebrew/The Weather/Defunding the Police/Free Speech/Taxes/Holes/Climate/The Moon/Waste/Cancel Culture/Impeachment/Gender/Digital Inclusions/Exacerbations of Chronic Obstructive Pulmonary Disease/COVID-19 . You see what I’m getting at here.

Stephen King, “The Body” (1982) Otherwise known, to the general public, as  Stand By Me .

Amy Hempel, “In the Cemetery Where Al Jolson is Buried” (1983) Want to feel bad about your writing? This was the first short story Amy Hempel ever wrote.

Lorrie Moore, “How to Be an Other Woman” (1985) A very very good short story that has given rise to so many bad ones.

Mary Gaitskill, “Secretary” (1988) Bad Behavior  is iconic as a whole , but probably the story to have most acutely permeated the wider culture is “Secretary,” on account of the film adaptation starring Maggie Gyllenhaal and James Spader—despite the fact that it totally butchers the ending.

Amy Tan, “Rules of the Game” (1989) This story originally appeared in The Joy Luck Club , Tan’s mega-bestseller, so probably almost everyone you know has read it. The film version didn’t hurt either.

Tim O’Brien, “The Things They Carried” (1990) Why, it’s only the most anthologized short story of the last 30(ish) years. That’s why even the people you know who haven’t picked up a book in their adult lives have read it.

Denis Johnson, “Emergency” (1992) When I left New York to go get my MFA, a friend gave me a copy of Jesus’ Son with the inscription “Because everyone in your MFA will talk about it and you don’t want to be the girl who hasn’t read it. (It’s also really good).” He was not wrong.

Annie Proulx, “Brokeback Mountain” (1997) Everybody knows this story—even if they only know it from its (massively successful and influential, not to mention the true Best Picture Winner of 2006) film adaptation—and not for nothing, coming out when it did, it went a long way towards making some Americans more comfortable with homosexuality. Open the floodgates, baby.

Jhumpa Lahiri, “A Temporary Matter” (1998) The story that made Lahiri a household name.

Ted Chiang, “Story of Your Life” (1998) Otherwise known as  Arrival . (Also technically a novella.)

Alice Munro, “The Bear Came Over the Mountain” (2001) At this point, almost everyone has read at least some  Alice Munro, right? This story is one of the best from one of the greats, and was also adapted into a fantastic but heartbreaking film,  Away From Her .

Kristen Roupenian, “Cat Person” (2017) Sure, it’s recent, so it’s not quite as ingrained as some of the others here, but it’s also the story that broke the internet —and quite possibly the only New Yorker  story that thousands of people have ever read.

Finally, as is often the case with lists that summarize the mainstream American literary canon of the last 200 years, it is impossible not to recognize that the list above is much too white and male. So for our future and continuing iconography, your friends at Literary Hub suggest reading the following stories, both new and old:

Eudora Welty, “Why I Live at the P.O.” (1941) Clarice Lispector, “The Imitation of the Rose” (1960) Leslie Marmon Silko, “The Man to Send Rain Clouds” (1969) Ralph Ellison, “Cadillac Flambé” (1973) Octavia Butler, “Bloodchild” (1984) Bharati Mukherjee, “The Management of Grief” (1988) John Edgar Wideman, “Fever” (1990) Sandra Cisneros, “Woman Hollering Creek” (1991) Christine Schutt, “To Have and to Hold” (1996) ZZ Packer, “Brownies” (2003) Edward P. Jones, “Marie” (2004) Karen Russell, “Haunting Olivia” (2005) Kelly Link, “Stone Animals” (2005) Edwidge Danticat, “Ghosts” (2008) Yiyun Li, “A Man Like Him” (2008) Claire Vaye Watkins, “Ghosts, Cowboys” (2009) Ottessa Moshfegh, “Bettering Myself” (2013) Amelia Gray, “House Heart” (2013) Zadie Smith, “Meet the President!” (2013) Carmen Maria Machado, “The Husband Stitch” (2014) Diane Cook, “The Way the End of Days Should Be” (2014) Kirstin Valdez Quade, “Five Wounds” (2015) NoViolet Bulawayo, “Shhhh” (2015) Mariana Enriquez, “Spiderweb” (2016) Ken Liu, “State Change” (2016) Helen Oyeyemi, “Sorry Doesn’t Sweeten Her Tea” (2016) Lesley Nneka Arimah, “What Is a Volcano?” (2017) James McBride, “The Christmas Dance” (2017) Viet Thanh Nguyen, “War Years” (2017) Nana Kwame Adjei-Brenyah, “Friday Black” (2018). . .

Honestly, this list could go on forever, but let’s stop and say: more short stories of all kinds in the hands of the general public, please!

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Home — Essay Samples — Literature — Literary Genres — Short Story

Essays on Short Story

Brief description of short story, importance of writing essays on this topic, tips on choosing a good topic, essay topics, concluding thought, the named character in vonnegut's "epicac", the complexity of life and death in "death constant beyond love", made-to-order essay as fast as you need it.

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Amy Hempel The Harvest Analysis

Darkness in the short stories of james joyce, description of an abandoned house: a short story, personal development of the main character in raymond's run, let us write you an essay from scratch.

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Bridging The Gap: Comparing "Letters from My Father" and "The Writer"

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Analysis of Anton Chekhov’s Short Story "Agafya"

Sister lilith by honorée fanonne jeffers: dismissal of patriarchal values, critical analysis of the lesson by toni cade bambara, our town by thornton wilder: the message to appreciate life, a brief history of perfume, my most embarrassing moment, "a man called horse" as transgression of the western genre, readers’ interpretation of barn burning by haruki murakami, gaze through the window: paralyses in joyce's "dubliners", feeling of imprisonment, blind devotion in james joyce’s "araby", life and death in "dubliners" by james joyce, epiphany in james joyce’s araby, already dead: the need for human interaction in butler’s "titanic victim speaks through waterbed", poe’s use of literary techniques in the tell-tale heart, main themes in kate chopin's 'the storm', the yellow wallpaper by charlotte perkins gilman: a woman’s plight, mrs. fullerton’s odd dominos of ambition, two-faced: characterization in bad haircut, analysis of setting in ‘’eveline’’ by james joyce, relevant topics.

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Short Stories

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Critical Analysis

• Writing a Critical Analysis of a Short Story Guide to writing a critical analysis of a short story and a sample essay.
• American Short Story Study Guides Study guides for select short stories plot summary, character analysis, genres & themes, historical context, quotes and more.

Short Stories at LibriVox

Follow the links below for just a couple of the short story offerings from LibriVox  audiobooks. Search the site for much much more!

• Selected Short Stories from P.G. Wodehouse Listen to a collection of amusing and entertaining short stories mostly concerning love and romance.
• Shoes and Stockings: A Collection of Short Stories Listen to tales of love and war, modesty and frivolity, laughter and tears.
• Short Stories by Fyodor Dostoevsky Listen to short stories by Fyodor Dostoevsky, the Russian novelist and short story writer.

Short Stories by Individual Authors

Here you will find resources specifically related to short stories. They are meant to be consulted in addition to the sources found in other pages of this guide.

This is a list of links to the full text of selected short stories.  You can also visit the library's Literature Resource Center  database to find overviews, critical reviews and analysis of short stories. If you are off campus, you will need your RamCard activated at the library to be able to use your STCC Library bar code and password to log on. For more information, consult the Journals, Articles, and Databases page of this guide.

• Classic Reader Read classic short stories from a wide range of authors spanning several centuries. You'll find authors such as Honore de Balzac, Anton Chekhov, Edgar Allan Poe, and many others.
• Classic Short Stories Search short stories by author or title. Also includes related links to other sites with collected short stories or to individual short story writers.
• Project Gutenberg Short Stories Bookshelf A collection of short stories from around the world with a focus on older works for which copyright has expired.
• Short Stories at East of the Web You can browse the library by genre or search it for a title, author or keyword. Clicking on an author's name lists all their stories along with further information and links. Stories can be read online, printed or downloaded for reading offline or on handheld devices.
• Short Stories Collections Short story collections with full-text in numerous categories such as 100 Great Short Stories, Short Short Stories, Great American, Christmas Stories and more.
• Short Story Guide Stories are categorized by author, place subject / topic and theme.

Short Stories in the STCC Library

In addition to these collected sources, search the catalog for other collections of short stories.

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How to Write a Short Story Research Paper

What Exactly Is A Story?

Our capacity for feeling and our ability to remember are both enhanced by the telling of stories, which are essentially built into our brains. But what is a story exactly? The more people you ask for definitions, the more you will obtain. The basic format of the majority of Hollywood dramas consists of one main character living her life until she meets a predicament. There will be ups and downs, culminating in a large event such as a fight or a party. The action begins when she seeks to resolve the issue. Things are ultimately resolved in some fashion. We observe how our protagonist’s life has changed as a result of the novel’s events.

Whether you are writing a research paper for a high school or college-level class, the process of researching a short story is generally the same, although a college instructor will likely want additional information. Before investigating the short story, thoroughly read it and make any necessary notes. Creating your research paper allows you to have a deeper understanding of the short story and share your discoveries with the reader.

Read any handouts or notes you’ve prepared on the particular requirements for the next research paper. Pay particular attention to the required word/page count and the type of works mentioned page in terms of both structure and quantity of sources. Additionally, you should keep track of whether your instructor requires a specified number of primary sources in addition to secondary sources. Determine which, if any, of your sources may be located online.

• Find a quiet place to read and reread the required short story . Take notes carefully as you read.
• Seek comments about the story you want to create. You should find a number of reviews on the subject at your institution’s library or at your community’s public library. Although various short story assessments are available online, be sure that any web resource you use to compose your research report is credible. In general, academic sources are reputable. Reference libraries that provide access to sources are useful while conducting research; however, you may need a university ID number to access these online resources.
• Examine the testimonials in detail. Occasionally, annotations appear beneath the actual text when an authority provides definitions and explanations of what a certain word or paragraph means. In general, a scholar of the author and the work will read the text from a broader perspective, drawing judgments about where the author drew inspiration from other writers’ works or in creating a particular character or the narrative’s main theme.
• Write your paper using the sources you’ve selected to support the assertions you intend to make in your research report. Utilize your own notes to recall what you observed while reading the tale.

If you have just been told that you need to write a research paper and are feeling apprehensive, we are confident that the following strategies will assist you. First and foremost, whether you are searching for or attempting to comprehend a topic, consult to your professor. Do not be concerned! You constantly undertake research. Consider the most recent time you made a significant purchase, selected a school, or went to the movies. You may have conversed with pals, read product or movie reviews, visited a college campus, or test-driven a car. Academic research is comparable; however, procedures and sources may vary.

A Guide to Writing a Short Story Research Paper

·â â â â â â â  select an engaging question.

Your instructor or professor will either allow you to select your own topic, provide you with a selection of topics to pick from or assign you one. In any case, select a topic or component of your topic that you find interesting. Approach your studies with a critical frame of mind. Critical does not mean “finding defects,” but rather a perceptive and discriminating attitude.

·        Be precise

Construct your question to extract information on the “who, what, where, why, and how” of your problem. Too general subjects should be avoided. An expansive topic will make it tough to limit your research. Consider your research question to be both an anchor and an umbrella: your “who” and “how” questions are your anchor, and it’s up to you to keep everything in control under the protection of your research umbrella.

·        Pay Close Attention to Your Thesis Statement

How has global warming harmed the earth is an example of a too-broad thesis statement. How has global warming impacted marine life in the Pacific Ocean? This is an example of a debatable thesis statement.

·        Make Your Question Challenging

Along with a specific question, your topic should be engaging enough to hold the reader’s interest. Individuals will only be compelled to continue reading if simply a yes or no response is required.

·        Primary and Secondary Data Collection

Begin your search for information that can assist you in answering your question. A research paper may need the utilization of both primary and secondary materials. Primary research requires working with genuine materials or obtaining data in the field. Secondary research is finding out what others have found out about a topic.

·        Support Your Question with a Choice of Sources

Secondary research materials can be acquired in a number of different methods. Utilize the databases within the library. Consider newspapers and periodicals. Visit websites with caution; be certain they are trustworthy. If the domain ends in “.org,” “.gov,” or “.edu,” this is a good (but not foolproof) indicator.

·        Conduct Refined Keyword Research

Although search engines vary, the following guidelines apply to the majority of them.

·        Take Notes While Reading

Using note cards to record pertinent quotations and paraphrases is an excellent method for organizing your thoughts. Make a note of the source’s title, author, and page number to avoid future citation problems!

·        Create a Draft

Create an outline and begin writing your first draught of the paper. The use of an outline might help you keep everything “under the umbrella.” Consider your introduction, the arguments you will make, the sequence in which you will make them, and your planned conclusion. Create a preliminary draught. Before beginning a rewrite, you should set the document aside for at least twenty-four hours and have someone else review it.

·        Finish With the Final Revision

Rewrite your paper in light of your reflection and comments. Remember to proofread carefully for spelling and punctuation errors. Check the correctness of your Works Cited (or References) page as well.

Purpose of Story Research Paper

Consequently, what is the objective of a story research paper ? This style of paper is meant to demonstrate the researcher’s capacity to comprehend, analyze, and interpret the subject matter. Here are some recommendations on how to begin preparing and writing an outstanding research paper on a story.

How to Write a Research Paper on a Story

1.â â â â  read the book twice.

Read the book attentively and have a dictionary and a notebook on hand, if required. Only take notes when something captures your attention or merits highlighting. Remember to record each note’s page number. Try to rest in between readings and record your initial impressions of the book when you’ve completed it. It might be useful in the future.

2.     Choose the Subjects You Will Emphasize In Your Paper

Ensure that your research piece concentrates on certain subjects. For instance, you may opt to emphasize the book’s characters or the plot’s content. This will make outlining your thoughts and writing your research report much simpler.

3.     Plan the Structure of Your Paper

It typically consists of an introductory paragraph, a body that highlights the book’s themes, and a conclusion that summarizes the last issues. Consider extending the main body to many paragraphs or chapters.

4.     Consider the Main Points of Each Paragraph

Before writing, choose a statement for each paragraph that emphasizes the key ideas and shows the approach you will emphasize in your own research paper.

In addition, include any citations or references you desire to emphasize while building paragraphs. Utilize headers and subheadings to simplify your work. Remember that these notes are intended just for your personal use, and organize your thoughts accordingly.

Now that we’ve discussed how to write a story-based research paper let’s examine the structure of your paper.

·        Introduction

The first paragraph explains the book and the major topics you uncovered throughout your research. In addition to a summary of the storyline and an introduction to the main characters, the introduction of a research paper should also include a brief synopsis of the plot and an overview of the main characters. In this section, you should introduce both your research topic and the essential concept of history.

·        The Report’s Primary Content

Make this the first paragraph in which you illustrate your thesis by focusing on one aspect or theme of the story. To illustrate the most crucial components of the story in relation to your plot, you may describe specific situations or include direct quotations. Include any relevant research you’ve conducted about the author, historical era, or gender to bolster your arguments.

Draw the major characters in the story and explain their origins and characteristics. Describe in a few sentences the tension that exists at the beginning of the tale. Discuss the character’s journey and the resolution of the dilemma. Focus on the significant events that shaped the story’s conclusion with little specifics. Consider any lessons or realizations the protagonist learned toward the end of the narrative.

·        Conclusions

Your book report should conclude with a summary of how your thorough method pertains to the entire plot. Three or four phrases that link the relevance of your detailed method to the overarching tale, conflict, and character stance should conclude your paper. Due to the fact that the broad viewpoint frequently involves analysis and critique, conclude the paper with a concluding statement that indicates what you gained from reading the book or a conclusive statement that reveals your ultimate opinion on the idea examined.

Bring the overview of the book to a close by discussing the conclusion and offering your comments or ideas about the text. You must demonstrate comprehension of the author’s message in three to five sentences. To explain the value of the book to you, describe a relationship between it and your personal experiences. The conclusion also affords you the chance to write a succinct evaluation of the book, indicating why you liked or hated it.

·        Go Over Your Paper Again

After you have completed your research paper , you should proofread it. Take a break and delegate your task to someone else. People who are reading the work for the first time typically discover errors that the authors should have made.

When asking a friend to critique your work, the question about his own impressions of the content. Ask direct inquiries and expect direct responses. Inquire as to whether the buddy liked or hated the work, whether reading the paper inspired them to read the book, whether the writing was flowing, etc.

The Bottom Line

We hope our suggestions were helpful. Internet searches for terms such as “ how to write a good research paper on a book ” might complement your understanding of writing a research paper on a story or a book.

Frequently Asked Questions

• How to write a short paper research?

The format of a normal five-paragraph short paper is as follows: introduction (1 paragraph), thesis, major body (3 paragraphs), and conclusion (1 paragraph). This allows your work to be more extensively organised and simpler to understand. Even if you’re writing a brief essay, first impressions are important.

• What should a short research paper include?

Typically, a complete APA-style research paper describing an experimental study would include a Title page, Abstract, Introduction, Methods, Results, Discussion, and References section. In addition to figures and tables, many will also include an appendix or appendices.

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About the Journal

Studies in the American Short Story ( SASS ) is the journal of the Society for the Study of the American Short Story. It publishes articles, notes, reviews, interviews, memoirs, and other materials related to short fiction in America. It is aimed at literary scholars, students of literature, libraries, and general serious readers. It covers all forms of American short fiction in English from its origin in the eighteenth century to the present. It does not discriminate on the basis of race, nationality, ethnicity, or any other reason. The mission of the journal is to present the most important scholarship on the short fiction published in America. The journal includes discussion of all forms of “stories,” from early anecdotes and sketches, to the development of more formal “stories” with narrative, dialogue, and structure, to realistic masterpieces, to contemporary variations of the form in flash fiction and micro tales. The journal is open to research essays of all kinds with a special emphasis on new biographical, historical, or manuscript information that changes the established interpretation of a story and the way it is taught.

Join the Society for the Study of the American Short Story

The mission of the Society for the Study of the American Short Story is to support and facilitate teaching and research related to short fiction in America and other countries. Nearly everyone who teaches literature knows that students have read scores of stories for every novel they have studied, and yet the materials available for examining short fiction are not nearly as advanced as they are for the novel. There are hundreds of scholarly treatments of the American novel, including volumes of reprinted criticism on a single book. The major writers, William Faulkner among them, have multiple studies of their individual novels among nearly a thousand scholarly discussions of his fiction. Only a handful of those are devoted to his short stories. This limited scholarly record is true despite the fact that many of the most important writers in American literature are primarily significant for their stories, among them, to list only a few, Edgar Allan Poe, Washington Irving, Charles Chesnutt, Harriet Beecher Stowe, Sarah Orne Jewett, and Sui Sin Far. In contemporary fiction, Louise Erdrich is essentially a writer of stories, even though some of her volumes (Love Medicine is an example) carry the term “novel” on the cover. Susan Minot, Jamaica Kincaid, Robert Olen Butler, Julia Alvarez, Amy Tan, and Tim O’Brien are accomplished writers of short fiction and need to be studied in terms of the history of that genre. SSASS is the only organization devoted entirely to encouraging such investigation and providing a venue for presenting papers on the subject and discussing the genre in various forums. The Society for the Study of the American Short Story is devoted to the exploration of all aspects of the genre from its origins to the present. Writers from all genders, nationality groups, and ethnic backgrounds are included in the wide interest of members of the Society, as are newly discovered authors throughout the history of the national literature. Some members are also focusing on the definition of a “story” and on the parameters of its design, ranging from episodes and vignettes to story cycles and novelles.

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How to Do a Research Paper on a Short Story

Daniel ketchum.

Whether you are writing a research paper on a short story for a high school or college level class, the process of researching the story is essentially the same, though an instructor in a college course will likely expect more. Read the short story thoroughly, making notes when necessary, before you begin researching it. Creating your research paper allows you to explore more about the short story and present that information to your reader.

Read any handout or notes that you have taken on the specific requirements for the research paper you will be writing. Take special note of the word/page count required as well as the type of works cited page required, both in terms of format as well as how many sources you must have. You should also note if your instructor asks for a particular number of primary sources in addition to secondary sources. Determine how many, if any, of your sources can be from websites.

Find a quiet place to read, and reread, the short story you have been assigned. Take detailed notes as you read.

Look for reviews of the story you will be writing about. You should be able to locate several different reviews on the story in your campus or local public library. While you can find reviews of many short stories online, make certain that any online resource you use to assist you in writing your research paper is a credible source. Generally, academic sources are credible. Reference libraries that provide access to sources like Proquest and MUSE are useful when conducting research, but you may need a university ID number to access these types of online resources.

Study the reviews carefully. Often times you will find annotations below the actual text where an authority will offer definitions as well as insight on what a particular line or passage means. Generally, a scholar on the author and work itself will also explain the text in a broader context, drawing conclusions as to where the author drew inspiration from others' works, or in developing a particular character or the overall theme of the story itself.

Write your paper using the references you selected to support the statements you want to make in your research paper. Also use your own notes to remind you of observations you made when reading the story.

• 1 The University of North Carolina at Chapel Hill: Literature

About the Author

Daniel Ketchum holds a Bachelor of Arts from East Carolina University where he also attended graduate school. Later, he taught history and humanities. Ketchum is experienced in 2D and 3D graphic programs, including Photoshop, Poser and Hexagon and primarily writes on these topics. He is a contributor to sites like Renderosity and Animotions.

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12.14: Sample Student Literary Analysis Essays

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• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

The following examples are essays where student writers focused on close-reading a literary work.

While reading these examples, ask yourself the following questions:

• What is the essay's thesis statement, and how do you know it is the thesis statement?
• What is the main idea or topic sentence of each body paragraph, and how does it relate back to the thesis statement?
• Where and how does each essay use evidence (quotes or paraphrase from the literature)?
• What are some of the literary devices or structures the essays analyze or discuss?
• How does each author structure their conclusion, and how does their conclusion differ from their introduction?

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

How Nguyen’s Structure Solidifies the Impact of Sexual Violence in “The Study”

Stripped of innocence, your body taken from you. No matter how much you try to block out the instance in which these two things occurred, memories surface and come back to haunt you. How does a person, a young boy , cope with an event that forever changes his life? Hieu Minh Nguyen deconstructs this very way in which an act of sexual violence affects a survivor. In his poem, “The Study,” the poem's speaker recounts the year in which his molestation took place, describing how his memory filters in and out. Throughout the poem, Nguyen writes in free verse, permitting a structural liberation to become the foundation for his message to shine through. While he moves the readers with this poignant narrative, Nguyen effectively conveys the resulting internal struggles of feeling alone and unseen.

The speaker recalls his experience with such painful memory through the use of specific punctuation choices. Just by looking at the poem, we see that the first period doesn’t appear until line 14. It finally comes after the speaker reveals to his readers the possible, central purpose for writing this poem: the speaker's molestation. In the first half, the poem makes use of commas, em dashes, and colons, which lends itself to the idea of the speaker stringing along all of these details to make sense of this time in his life. If reading the poem following the conventions of punctuation, a sense of urgency is present here, as well. This is exemplified by the lack of periods to finalize a thought; and instead, Nguyen uses other punctuation marks to connect them. Serving as another connector of thoughts, the two em dashes give emphasis to the role memory plays when the speaker discusses how “no one [had] a face” during that time (Nguyen 9-11). He speaks in this urgent manner until the 14th line, and when he finally gets it off his chest, the pace of the poem changes, as does the more frequent use of the period. This stream-of-consciousness-like section when juxtaposed with the latter half of the poem, causes readers to slow down and pay attention to the details. It also splits the poem in two: a section that talks of the fogginess of memory then transitions into one that remembers it all.

In tandem with the fluctuating nature of memory, the utilization of line breaks and word choice help reflect the damage the molestation has had. Within the first couple of lines of the poem, the poem demands the readers’ attention when the line breaks from “floating” to “dead” as the speaker describes his memory of Little Billy (Nguyen 1-4). This line break averts the readers’ expectation of the direction of the narrative and immediately shifts the tone of the poem. The break also speaks to the effect his trauma has ingrained in him and how “[f]or the longest time,” his only memory of that year revolves around an image of a boy’s death. In a way, the speaker sees himself in Little Billy; or perhaps, he’s representative of the tragic death of his boyhood, how the speaker felt so “dead” after enduring such a traumatic experience, even referring to himself as a “ghost” that he tries to evict from his conscience (Nguyen 24). The feeling that a part of him has died is solidified at the very end of the poem when the speaker describes himself as a nine-year-old boy who’s been “fossilized,” forever changed by this act (Nguyen 29). By choosing words associated with permanence and death, the speaker tries to recreate the atmosphere (for which he felt trapped in) in order for readers to understand the loneliness that came as a result of his trauma. With the assistance of line breaks, more attention is drawn to the speaker's words, intensifying their importance, and demanding to be felt by the readers.

Most importantly, the speaker expresses eloquently, and so heartbreakingly, about the effect sexual violence has on a person. Perhaps what seems to be the most frustrating are the people who fail to believe survivors of these types of crimes. This is evident when he describes “how angry” the tenants were when they filled the pool with cement (Nguyen 4). They seem to represent how people in the speaker's life were dismissive of his assault and who viewed his tragedy as a nuisance of some sorts. This sentiment is bookended when he says, “They say, give us details , so I give them my body. / They say, give us proof , so I give them my body,” (Nguyen 25-26). The repetition of these two lines reinforces the feeling many feel in these scenarios, as they’re often left to deal with trying to make people believe them, or to even see them.

It’s important to recognize how the structure of this poem gives the speaker space to express the pain he’s had to carry for so long. As a characteristic of free verse, the poem doesn’t follow any structured rhyme scheme or meter; which in turn, allows him to not have any constraints in telling his story the way he wants to. The speaker has the freedom to display his experience in a way that evades predictability and engenders authenticity of a story very personal to him. As readers, we abandon anticipating the next rhyme, and instead focus our attention to the other ways, like his punctuation or word choice, in which he effectively tells his story. The speaker recognizes that some part of him no longer belongs to himself, but by writing “The Study,” he shows other survivors that they’re not alone and encourages hope that eventually, they will be freed from the shackles of sexual violence.

Works Cited

Nguyen, Hieu Minh. “The Study” Poets.Org. Academy of American Poets, Coffee House Press, 2018, https://poets.org/poem/study-0 .

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

Poe’s “Usher”: A Mirror of the Fall of the House of Humanity

Right from the outset of the grim story, “The Fall of the House of Usher,” Edgar Allan Poe enmeshes us in a dark, gloomy, hopeless world, alienating his characters and the reader from any sort of physical or psychological norm where such values as hope and happiness could possibly exist. He fatalistically tells the story of how a man (the narrator) comes from the outside world of hope, religion, and everyday society and tries to bring some kind of redeeming happiness to his boyhood friend, Roderick Usher, who not only has physically and psychologically wasted away but is entrapped in a dilapidated house of ever-looming terror with an emaciated and deranged twin sister. Roderick Usher embodies the wasting away of what once was vibrant and alive, and his house of “insufferable gloom” (273), which contains his morbid sister, seems to mirror or reflect this fear of death and annihilation that he most horribly endures. A close reading of the story reveals that Poe uses mirror images, or reflections, to contribute to the fatalistic theme of “Usher”: each reflection serves to intensify an already prevalent tone of hopelessness, darkness, and fatalism.

It could be argued that the house of Roderick Usher is a “house of mirrors,” whose unpleasant and grim reflections create a dark and hopeless setting. For example, the narrator first approaches “the melancholy house of Usher on a dark and soundless day,” and finds a building which causes him a “sense of insufferable gloom,” which “pervades his spirit and causes an iciness, a sinking, a sickening of the heart, an undiscerned dreariness of thought” (273). The narrator then optimistically states: “I reflected that a mere different arrangement of the scene, of the details of the picture, would be sufficient to modify, or perhaps annihilate its capacity for sorrowful impression” (274). But the narrator then sees the reflection of the house in the tarn and experiences a “shudder even more thrilling than before” (274). Thus the reader begins to realize that the narrator cannot change or stop the impending doom that will befall the house of Usher, and maybe humanity. The story cleverly plays with the word reflection : the narrator sees a physical reflection that leads him to a mental reflection about Usher’s surroundings.

The narrator’s disillusionment by such grim reflection continues in the story. For example, he describes Roderick Usher’s face as distinct with signs of old strength but lost vigor: the remains of what used to be. He describes the house as a once happy and vibrant place, which, like Roderick, lost its vitality. Also, the narrator describes Usher’s hair as growing wild on his rather obtrusive head, which directly mirrors the eerie moss and straw covering the outside of the house. The narrator continually longs to see these bleak reflections as a dream, for he states: “Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building” (276). He does not want to face the reality that Usher and his home are doomed to fall, regardless of what he does.

Although there are almost countless examples of these mirror images, two others stand out as important. First, Roderick and his sister, Madeline, are twins. The narrator aptly states just as he and Roderick are entombing Madeline that there is “a striking similitude between brother and sister” (288). Indeed, they are mirror images of each other. Madeline is fading away psychologically and physically, and Roderick is not too far behind! The reflection of “doom” that these two share helps intensify and symbolize the hopelessness of the entire situation; thus, they further develop the fatalistic theme. Second, in the climactic scene where Madeline has been mistakenly entombed alive, there is a pairing of images and sounds as the narrator tries to calm Roderick by reading him a romance story. Events in the story simultaneously unfold with events of the sister escaping her tomb. In the story, the hero breaks out of the coffin. Then, in the story, the dragon’s shriek as he is slain parallels Madeline’s shriek. Finally, the story tells of the clangor of a shield, matched by the sister’s clanging along a metal passageway. As the suspense reaches its climax, Roderick shrieks his last words to his “friend,” the narrator: “Madman! I tell you that she now stands without the door” (296).

Roderick, who slowly falls into insanity, ironically calls the narrator the “Madman.” We are left to reflect on what Poe means by this ironic twist. Poe’s bleak and dark imagery, and his use of mirror reflections, seem only to intensify the hopelessness of “Usher.” We can plausibly conclude that, indeed, the narrator is the “Madman,” for he comes from everyday society, which is a place where hope and faith exist. Poe would probably argue that such a place is opposite to the world of Usher because a world where death is inevitable could not possibly hold such positive values. Therefore, just as Roderick mirrors his sister, the reflection in the tarn mirrors the dilapidation of the house, and the story mirrors the final actions before the death of Usher. “The Fall of the House of Usher” reflects Poe’s view that humanity is hopelessly doomed.

Poe, Edgar Allan. “The Fall of the House of Usher.” 1839. Electronic Text Center, University of Virginia Library . 1995. Web. 1 July 2012. < http://etext.virginia.edu/toc/modeng/public/PoeFall.html >.

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

Don’t Listen to the Egg!: A Close Reading of Lewis Carroll’s “Jabberwocky”

“You seem very clever at explaining words, Sir,” said Alice. “Would you kindly tell me the meaning of the poem called ‘Jabberwocky’?”

“Let’s hear it,” said Humpty Dumpty. “I can explain all the poems that ever were invented—and a good many that haven’t been invented just yet.” (Carroll 164)

In Lewis Carroll’s Through the Looking-Glass , Humpty Dumpty confidently translates (to a not so confident Alice) the complicated language of the poem “Jabberwocky.” The words of the poem, though nonsense, aptly tell the story of the slaying of the Jabberwock. Upon finding “Jabberwocky” on a table in the looking-glass room, Alice is confused by the strange words. She is quite certain that “ somebody killed something ,” but she does not understand much more than that. When later she encounters Humpty Dumpty, she seizes the opportunity at having the knowledgeable egg interpret—or translate—the poem. Since Humpty Dumpty professes to be able to “make a word work” for him, he is quick to agree. Thus he acts like a New Critic who interprets the poem by performing a close reading of it. Through Humpty’s interpretation of the first stanza, however, we see the poem’s deeper comment concerning the practice of interpreting poetry and literature in general—that strict analytical translation destroys the beauty of a poem. In fact, Humpty Dumpty commits the “heresy of paraphrase,” for he fails to understand that meaning cannot be separated from the form or structure of the literary work.

Of the 71 words found in “Jabberwocky,” 43 have no known meaning. They are simply nonsense. Yet through this nonsensical language, the poem manages not only to tell a story but also gives the reader a sense of setting and characterization. One feels, rather than concretely knows, that the setting is dark, wooded, and frightening. The characters, such as the Jubjub bird, the Bandersnatch, and the doomed Jabberwock, also appear in the reader’s head, even though they will not be found in the local zoo. Even though most of the words are not real, the reader is able to understand what goes on because he or she is given free license to imagine what the words denote and connote. Simply, the poem’s nonsense words are the meaning.

Therefore, when Humpty interprets “Jabberwocky” for Alice, he is not doing her any favors, for he actually misreads the poem. Although the poem in its original is constructed from nonsense words, by the time Humpty is done interpreting it, it truly does not make any sense. The first stanza of the original poem is as follows:

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

If we replace, however, the nonsense words of “Jabberwocky” with Humpty’s translated words, the effect would be something like this:

’Twas four o’clock in the afternoon, and the lithe and slimy badger-lizard-corkscrew creatures

Did go round and round and make holes in the grass-plot round the sun-dial:

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

By translating the poem in such a way, Humpty removes the charm or essence—and the beauty, grace, and rhythm—from the poem. The poetry is sacrificed for meaning. Humpty Dumpty commits the heresy of paraphrase. As Cleanth Brooks argues, “The structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations” (203). When the poem is left as nonsense, the reader can easily imagine what a “slithy tove” might be, but when Humpty tells us what it is, he takes that imaginative license away from the reader. The beauty (if that is the proper word) of “Jabberwocky” is in not knowing what the words mean, and yet understanding. By translating the poem, Humpty takes that privilege from the reader. In addition, Humpty fails to recognize that meaning cannot be separated from the structure itself: the nonsense poem reflects this literally—it means “nothing” and achieves this meaning by using “nonsense” words.

Furthermore, the nonsense words Carroll chooses to use in “Jabberwocky” have a magical effect upon the reader; the shadowy sound of the words create the atmosphere, which may be described as a trance-like mood. When Alice first reads the poem, she says it seems to fill her head “with ideas.” The strange-sounding words in the original poem do give one ideas. Why is this? Even though the reader has never heard these words before, he or she is instantly aware of the murky, mysterious mood they set. In other words, diction operates not on the denotative level (the dictionary meaning) but on the connotative level (the emotion(s) they evoke). Thus “Jabberwocky” creates a shadowy mood, and the nonsense words are instrumental in creating this mood. Carroll could not have simply used any nonsense words.

For example, let us change the “dark,” “ominous” words of the first stanza to “lighter,” more “comic” words:

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

Shifting the sounds of the words from dark to light merely takes a shift in thought. To create a specific mood using nonsense words, one must create new words from old words that convey the desired mood. In “Jabberwocky,” Carroll mixes “slimy,” a grim idea, “lithe,” a pliable image, to get a new adjective: “slithy” (a portmanteau word). In this translation, brighter words were used to get a lighter effect. “Mearly” is a combination of “morning” and “early,” and “ringle” is a blend of “ring” and "dingle.” The point is that “Jabberwocky’s” nonsense words are created specifically to convey this shadowy or mysterious mood and are integral to the “meaning.”

Consequently, Humpty’s rendering of the poem leaves the reader with a completely different feeling than does the original poem, which provided us with a sense of ethereal mystery, of a dark and foreign land with exotic creatures and fantastic settings. The mysteriousness is destroyed by Humpty’s literal paraphrase of the creatures and the setting; by doing so, he has taken the beauty away from the poem in his attempt to understand it. He has committed the heresy of paraphrase: “If we allow ourselves to be misled by it [this heresy], we distort the relation of the poem to its ‘truth’… we split the poem between its ‘form’ and its ‘content’” (Brooks 201). Humpty Dumpty’s ultimate demise might be seen to symbolize the heretical split between form and content: as a literary creation, Humpty Dumpty is an egg, a well-wrought urn of nonsense. His fall from the wall cracks him and separates the contents from the container, and not even all the King’s men can put the scrambled egg back together again!

Through the odd characters of a little girl and a foolish egg, “Jabberwocky” suggests a bit of sage advice about reading poetry, advice that the New Critics built their theories on. The importance lies not solely within strict analytical translation or interpretation, but in the overall effect of the imagery and word choice that evokes a meaning inseparable from those literary devices. As Archibald MacLeish so aptly writes: “A poem should not mean / But be.” Sometimes it takes a little nonsense to show us the sense in something.

Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry . 1942. San Diego: Harcourt Brace, 1956. Print.

Carroll, Lewis. Through the Looking-Glass. Alice in Wonderland . 2nd ed. Ed. Donald J. Gray. New York: Norton, 1992. Print.

MacLeish, Archibald. “Ars Poetica.” The Oxford Book of American Poetry . Ed. David Lehman. Oxford: Oxford UP, 2006. 385–86. Print.

Attribution

• Sample Essay 1 received permission from Victoria Morillo to publish, licensed Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International ( CC BY-NC-SA 4.0 )
• Sample Essays 2 and 3 adapted from Cordell, Ryan and John Pennington. "2.5: Student Sample Papers" from Creating Literary Analysis. 2012. Licensed Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported ( CC BY-NC-SA 3.0 )

LIT 2020 - Introduction to the Short Story - Professor Elisa Albo: Short Story Research Paper

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Mentor texts

Telling Short, Memorable Stories From Your Life: ‘My Secret Pepsi Plot’

An invitation to students to tell a meaningful story in a limited number of words, with an example from The Times’s Lives column to help.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times that students can learn from and emulate.

This entry, like several others we are publishing, focuses on an essay from The Times’s long-running Lives column to consider skills prized in narrative writing. We are starting with this genre to help support students participating in our 2020 Personal Narrative Essay Contest .

Our Personal Narrative Essay Contest is inspired by The New York Times’s Lives column, which ran from 1996 to 2017 and featured “short, powerful stories about meaningful life experiences .”

The editor of the column once posted some advice on “How to Write a Lives Essay” to guide those who submitted to the column annually. Much of that advice applies to our contest as well.

For example, several points boil down to reminders to keep it simple, including tips like:

Don’t try to fit your whole life into one “Lives.”

Don’t try to tell the whole story.

Tell a small story — an evocative, particular moment.

Better to start from something very simple that you think is interesting (an incident, a person) and expand upon it, rather than a large idea that you then have to fit into a short essay. For example, start with “the day the Santa Claus in the mall asked me on a date” rather than “the state of affairs that is dating in an older age bracket.”

This advice is similar to advice often given to high school seniors writing college essays : You have only 650 words to show admissions officers something important, interesting or memorable about who you are and what matters to you. A list of awards you’ve won won’t do it, but an engaging story about making brownies with your stepbrother just might.

As you’ll see when you read the texts below, none of them try to tell the whole story of a life, but, instead, illuminate an important aspect of it through focus on one event or moment. Yet that one focus ripples out, and says so much more.

Before You Read

Use the sentence starter below to write for a few minutes about whatever comes to mind. You will return to this writing in the “Now Try This” section.

A moment I’ll never forget from my childhood is …

Mentor Text: ‘ My Secret Pepsi Plot ,’ a 2014 Essay From the Lives Column, by Boris Fishman

This essay describes a memory from when the writer was 10 years old and his family had just immigrated from the Soviet Union to Brooklyn. “In the Soviet Union, we were secretly wealthy, but we arrived in Brooklyn as paupers,” he writes.

Somehow, his family ends up with 24 Pepsi-Colas in their refrigerator. The story of what happens next is Mr. Fishman’s short, powerful story:

Around this time I learned that American supermarkets gave back 5 cents for every returned empty. (Some states, like Michigan, its very name like a granite monument, gave you 10 cents.) I decided I would return those cans and give the money to my parents. My secret — a surprise.

Read the essay, focusing on how Mr. Fishman anchors the whole story in this one goal he had at age 10 — to return the Pepsi cans and get money for them.

As you read, you might trace the structure of the story. What does each paragraph do? What does each add to the telling of this small story?

Then, consider these questions:

How do the first two paragraphs set the stage for the story and give some necessary background?

How does telling this story allow the writer to show readers a particular time and place through the eyes of a new immigrant?

How does he pull you into the action, minute by minute, in the three paragraphs that begin “On Saturday afternoon …”?

How is money a theme throughout, in both stated and implied ways? What other ideas recur?

What is the role of the last paragraph?

Now Try This: Find Your Own Short, Powerful Stories

Look back at the writing you did before reading the mentor text. What is strongest about it? Could it become a short essay like the one you just read? If so, what would you need to do to shape it?

What other small stories — or “evocative, particular moments” — from your life might make wonderful short essays?

In a 2010 lesson plan, “ Going Beyond Cliché: How to Write a Great College Essay ,” we suggest students first make a timeline of their lives, or of one period in their lives, brainstorming at least 20 events, big and small, that were significant to them for any reason.

You might try that, or you can brainstorm answers to this list of prompts — or both:

-A time I took a risk: -A time I learned something about myself: -A memory from childhood I think about often: -Something that happened to me that still makes me laugh: -Something very few people know about me: -Something I regret: -A time when I felt rejected: -Something I am really proud of: -Something that changed the way I think or look at the world: -How I am different from most people I know: -Some of my fears: -A time I felt truly satisfied: -A time I failed at something: -An object I own that tells a lot about me:

Once you’ve chosen a topic, you might try to free-write for 10 minutes or so, asking yourself as you go: What was most interesting or memorable about this? What images come to mind when you think about this topic? Do you picture a person, a scene, a place? Do you hear a conversation or a bit of music? Do you smell, taste or feel something?

Finally, if you are still stuck, we have a list of prompts from our site that can inspire narrative writing . Take a look and see if any of them spark ideas for you.

More Mentor Texts for Telling Short, Memorable Stories

While the entire Lives column is devoted to “short, powerful stories,” the pieces we chose below are especially student-friendly in terms of both their subject matter and the way the writers focus on “an evocative, particular moment.” Below each title, an excerpt from the piece.

“ How Ramen Got Me Through Adolescence ,” a 2014 Lives essay, by Veronique Greenwood

When I was in fifth grade, I developed an intense dislike of eating around other people. The cafeteria was a place of foul odors, gelatinous spills, horrific mixtures of chocolate pudding, fruit cocktail and ketchup consumed on dares, and I found myself fasting from breakfast, at about 6 in the morning, until 3:35, when I walked home through the woods from the bus stop. Each step up our hill, a narrow ridge in rural California, I fantasized about the big bowl of ramen I would make myself when I reached the top.

“ Charmed ," a 2015 Lives essay, by Laila Lalami

‘‘Wait,’’ I said. From my pocket I pulled out a brown suede pouch bearing the name of a little jeweler in Rabat, the kind of place you send your friends to and say, tell him I sent you. In the pouch was a necklace with a silver khamsa — a charm in the shape of an open palm.

“ Montana Soccer-Mom Moment ,” a 2010 essay from the Lives column, by Laura Munson

I live in northwest Montana, and I have a teenager, and my teenager plays sports. That means a lot of driving — over-the-Rocky-Mountains-and-back-in-one-day kind of driving. I think about Meriwether Lewis every time I cross the Continental Divide, usually with sleeping soccer players wearing headphones in the back of my Suburban. I want to say, “Can you imagine everything depending on your horse and your ability to dream of an ocean past the mountains?” But it isn’t worth the eye-rolling.

“ All the Single Ladies ," a 2014 essay from the Lives column, by Jen Doll

“Single ladies to the dance floor!” came the cry, a masculine voice urging us forward. Wedding guests parted, creating a narrow path for the train of unmarried women to parade through in their finery. But we single ladies no longer looked so fine as we had that morning. We were worn and tired, sweat beading down our necks, sand crunching unpleasantly in our shoes, which were wearing raw the backs of our heels. We should have been lying down in cool rooms elsewhere, but the wedding was not over. We were 28. We knew what was next.

“ Working the Reunion ,” a 2008 essay from the Lives column, by ZZ Packer

My residential college always hosted the 45th reunion, one of the most well attended, I suppose because you just might not be around for the 50th. To my eyes, these guys were the picture of old money. Although they may have mastered physics or appraised the sharp beauty of “King Lear” in school, at reunions they reminisced about football glories and practical jokes. I sometimes felt less like a Yale co-ed who happened to be black than a black waitress who happened to be bringing them an extra fork. But after their dinner we reunion workers would drink up all the leftover bottles of wine while cleaning the dining hall.

Related Questions for Any Short, Narrative Essay

What is the one small moment or event this piece focuses on? Why do you think the writer might have chosen it?

What do you learn about the writer and his or her world through this moment or event? How? What lines do this well? What is implied rather than stated?

How is the piece structured? What does each paragraph do? How does each contribute to the story?

Look closely at how the writer tells a complete story in a limited number of words. Where, in terms of time and place, does the story begin? Where does it end? How does the writer weave in necessary background even while keeping the action of the story moving forward?

What else do you notice or admire about this essay? What lessons might it have for your own writing?

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Perspectives on Psychological Science

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Fiction literature has largely been ignored by psychology researchers because its only function seems to be entertainment, with no connection to empirical validity. We argue that literary narratives have a more important purpose. They offer models or simulations of the social world via abstraction, simplification, and compression. Narrative fiction also creates a deep and immersive simulative experience of social interactions for readers. This simulation facilitates the communication and understanding of social information and makes it more compelling, achieving a form of learning through experience. Engaging in the simulative experiences of fiction literature can facilitate the understanding of others who are different from ourselves and can augment our capacity for empathy and social inference.

Cambridge Scholars

Michelangelo Paganopoulos

This volume invites the reader to join in with the recent focus on subjectivity and self-reflection, as the means of understanding and engaging with the social and historical changes in the world through storytelling. It examines the symbiosis between anthropology and fiction, on the one hand, by looking at various ways in which the two fields co-emerge in a fruitful manner, and, on the other, by re-examining their political, aesthetic, and social relevance to world history. Following the intellectual crisis of the 1970s, anthropology has been criticized for losing its ethnographic authority and vocation. However, as a consequence of this, ethnographic scope has opened towards more subjective and self-reflexive forms of knowledge and representations, such as the crossing of the boundaries between autobiography and ethnography. The collection of essays re-introduces the importance of authorship in relationship to readership, making a ground-breaking move towards the study of fictional texts and images as cultural, sociological, and political reflections of the time and place in which they were produced. In this way, the contributors here contribute to the widening of the ethnographic scope of contemporary anthropology. A number of the chapters were presented as papers in two conferences organised by the Association of Social Anthropologists of the UK and Commonwealth at Jawaharlal Nehru University, New Delhi, entitled “Arts and aesthetics in a globalising world” (2012), and at the University of Exeter, entitled “Symbiotic Anthropologies” (2015). Each chapter offers a unique method of working in the grey area between and beyond the categories of fiction and non-fiction, while creatively reflecting upon current methodological, ethical, and theoretical issues, in anthropology and cultural studies. This is an important book for undergraduate and post-graduate students of anthropology, cultural and media studies, art theory, and creative writing, as well as academic researchers in these fields.

Carl Leggo , Pauline Sameshima

Fiction (with its etymological connections to the Latin fingere, to make) is a significant way for researching and representing lived and living experiences. As fiction writers, poets, and education researchers, we promote connections between fictional knowing and inquiry in educational research. We need to compose and tell our stories as creative ways of growing in humanness. We need to question our understanding of who we are in the world. We need opportunities to consider other versions of identity. This is ultimately a pedagogic work, the work of growing in wisdom through education, learning, research, and writing. The real purpose of telling our stories is to tell them in ways that open up new possibilities for understanding and wisdom and transformation. So, our stories need to be told in creative ways that hold our attention, that call out to us, that startle us.

British Journal of Aesthetics

Karen Simecek

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Short Story Analysis Essay

Almost everyone has read a couple of short stories from the time they were kids up until today. Although, depending on how old you are, you analyze the stories you read differently. As a kid, you often point out who is the good guy and the bad guy. You even express your complaints if you do not like the ending. Now, in high school or maybe in college, you pretty much do the same, but you need to incorporate your critical thinking skills and follow appropriate formatting. That said, to present the results of your literature review, compose a short story analysis essay.

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What Is a Short Story Analysis Essay?

A short story analysis essay is a composition that aims to examine the plot and the aspects of the story. In writing this document, the writer needs to take the necessary elements of a short story into account. In addition, one purpose of writing this type of analysis essay is to identify the theme of the story. As well as try to make connections between the different aspects. 

How to Compose a Critical Short Story Analysis Essay

Having the assignment to write a short story analysis can be overwhelming. Reading the short story is easy enough. Evaluating and writing down your essay is the challenging part. A short story analysis essay follows a different format from other literature essays . That said, to help with that, here are instructive steps and helpful tips.

1. Take Down Notes

Considering that you have read the short story a couple of times, the first step you should take before writing your essay is to summarize and write down your notes. To help you with this, you can utilize flow charts to determine the arcs the twists of the short story. Include the parts and segments that affected you the most, as well as the ones that hold significance for the whole story. 

2. Compose Your Thesis Statement

Before composing your thesis statement for the introductory paragraph of your essay, first, you need to identify the thematic statement of the story. This sentence should present the underlying message of the entire literature. It is where the story revolves around. After that, you can use it as a basis and proceed with composing your thesis statement. It should provide the readers an overview of the content of your analysis paper.

3. Analyze the Concepts

One of the essential segments of your paper is, of course, the analysis part. In the body of your essay, you should present arguments that discuss the concepts that you were able to identify. To support your point, you should provide evidence and quote sentences from the story. If you present strong supporting sentences, it will make your composition more effective. To help with the organization and the structure, you can utilize an analysis paper outline .

4. Craft Your Conclusion

The last part of the process is to craft a conclusion for your essay . Aside from restating the crucial points and the thesis statement, there is another factor that you should consider for the ending paragraph. That said, you should also present your understanding regarding why the author wrote the story that way. In addition, you can also wrap it up by expressing how the story made you feel.

How to run an in-depth analysis of a short story?

In analyzing a short story, you should individually examine the elements of a short story. That said, you need to study the characters, setting, tone, and plot. In addition, you should also consider evaluating the author’s point of view, writing style, and story-telling method. Also, it involves studying how the story affects you personally.

Why is it necessary to compose analysis essays?

Composing analysis essays tests how well a person understands a reading material. It is a good alternative for reading comprehension worksheets . Another advantage of devising this paper is it encourages people to look at a story from different angles and perspectives. In addition to this, it lets the students enhance their article writing potential.

What is critical writing?

Conducting a critical analysis requires an individual to examine the details and facts in the literature closely. It involves breaking down ideas as well as linking them to develop a point or argument. Despite that, the prime purpose of a critical essay is to give a literary criticism of the things the author did well and the things they did poorly.

People enjoy reading short stories. It is for the reason that aside from being brief, they also present meaningful messages and themes. In addition to that, it also brings you to a memorable ride with its entertaining conflicts and plot twists. That said, as a sign of respect to the well-crafted literature, you should present your thoughts about it by generating a well-founded short story analysis essay. 

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Research stories.

Research stories share your research in a way that is understandable and interesting to a non-expert, public audience. Unlike a research report, a research story focuses on telling the narrative of your process, the significance of your research to others, and your personal engagement with your research. This handout will help you frame your research in an engaging way.

Story Structure

The overall structure of a research story is slightly different than a general research report. Scientific reports usually summarize a completed research project, which is why they emphasize the methods and results as separate sections. A research story, however, can describe completed research or research that is still in process. As such, the methods and results are briefly described in one section called the research process. Instead, a story format emphasizes the introduction and discussion, where most of your story will take place.

Catchy Introductions

Your introduction should be catchy to establish a story-like tone that can be carried throughout the rest of the document. A good research story introduction establishes the importance and relevance of the topic and gradually incorporates the scientific aspects. The next two examples are from Napoleon’s Buttons: 17 Molecules that Changed History , which discusses scientific concepts in an engaging, story form.

Consider the opening sentences from Napoleon’s Buttons :

In June 1812, Napoleon’s army was 600,000 strong. By early December, however, the once proud Grande Armee numbered fewer than 10,000. The tattered remnants of Napoleon’s forces had crossed the Berezina River, near Borisov in western Russia, on the long road of retreat from Moscow. —Jay Burreson and Penny Le Couteur,  Napoleon’s Buttons: 17 Molecules that Changed History

You'll notice that the story does not jump into the science immediately. Instead, it uses history to identify the topic’s significance and draw the reader in. Two paragraphs later, the authors draw the audience towards the science of the book:

What caused the downfall of the greatest army Napoleon had led? Why did Napoleon’s soldiers, victorious in previous battles, falter in the Russian campaign? One of the strangest theories to be advanced can be captured by paraphrasing an old nursery rhyme: “all for the want of a button.” Surprising as it may seem, the disintegration of Napoleon’s army may be traceable to something as small as the disintegration of a button - a tin button, to be exact, the kind that fastened everything from the greatcoats of Napoleon’s officers to the trousers and jackets of his foot soldiers. When temperatures drop, shiny metallic tin starts to change into a crumbly nonmetallic gray powder - still tin, but with a different structural form. —Jay Burreson and Penny Le Couteur, Napoleon's Buttons: 17 Molecules that Changed History

Here is an additional example from the first-place winner of the 2015 Science Writing Contest. The author vividly describes a scene that immediately establishes the importance of studying acid rain and draws the reader into their story.

Dead fish. Blistered skin. Statues with their faces grotesquely weathered. For many Americans, these are the images that come to mind when we hear the words “acid rain.” Many of us are vaguely aware of the danger of this phenomenon—yet few people fully understand how acid rain forms and why it has such devastating effects. Recently, scientists have found that acid rain is even changing the way microbes interact with their soil environment, altering nutrient cycles and changing ecosystems from the ground up. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

Research Process

Whether your research has been completed or not, describing your research process makes your topic and hypotheses/conclusions more clear to readers. The process can include the methods you have used or are considering, your results if they have been collected, or the types of results you are hoping to collect based on your methodology or hypotheses.

The following example describes the research process in a story format:

We are using several techniques to test the effects of calcium levels on microbial respiration. To measure the amount of carbon respiration in each sample, we are using a method in which the carbon dioxide emitted from the soil microbes reacts with a solution so we can capture it in solid form. We are also distinguishing between leaf litter and soil organic matter as carbon sources for the microbes by analyzing chemical signatures in the captured solid. More carbon emitted from a sample would indicate that its microbes respired at a higher rate, recycling more rapidly from the organic form. When we compare the amounts of carbon with the amounts of calcium in the soil samples, we hope to see a relationship that will tell us more about how calcium is affecting microbial respiration of organic matter in the soil. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

The author had not completed their research, but they described their methodology for conducting research, articulating their goals for analysis and the potential results. You can be at any stage of your research as long as you creatively and engagingly tell the story of your research and its significance.

Your discussion, then, can discuss your results (if you have already analyzed your data), or the next steps for your research and the information they might reveal. The discussion should still inform your general audience about the importance of such research (and potential future research).

The following example is a discussion section from a research story:

This experiment has important implications for the future of ecology. Many people believe that acid rain’s effects have been largely reversed by the passage of the Clean Air Acts of 1970 and 1990 (Hubbard Brook Research Foundation, 2001). These acts required a reduction in emissions of sulfur dioxide, an important contributor to acid rain. However, nutrients continue to be depleted from soils in the Northeast (such as those tested in the HBEF). While rates of depletion have slowed substantially, results show that acid rain’s nutrient leaching abilities have continued decades after such environmental legislation was passed. A legacy of acid deposition has been left in soils because the depletion of calcium and other nutrients from soils has not been reversed even where deposition has been markedly reduced. If we can better pin down the dynamics of nutrient-microbial relationships, we may be one step closer to understanding how to help damaged ecosystems recover from the ravages of acid rain and other human-caused disturbances. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

The author discusses why we should care about this research, why it matters to us. While the author had not yet finished their experiment, they were still able to discuss the potential implications of their work.

Audience and Tone

A research story is written for a general (rather than scientific) audience, so pay attention to your language choices. Note the differences in language use and audience awareness in the next two examples on acid rain.

The first example is from a scientific article published in the journal Science.  The author takes a formal approach in order to appear professional and credible with other specialists in their field. The writer uses terms like “biogeochemistry of sulfur,” “nitrogen,” and “sulfuric acid” without explanation or context, because their audience is already familiar with these concepts. They also dive right into the problem at hand.

Research on the effects of acid rain in the United States and Europe has focused primarily on the biogeochemistry of sulfur, and to a lesser extent on that of nitrogen. The emphasis was because sulfuric acid is the dominant acid in precipitation throughout the eastern United States and Europe where acid rain is a serious environmental problem. —G.E. Likens, C.T Driscoll, and D.C. Buso, “Long-Term Effects of Acid Rain: Response and Recovery of a Forest Ecosystem” .

The second example is from a research story on acid rain. The author uses first-person “we” to relate to audiences unfamiliar with the topic and uses familiar or creative words to catch readers’ interest, such as “business,” “noxious,” and “spew,” while still incorporating the science aspects of “acid rain,” “water,” “oxygen,” and “acidic compounds.” This writer begins with background information on her topic by clearly and simply explaining what acid rain is and how it forms.

One of the main contributors to acid rain is a business we can’t live without: the fossil fuel industry. The issue begins with the noxious gases that coal-burning power plants spew into the air (Hubbard Brook Research Foundation, 2001). Once in the atmosphere, these emissions interact with water and oxygen to form acidic compounds that eventually fall to the earth as acid rain. —Hannah Devens, "Unearthing a Legacy: Acid Rain's Effects on Nutrient Cycles in Forest Ecosystems," 1st Place Winner of the 2015 Science Writing Contest

As mentioned earlier, you want to establish an engaging tone in the beginning that will last throughout the rest of the story. Tone can have an important effect on your audience’s experience with and interpretation of your voice and story. Consider the following types of tone:

• Conversational

The following examples model what different kinds of tone look like; it’s up to you to write in a tone that works for the story you are telling.

The excerpt below from a  New York Times article on Global Warming adopts a serious and stern tone. The seriousness of death statistics attempts to draw compassion from the audience and persuade them to take a stance on global warming. A stern tone reinforces the seriousness of this issue and its effect on others.

The question is important because while a gradual increase in average temperatures can have profound ecological consequences, it is weather extremes that have the greatest effect on human society. A 1995 heat wave in Chicago killed hundreds of people, and a 2003 heatwave in Europe killed an estimated 70,000. Scientists believe both were made more likely by the human emissions that are warming the planet, and heat on that scale will become commonplace if emissions are allowed to continue unabated. For now, though, such heat extremes — Chicago temperatures were near or above 100 degrees for four days running that July — are still rare, which makes them difficult to study in a statistical sense. —Justin Gillis, ”New Study Links Weather Extremes to Global Warming”

For those familiar with Edgar Allen Poe, the next passage establishes an excited yet terrified tone. Phrases such as “I gasped for breath” and “as if excited to fury by the observations of the men” establishes an excitable, frantic tone, while “they were making a mockery of my horror” establishes the feeling of terror.

No doubt I now grew very pale; --but I talked more fluently, and with a heightened voice. Yet the sound increased --and what could I do? It was a low, dull, quick sound --much such a sound as a watch makes when enveloped in cotton. I gasped for breath --and yet the officers heard it not. I talked more quickly --more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men --but the noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder --louder --louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! --no, no! They heard! --they suspected! --they knew! --they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now --again! --hark! louder! louder! louder! louder! —Edgar Allen Poe, "The Tell-Tale Heart"

The next piece by Hemingway is sparsely written, so the tone is very calm, reserved, and content. It does not raise alarm; rather, it describes and clearly paints a picture for readers. However, it is not as exciting as the previous example.

It was very late and everyone had left the cafe except an old man who sat in the shadow the leaves of the tree made against the electric light. In the day time the street was dusty, but at night the dew settled the dust and the old man liked to sit late because he was deaf and now at night it was quiet and he felt the difference. The two waiters inside the cafe knew that the old man was a little drunk, and while he was a good client they knew that if he became too drunk he would leave without paying, so they kept watch on him. —Ernest Hemmingway, "A Clean, Well-Lighted Place"

This next example by Dickens also implies a darker, more terrified tone with words such as “evil,” “forlorn,” “clammy,” and “unwholesome.”

There was a steaming mist in all the hollows, and it had roamed in its forlornness up the hill, like an evil spirit, seeking rest and finding none. A clammy and intensely cold mist, it made its slow way through the air in ripples that visibly followed and overspread one another, as the waves of an unwholesome sea might do. It was dense enough to shut out everything from the light of the coach-lamps but these its own workings, and a few yards of road; and the reek of the labouring horses steamed into it, as if they had made it all. —Charles Dickens, A Tale of Two Cities

Use Active Voice and Get Personal

Take action in your writing! Don’t let “the passive voice be avoided by good writers”: let “good writers avoid passive voice.” Active voice can help drive your story along and keep your reader intrigued. It can show action being done, progress being made, and the persons contributing to scientific efforts. Here are some examples of how passive voice might be revised in active voice:

My first lab report will always be remembered by me. (passive) I'll always remember my first lab report. (active)

Examination of patients was accomplished by me. (passive) I examined patients. (active)

Here’s a way to remember active versus passive voice: if you can insert “by zombies” after the verb, then you’re using passive voice. For example:

I was run over by a truck. (You could say "I was run over by zombies" so this sentence is passive.) A truck ran me over. (It would not make sense to say "A truck ran me over by zombies" so this sentence is active.)

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Best short stories and collections everyone should read.

If you are on the lookout for great storytelling but don’t want to commit to a full-length novel, then short story collections are the answer. Whether it’s just before bed, during your commute, or waiting to see your doctor, small chunks of time are perfect for reading short stories.

Here we have gathered thirty-one of the best short stories and collections , from all sorts of backgrounds and sources, to help you grow your “To Be Read” pile.

For your convenience, we've divided this post into two parts: 1. the ten best free short stories to read right now , and 2. best short story collections. Feel free to jump to the section that you prefer!

If you're feeling overwhelmed by the number of great short stories out there, you can also take our 30-second quiz below to narrow it down quickly and get a personalized short story recommendation 😉

Which short story should you read next?

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Free Short Stories to Read Right Now

These individual short stories are the best of the best — and the even better news is that they're available for free online for you to peruse. From classics published in the 1900s to a short story that exploded in late 2017, here are ten of the greatest free short stories for you to read.

1. “Lamb to the Slaughter” by Roald Dahl

While not exactly a philosophical or political tale like our first two examples, this twisty short story from Dahl does delve into some shady moral territory. We are introduced to Mary Maloney: a loving wife and dedicated homemaker. In just a few short paragraphs describing how she welcomes her husband home, Dahl makes us sympathize with Mary — before a rash act turns her life upside down and takes the reader with her on a dark journey.

For those who haven’t read it, we won’t spoil the rest. However, it’s safe to say that Dahl serves up a fiendish twist on a platter.

2. “The Lottery” by Shirley Jackson

A perennial feature in many a high school syllabus, Shirley Jackson’s best-known short story clinically details an unusual ritual that takes place in a small town. There’s not exactly a lot of plot to spoil in The Lottery — but within a few short pages, Jackson manages to represent the mob mentality that can drive reasonable people to commit heinous acts.

3. “How to Become a Writer” by Lorrie Moore

Told in the second person point of view , this story from Moore’s debut anthology Self-Help takes an honest look at the inner life of a struggling artist. Through the use of an unusual POV, the author manages to turn her reader into a confidante — making it abundantly clear that the ‘you’ the narrator is speaking about is actually herself.

This story is a standout, but the entire collection is well worth a read for its insight, humor, and disregard for literary norms.

4. “Cat Person” by Kristen Roupenian

In the Social Media Age, no short story has gone viral the way this New Yorker contribution from Roupenian has. Arriving at the height of #MeToo, it begins with 20-year-old Margot embarking on the early stages of flirtation with an older man, Robert. As she gets to know more about this man (as well as filling in the gaps with her imagination), the power dynamic in their relationship starts to fluctuate.

Lauded for its portrayal of Margot’s inner life and the fears many modern women face when it comes to dating, it also has its fair share of detractors — many are critical of the central character, some are downright outraged by the story’s success. Still, this story undeniably struck a chord with the reading public, and will likely remain relevant for some time.

5. “Cathedral” by Raymond Carver

First published in The Atlantic Monthly in 1981, “Cathedral” is today known as one of Raymond Carver’s finest works. When it opens, we meet a narrator whose wife is expecting a visit from an old friend, a blind man. Dissatisfied and distrusting of people not like him, our narrator struggles to connect until the blind man asks him to describe a cathedral to him. 

 “Cathedral” is one of Carver’s own personal favorites, and deservedly so. His characteristic minimalist style is devastating as the story builds up to a shattering moment of emotional truth — an ultimate reminder that no-one else can capture the quiet sadness of working-class people like him. 

6. “A Good Man Is Hard to Find” by Flannery O’Connor

Innocuously titled, “A Good Man Is Hard to Find” is nevertheless Flannery O’Connor’s bleakest — and most famous — work. It begins unassumingly with a Southern family who’s planning to go on a road trip. Yet the journey is rudely interrupted when their car overturns on an abandoned dirt road — and they are met by an enigmatic group of three men, coming up over the far hill. 

This short story inspired some strong reactions from the public upon publication — and the conversation continues today as to its frank depiction of the nature of good and evil. Again, we won’t spoil anything for you, except to say that “A Good Man Is Hard to Find” is well worth your time. 

7. “Symbols and Signs” by Vladimir Nabokov

The famous author of Lolita wrote “Signs and Symbols” in 1948. Its premise is seemingly simple: an elderly couple visits their mentally ill son in the sanatorium in America. Yet their background and trials come into sharp focus as the story develops, until an explosive ending disrupts everyone’s peace of mind. 

As you might expect, the somber “Symbols and Signs” diverges sharply from Lolita in terms of both tone and subject — but its ending will keep you awake at night thinking about its implications.  

8. “Sticks” by George Saunders

Not so much a short story as it is flash fiction, “Sticks” is written from the perspective of a young man whose father has an unusual habit: dressing up a crucifix that’s built of out a metal pole in the yard. One of America’s greatest living short story writers, George Saunders explained: "For two years I'd been driving past a house like the one in the story, imagining the owner as a man more joyful and self-possessed and less self-conscious than myself. Then one day I got sick of him and invented his opposite, and there was the story." 

The result is a masterful piece of fiction that builds something out of seemingly nothing — all in the space of only two paragraphs. 

9. “The Veldt” by Ray Bradbury

If there’s anyone who you can trust to deliver thought-provoking, terrifying science fiction on the regular, it’s Ray Bradbury. In “The Veldt,” George and Lydia Hadley have bought an automated house that comes with a “nursey,” or a virtual reality room. Worried about the nursery’s effect on the kids, George and Lydia think about turning off the nursey — but the problem is that their children are obsessed with it. 

As an ominously prescient prediction of the downside of technology, “The Veldt” is a short and shining example of how Ray Bradbury was an author before his time. 

10. “Flowers for Algernon” by Daniel Keyes

In this classic short story, we are privy to the journals of Charlie Gordon, a cleaner with an IQ of 68. ("I reely wantd to lern I wantid it more even then pepul who are smarter even then me. All my life I wantid to be smart and not dumb.”) Charlie’s luck changes when he is selected for an experiment that purports to turn him into a genius — but everything that goes up must come down in the end. 

“Flowers for Algernon” won the Hugo Award in 1960 for its groundbreaking presentation. Heartbreaking and rich with subtle poignance, it is likely to remain a staple for centuries to come.  

Best Short Story Collections to Devour

If you'd like many short stories at your fingertips all at once, short story collections are where you should look. Here, we've collected 21 of the best short story collections — along with the standout story in each volume.

11. A Manual for Cleaning Women by Lucia Berlin

Standout Story: “A Manual for Cleaning Women”

12. Blow-up and Other Stories by Julio Cortázar

Standout Story: “House Taken Over”

13. Drifting House by Krys Lee

Standout Story: “Drifting House”

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14. Dubliners by James Joyce

Standout Story: “The Dead”

15. Everything’s Eventual: 14 Dark Tales by Stephen King

Standout Story: “Riding the Bullet”

16. Ficciones by Jorge Luis Borges

Standout Story: “The Garden of Forking Paths”

17. Florida by Lauren Groff

Standout Story: “Above and Below”

18. Fragile Things: Short Fictions and Wonders by Neil Gaiman

Standout Story: “The Flints of Memory Lane”

19. Kiss Kiss by Roald Dahl

Standout Story: “The Pig”

20. Men Without Women by Haruki Murakami

Standout Story: “Samsa in Love”

21. Nine Stories by J.D. Salinger

Standout Story: “For Esme - With Love and Squalor”

22. Rashōmon and Seventeen Other Stories by Ryūnosuke Akutagawa

Standout Story: “In a Bamboo Grove”

23. Runaway by Alice Munro

Standout Story: “Runaway”

24. Strange Pilgrims by Gabriel García Márquez

Standout Story: “The Trail of Your Blood in the Snow”

25. The Collected Stories by Grace Paley

Standout Story: “A Man Told Me the Story of His Life”

26. The Complete Short Stories of Ernest Hemingway by Ernest Hemingway

Standout Story: “Hills Like White Elephants”

27. The Complete Stories by Flannery O’Connor

Standout Story: “A Good Man is Hard to Find”

28. The Essential Tales of Chekhov by Anton Chekhov

Standout Story: “The Lady with the Dog”

29. The Refugees by Viet Thanh Nguyen

Standout Story: “I’d Love You to Want Me”

30. The Thing Around Your Neck by Chimamanda Ngozi Adichie

Standout Story: “The Thing Around Your Neck”

31. The Youngest Doll by Rosario Ferré

Standout Story: “When Women Love Men”

Ready to write your own short story? Check out these short story ideas for all your inspiration needs.

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55 Best Short Stories for High School Students

Quick and engaging.

If there is one thing that my students and I share, it is our love for short stories for high school. They may not choose to read short stories on their own time, but they get very excited when the story I choose to teach a concept is short . I find that because they are short stories, they pack a stronger emotional punch. Short stories for high school elicit real reactions, especially if the author manages to surprise them. Short stories for high school are the thing I use most often to teach literary devices, act as mentor text for our writing, and get students excited about reading. Here is a collection of 55 short stories for high school students. 

1. “Lamb to the Slaughter” by Roald Dahl

“‘i’ll fix some supper,’ she whispered. when she walked across the room, she couldn’t feel her feet touching the floor. she couldn’t feel anything except a slight sickness. she did everything without thinking. she went downstairs to the freezer and took hold of the first object she found. she lifted it out, and looked at it. it was wrapped in paper, so she took off the paper and looked at again—a leg of lamb..

Why I love it: The dramatic irony. The discussion that follows: Who is the innocent lamb in this story?

2. “The Most Dangerous Game” by Richard Connell

“the world is made up of two classes—the hunters and the huntees.”.

Why I love it: This is one of those short stories for high school that engages all of my students. I love to ask them what they think the most dangerous game in the world is. I like to watch them figure out what is about to happen as we read through the story.

3. “The Landlady” by Roald Dahl

“‘i stuff all my little pets myself when they pass away. will you have another cup of tea’”.

Why I love it: This story is great for suspense, irony, and characterization. It always creeps students out.

4. “All Summer in a Day” by Ray Bradbury

“i think the sun is a flower / that blooms for just one hour.”.

Why I love it: This story is heartbreaking and truth-telling. Bradbury takes us to Venus and uses the setting to drive the conflict and focus on the character’s behavior.

5. “The Veldt” by Ray Bradbury

“too much of anything isn’t good for anyone.”.

Why I love it: It’s a dystopian story about the power of technology in our lives. It’s easy to connect to students’ lives.

6. “The Lottery” by Shirley Jackson

“there’s always been a lottery.”.

Why I love it: The brutality of this story sneaks up on you. For a while, you’re convinced this town is ordinary until you find out the dark consequences of blindly following tradition.

7. “The Tell-Tale Heart” by Edgar Allan Poe

“it is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night.”.

Why I love it: My students love a murder mystery. This one is made even more alluring while the narrator tries to convince the readers of his sanity.

8. “The Gift of the Magi” by O. Henry

“the james dillingham youngs were very proud of two things which they owned. one thing was jim’s gold watch. … the other thing was della’s hair.”.

Why I love it: It’s one of the best stories for high school to teach irony during the holiday season.

9. “The Monkey’s Paw” by W.W. Jacobs

“never mind, dear,” said his wife soothingly; perhaps you’ll win the next one.”.

Why I love it: One of the classic short stories for high school about what can go wrong when granted three wishes. Students also love to know that there was a Simpsons episode based on this short story.

10. “The Secret Life of Walter Mitty” by James Thurber

“the district attorney suddenly thrust a heavy automatic at the quiet figure on the witness stand. ‘have you ever seen this before’ walter mitty took the gun and examined it expertly. ‘this is my webley-vickers 50.80,’ he said calmly. an excited buzz ran around the courtroom.”.

Why I love it: This story moves from the ordinary to the extraordinary. It highlights the mundane adult life while the main character escapes to fantastical situations, inspired by his surroundings. Bonus: the movie version that was released in 2013.

11. “The Ones Who Walk Away From Omelas” by Ursula K. LeGuin

“this is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain.”.

Why I love it: This story encourages high school students to consider the cost of happiness.

12. “Araby” by James Joyce

“her name sprang to my lips at moments in strange prayers and praises which i myself did not understand. my eyes were often full of tears (i could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. i thought little of the future. i did not know whether i would ever speak to her or not or, if i spoke to her, how i could tell her of my confused adoration.”.

Why I love it: It’s about growing up and developing a crush that is all-consuming.

13. “A Sound of Thunder” by Ray Bradbury

“it fell to the floor, an exquisite thing, a small thing that could upset balances and knock down a line of small dominoes and then big dominoes and then gigantic dominoes, all down the years across time. eckels’ mind whirled. it couldn’t change things. killing one butterfly couldn’t be that important could it”.

Why I love it: It’s a short story about the butterfly effect. The plot asks the question many have asked before, if we could travel back in time, how would it change the future?

14. “Two Kinds” by Amy Tan

“my mother believed you could be anything you wanted to be in america.”.

Why I love it: It explores the complex mother-daughter relationship.

15. “Rules of the Game” by Amy Tan

“next time win more, lose less.”.

Why I love it: Use this for an example of extended metaphor and, again, the dynamics of a mother-daughter relationship.

16. “Eraser Tattoo” by Jason Reynolds

“he knew the sting wouldn’t last forever. but the scar would.”.

Why I love it: I love a teenage love story. Focus on the symbolism of the eraser tattoo.

17. “The Scarlet Ibis” by James Hurst

“all of us must have something or someone to be proud of.”.

Why I love it: A beautifully written heartbreaking story about brothers.

18. “A Good Man Is Hard To Find” Flannery O’Connor

“‘it isn’t a soul in this green world of god’s that you can trust,’ she said. ‘and i don’t count nobody out of that, not nobody,’ she repeated, looking at red sammy.”.

Why I love it: It’s a great story for studying characters, their flaws, and their transformation by the end of the story.

19. “Ruthless” by William de Mille

“when it comes to protecting my property, i make my own laws.”.

Why I love it: It’s a tale of revenge with unexpected twists and turns.

20. “The Story of an Hour” by Kate Chopin

“when the doctors came they said she had died of heart disease—of joy that kills.”.

Why I love it: It makes you ponder the question: Can a person die of a broken heart?

21. “Eleven” by Sandra Cisneros

“what they don’t understand about birthdays, and what they’ll never tell you, is that when you’re eleven, you’re also ten, and nine, and eight, and seven, and six, and five, and four, and three, and two, and one.”.

Why I love it: I use this when I teach creative writing. What changes when we turn 11? How are we different from when we were 10? Most agree that it is a significant change.

22. “The Test” by Theodore Thomas

“nobody should want to drive a car after going through what you just went through.”.

Why I love it: Your students will not see the ending coming.

23. “There Will Come Soft Rains” by Ray Bradbury

“and one voice, with sublime disregard for the situation, read poetry … until all the film spools burned, until all the wires withered and the circuits cracked.”.

Why I love it: Use this futuristic story to teach setting, foreshadowing, and theme.

24. “The Schoolmistress” by Anton Chekhov

“‘it is beyond all understanding,’ she thought, ‘why god gives beauty, this graciousness, and sad, sweet eyes to weak, unlucky, useless people—why they are so charming.’”.

Why I love it: We get to see simple moments become symbols for larger happenings in her life.

25. “Lob’s Girl” by Joan Aiken

“some people choose their dogs, and some dogs choose their people.”.

Why I love it: Read it for a tale of friendship paired with elements of suspense.

26. “An Occurrence at Owl Creek Bridge” by Ambrose Bierce

“he had power only to feel, and feeling was torment.”.

Why I love it: The ending will shock your students.

27. “The Chaser” by John Collier

“‘she will want to know all you do,’ said the old man. ‘all that has happened to you during the day. every word of it. she will want to know what you are thinking about, why you smile suddenly, why you are looking sad.’”.

Why I love it: For the discussion afterward, what would you be willing to do for love? Bonus: Pair with a Twilight Zone episode.

28. “The Janitor in Space” by Amber Sparks

“she feels at home beyond the skies. she lied and said she came here to be close to god, but she feels further away from him than ever.”.

Why I love it: The creative plot created in this story launches deep discussion after reading.

29. “Standard Loneliness Package” by Charles Yu

“root canal is one fifty, give or take, depending on who’s doing it to you. a migraine is two hundred.”.

Why I love it: The plot is intriguing enough for students to be invested. Imagine a world where you outsource negative feelings and experiences to other people.

30. “The Yellow Wallpaper” by Charlotte Perkins Gilman

“i cry at nothing, and cry most of the time.”.

Why I love it: I still remember the first time I read this story in high school and the discussion about women and mental health and the symbolism throughout the story.

31. “ A Jury of Her Peers” by Susan Glaspell

“oh, well,” said mrs. hale’s husband, with good-natured superiority, “women are used to worrying over trifles.”.

Why I love it: It’s a story about women being misunderstood and underestimated.

32. “The Cask of Amontillado” by Edgar Allan Poe

“‘the cough is a mere nothing; it will not kill me. i shall not die of a cough.’ ‘true—true,’ i replied.”.

Why I love it: It’s a revenge story that allows students to see examples of irony throughout.

33. “To Build a Fire” by Jack London

“he now received the full force of the cold. the blood of his body drew back from it. the blood was alive, like the dog.”.

Why I love it: This story is great for any adventurous soul.

34. “The Sniper” by Liam O’Flaherty

“[the sniper’s eyes] were deep and thoughtful, the eyes of a man who is used to looking at death.”.

Why I love it: It’s a story that illustrates the pain and loss of war.

35. “The Lady or the Tiger?” by Frank Stockton

“it mattered not that he might already possess a wife and family, or that his affections might be engaged upon an object of his own selection; the king allowed no such subordinate arrangements to interfere with his great scheme of retribution and reward.”.

Why I love it: Use this as a short story that illustrates that actions have consequences.

36. “The Black Cat” by Edgar Allan Poe

“yet, mad i am not—and very surely do i not dream.”.

Why I love it: This is one of the classic Poe short stories for high school about madness.

37. “The Celebrated Jumping Frog of Calaveras County” by Mark Twain

“smiley said all a frog wanted was education, and he could do ‘most anything’—and i believe him.”.

Why I love it: A Mark Twain story about a man who bets on anything. Use this next time a student says “Bet!” to you.

38. “Metamorphosis” by Franz Kafka

“one morning, when gregor samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin.”.

Why I love it: Read this story for symbolism, as the main character turns into an insect overnight. It’s an excellent story that illustrates alienation and loneliness.

39. “Young Goodman Brown” by Nathaniel Hawthorne

“depending upon one another’s hearts, ye had still hoped that virtue were not all a dream. now are ye undeceived. evil is the nature of mankind.”.

Why I love it: A great read for American literature that explores the nature of humanity and questions of faith.

40. “Through the Tunnel” by Doris Lessing

“they were of that coast; all of them were burned smooth dark brown and speaking a language he did not understand. to be with them, of them, was a craving that filled his whole body.”.

Why I love it: The story focuses on overcoming limitations while an 11-year-old trains to swim through an underwater hole in a rock.

41. “The Ice Palace” by F. Scott Fitzgerald

“up in her bedroom window sally carrol happer rested her nineteen-year-old chin on a fifty-two-year-old sill and watched clark darrow’s ancient ford turn the corner.”.

Why I love it: Fitzgerald was gifted in writing about tension in love. This story is about the tension between lovers from the North and South. Read it for the story and the poetic language of Fitzgerald.

42. “The Purple Jar” by Maria Edgeworth

“‘oh mother, how happy i should be,’ said she, as she passed a toy-shop, ‘if i had all these pretty things’”.

Why I love it: It’s a simple story of the conflict between what we desire versus what we need.

43. “Birthday Party” by Katharine Brush

“there was nothing conspicuous about them, nothing particularly noticeable, until the end of their meal, when it suddenly became obvious that this was an occasion—in fact, the husband’s birthday, and the wife had planned a little surprise for him.”.

Why I love it: This is a very quick read and still manages to pack a punch.

44. “Thank You, Ma’am” by Langston Hughes

“you ought to be my son. i would teach you right from wrong.”.

Why I love it: The story is relatable and sends an important message.

45. “Girl” by Jamaica Kincaid

“this is how you smile to someone you don’t like too much; this is how you smile to someone you don’t like at all; this is how you smile to someone you like completely.”.

Why I love it: It’s a message from a mother to a daughter on how to behave.

46. “Powder” by Tobias Wolff

“my father was driving. my father in his forty-eighth year, rumpled, kind, bankrupt of honor, flushed with certainty. he was a great driver.”.

Why I love it: This is one of the great short stories for high school that explores the complexity of a father-son relationship.

47. “The Pie” by Gary Soto

“once, at the german market, i stood before a rack of pies, my sweet tooth gleaming and the juice of guilt wetting my underarms. i nearly wept.”.

Why I love it: This is one of the best short stories for high school about the strength and power of guilt in the presence of childhood and into an adulthood.

48. “Sticks” by George Saunders

“the pole was dad’s only concession to glee.”.

Why I love it: This super-short story is about a father’s tradition of decorating a pole in the yard and all that the pole represents.

49. “Marigolds” by Eugenia Collier

“for one does not have to be ignorant and poor to find that one’s life is barren as the dusty yards of our town.”.

Why I love it: This is a story about realizing that we’re growing up. This is one of the great short stories for high school students that they can connect to.

50. “The Pedestrian” by Ray Bradbury

“the multicolored or grey lights touching their faces, but never really touching them …”.

Why I love it: This story takes place in 2053. Ray Bradbury has a way of making the future feel like the present. Bradbury reminds us how important it is to not lose our humanity.

51. “The Stolen Party” by Liliana Heker

“she was so pleased with the compliment that a while later, when her mother came to fetch her, that was the first thing she told her.”.

Why I love it: This story lets us view a party through a child’s eyes and a mother’s desire to protect her daughter’s heart. 

52. “Through the Tunnel” by Doris Lessing

“he would do it if it killed him, he said defiantly to himself.”.

Why I love it: This is a story that is rich in symbolism and beautifully illustrates the transition from childhood to adulthood. 

53. “The Wretched and the Beautiful” by E. Lily Yu

“‘come out where we can see you,’ the policeman said. the rest of us were glad that someone confident and capable, someone who was not us, was handling the matter.”.

Why I love it: While this story involves aliens, it asks readers to think about what it means to be human. There is also great symbolism in this story.

54. “Cooking Time” by Anita Roy

“at that moment, all i felt was angry. i’d always known that mandy’s obsession would get us into trouble. but would she listen never.”.

Why I love it: This is a story that is set in a dystopian future where the food has been replaced by a supplement. It’s a unique take on a dystopian world as it involves a cooking show and trying to change the way the world operates.

55. “ He — Y, Come On Ou — t! ” by Shinichi Hoshi, translated by Stanleigh Jones

“whatever one wished to discard, the hole accepted it all. the hole cleansed the city of its filth. …”.

Why I love it: This is a story about a Japanese village discovering a mysterious hole and illustrates what happens when people behave selfishly.

Did you enjoy these short stories for high school students? Check out this list of Our All-Time Favorite Classroom Quotes .

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8 facts about atheists

Atheists make up 4% of U.S. adults, according to our 2023 National Public Opinion Reference Survey . That compares with 3% who described themselves as atheists in 2014 and 2% who did so in 2007 .

Here are some key facts about atheists in the United States and around the world, based on several Pew Research Center surveys.

This analysis draws on several Pew Research Center studies. Data on the share of atheists in the United States is from the  2023 National Public Opinion Reference Survey , as well as the Center’s  2007  and  2014 Religious Landscape Studies .

Other data on U.S. atheists comes from various waves of the American Trends Panel, collected in  September and December 2017 ,  February 2019 ,  September 2022 , and  July and August 2023 .

For data from countries other than the U.S., this analysis draws on nationally representative surveys conducted in 2019, 2022 and 2023. Read more details about our  international survey methodology and country-specific sample designs .

For the purposes of this analysis, “wealthy nations” are those that were classified as “high income” according to the  World Bank Income Classifications .

In the U.S., atheists are mostly men and are relatively young,  according to a Center survey conducted in summer 2023 . Around six-in-ten U.S. atheists are men (64%). And seven-in-ten are ages 49 or younger, compared with about half of U.S. adults overall (52%).

Atheists also are more likely than the general public to be White (77% vs. 62%) and have a college degree (48% vs. 34%). Roughly eight-in-ten atheists identify with or lean toward the Democratic Party.

Almost all U.S. atheists (98%) say religion is not too or not at all important in their lives, according to the same summer 2023 survey. An identical share say that they seldom or never pray.

At the same time, 79% of American atheists say they feel a deep sense of wonder about the universe at least several times a year. And 36% feel a deep sense of spiritual peace and well-being at least that often.

U.S. atheists and religiously affiliated Americans find meaning in their lives in some of the same ways. In a 2017 survey , we asked an open-ended question about this. Like a majority of Americans, most atheists mentioned family as a source of meaning.

However, atheists (26%) were far more likely than Christians (10%) to describe their hobbies as meaningful or satisfying. Atheists were also more likely than Americans overall to describe finances and money, creative pursuits, travel, and leisure activities as meaningful. Very few atheists (4%) said they found life’s meaning in spirituality.

Atheists make up a larger share of the population in many Western European countries than in the U.S.,  according to a spring 2023 Center survey that included 10 European countries. For example, nearly a quarter of French adults (23%) identify as atheists, as do 18% of adults in Sweden, 17% in the Netherlands and 12% in the United Kingdom.

Most U.S. atheists express concerns about the role religion plays in society. An overwhelming majority of atheists (94%) say that the statement “religion causes division and intolerance” describes their views a great deal or a fair amount, according to our summer 2023 survey. And 91% say the same about the statement “religion encourages superstition and illogical thinking.” Nearly three-quarters (73%) say religion does more harm than good in American society.

At the same time, 41% of atheists say religion helps society by giving people meaning and purpose in their lives, and 33% say it encourages people to treat others well.

Atheists may not believe religious teachings, but they are  quite informed about religion . In our 2019 religious knowledge survey , atheists were among the best-performing groups. On average, they answered about 18 out of 32 fact-based questions correctly, while U.S. adults overall got roughly 14 questions right. In particular, atheists were twice as likely as Americans overall to know that the U.S. Constitution says no religious test is necessary to hold public office.

Atheists were also at least as knowledgeable as Christians on Christianity-related questions. For example, roughly eight-in-ten in both groups knew that Easter commemorates the resurrection of Jesus.

Most Americans don’t think believing in God is necessary to be a good person, according to the summer 2023 survey. When we asked people which statement came closer to their views, 73% selected “it is possible to be moral and have good values without believing in God,” while 25% picked “it is necessary to believe in God in order to be moral and have good values.”

Adults in some other wealthy countries tend to agree with this sentiment, based on responses to a similar question we asked in 2019 and 2022 . For example, nine-in-ten Swedish adults say belief in God is not necessary to be moral and have good values, while 85% in Australia, 80% in the Czech Republic and 77% in France say this.

However, fewer than one-in-ten adults in some other countries surveyed say that a person can be moral without believing in God. That includes 5% of adults in Kenya, 4% in the Philippines and 2% in Indonesia. In all three nations, more than nine-in-ten say instead that a person must believe in God to be a moral person.

About three-quarters of U.S. atheists (77%) do not believe in God or a higher power  or in a spiritual force of any kind, according to our summer 2023 survey. At the same time, 23% say they do believe in a higher power of some kind, though fewer than 1% of U.S. atheists say they believe in “God as described in the Bible.”

This shows that not all self-described atheists fit the literal definition of “atheist,” which is “a person who does not believe in the existence of a god or any gods,”  according to Merriam-Webster .

Note: This is an update of a post originally published on Nov. 5, 2015. It was last updated Dec. 6, 2019.

• Atheism & Agnosticism
• Beliefs & Practices
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• Size & Demographic Characteristics of Religious Groups
• U.S. Religious Demographics

Michael Lipka is an associate director focusing on news and information research at Pew Research Center

Patricia Tevington is a research associate focusing on religion research at Pew Research Center

Kelsey Jo Starr is a research analyst focusing on religion at Pew Research Center

Around 4 in 10 Americans have become more spiritual over time; fewer have become more religious

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