thesis of a short story

What Should a Thesis Statement on an Essay About a Short Story Look Like?

How to Start a Good Book Report

A literary analysis of short stories allows writers to explain the basic elements of the story and make a deeper statement about the plot, characters, symbolism or theme. Writing such an analysis allows students to learn more about the story and gain an appreciation of literature in general. One of the most significant elements of the literary analysis is the thesis statement.

In any essay, the thesis statement establishes the purpose of the essay for the reader. A good thesis fits the assignment length, makes a statement about your overall point and includes the specific points you will give to support that idea about the story. The thesis must relate to a specific point about the short story such as the argumentative point you want to explain or defend. Place the thesis at the end of the introductory paragraph of the analysis.

When writing your thesis statement, make sure to clearly state the purpose of your essay to the reader. Narrow your focus to aspects of the story that fits the scope of the assignment, both in terms of the depth of your discussion as well as the minimum word count. For instance, saying a character is "interesting" or that many symbols appear in the story does not give your reader a clear idea of what you will discuss. Instead, choose words that emphasize your point, such as how a character's flaw causes his downfall or how a particular set of symbols illustrate the theme of the story.

The thesis for a literary analysis will determine the organization you will use in the body of the paper. Consider comparing or contrasting characters or situations, explaining a causal relationship between events in the plot, relating how a character fulfills a certain role or discussing how elements, such as the setting, illustrate the theme. Write your thesis with language like "differences," "similar," "cause," "effects" and the element or elements you will cover such as "theme," "character" and "setting."

Add subpoints to your thesis to preview the specifics you will provide in support of your thesis. These may list the characters, symbols, plot elements, similarities, differences, causes or effects you will discuss. Write these subpoints in the same order in your thesis that you will present them in the body of the paper and list them after your main idea in your thesis. For example, a good thesis might be, "The man in Jack London's 'To Build a Fire' fails in his mission due to his overconfidence in himself, his disdain toward nature’s power and his inability to retain his composure."

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• Gwynedd-Mercy College: How to Write a Literary Analysis Essay
• Purdue Online Writing Lab: Tips and Examples for Writing Thesis Statements
• Purdue Online Writing Lab: Writing in Literature: Overview
• Purdue Online Writing Lab: Developing a Thesis

Kristie Sweet has been writing professionally since 1982, most recently publishing for various websites on topics like health and wellness, and education. She holds a Master of Arts in English from the University of Northern Colorado.

Literary Criticism

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• thesis examples

SAMPLE THESIS STATEMENTS

These sample thesis statements are provided as guides, not as required forms or prescriptions.

______________________________________________________________________________________________________________

The thesis may focus on an analysis of one of the elements of fiction, drama, poetry or nonfiction as expressed in the work: character, plot, structure, idea, theme, symbol, style, imagery, tone, etc.

In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

Note that the work, author, and character to be analyzed are identified in this thesis statement. The thesis relies on a strong verb (creates). It also identifies the element of fiction that the writer will explore (character) and the characteristics the writer will analyze and discuss (determination, faith, cunning).

Further Examples:

The character of the Nurse in Romeo and Juliet serves as a foil to young Juliet, delights us with her warmth and earthy wit, and helps realize the tragic catastrophe.

The works of ecstatic love poets Rumi, Hafiz, and Kabir use symbols such as a lover’s longing and the Tavern of Ruin to illustrate the human soul’s desire to connect with God.

The thesis may focus on illustrating how a work reflects the particular genre’s forms, the characteristics of a philosophy of literature, or the ideas of a particular school of thought.

“The Third and Final Continent” exhibits characteristics recurrent in writings by immigrants: tradition, adaptation, and identity.

Note how the thesis statement classifies the form of the work (writings by immigrants) and identifies the characteristics of that form of writing (tradition, adaptation, and identity) that the essay will discuss.

Further examples:

Samuel Beckett’s Endgame reflects characteristics of Theatre of the Absurd in its minimalist stage setting, its seemingly meaningless dialogue, and its apocalyptic or nihilist vision.

A close look at many details in “The Story of an Hour” reveals how language, institutions, and expected demeanor suppress the natural desires and aspirations of women.

The thesis may draw parallels between some element in the work and real-life situations or subject matter: historical events, the author’s life, medical diagnoses, etc.

In Willa Cather’s short story, “Paul’s Case,” Paul exhibits suicidal behavior that a caring adult might have recognized and remedied had that adult had the scientific knowledge we have today.

This thesis suggests that the essay will identify characteristics of suicide that Paul exhibits in the story. The writer will have to research medical and psychology texts to determine the typical characteristics of suicidal behavior and to illustrate how Paul’s behavior mirrors those characteristics.

Through the experience of one man, the Narrative of the Life of Frederick Douglass, An American Slave, accurately depicts the historical record of slave life in its descriptions of the often brutal and quixotic relationship between master and slave and of the fragmentation of slave families.

In “I Stand Here Ironing,” one can draw parallels between the narrator’s situation and the author’s life experiences as a mother, writer, and feminist.

SAMPLE PATTERNS FOR THESES ON LITERARY WORKS

1. In (title of work), (author) (illustrates, shows) (aspect) (adjective). 

Example: In “Barn Burning,” William Faulkner shows the characters Sardie and Abner Snopes struggling for their identity.

2. In (title of work), (author) uses (one aspect) to (define, strengthen, illustrate) the (element of work).

Example: In “Youth,” Joseph Conrad uses foreshadowing to strengthen the plot.

3. In (title of work), (author) uses (an important part of work) as a unifying device for (one element), (another element), and (another element). The number of elements can vary from one to four.

Example: In “Youth,” Joseph Conrad uses the sea as a unifying device for setting, structure and theme.

4. (Author) develops the character of (character’s name) in (literary work) through what he/she does, what he/she says, what other people say to or about him/her.

Example: Langston Hughes develops the character of Semple in “Ways and Means”…

5. In (title of work), (author) uses (literary device) to (accomplish, develop, illustrate, strengthen) (element of work).

Example: In “The Masque of the Red Death,” Poe uses the symbolism of the stranger, the clock, and the seventh room to develop the theme of death.

6. (Author) (shows, develops, illustrates) the theme of __________ in the (play, poem, story).

Example: Flannery O’Connor illustrates the theme of the effect of the selfishness of the grandmother upon the family in “A Good Man is Hard to Find.”

7. (Author) develops his character(s) in (title of work) through his/her use of language.

Example: John Updike develops his characters in “A & P” through his use of figurative language.

Perimeter College, Georgia State University,  http://depts.gpc.edu/~gpcltc/handouts/communications/literarythesis.pdf

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Developing a Thesis

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Once you've read the story or novel closely, look back over your notes for patterns of questions or ideas that interest you. Have most of your questions been about the characters, how they develop or change?

For example: If you are reading Conrad's The Secret Agent , do you seem to be most interested in what the author has to say about society? Choose a pattern of ideas and express it in the form of a question and an answer such as the following: Question: What does Conrad seem to be suggesting about early twentieth-century London society in his novel The Secret Agent ? Answer: Conrad suggests that all classes of society are corrupt. Pitfalls: Choosing too many ideas. Choosing an idea without any support.

Once you have some general points to focus on, write your possible ideas and answer the questions that they suggest.

For example: Question: How does Conrad develop the idea that all classes of society are corrupt? Answer: He uses images of beasts and cannibalism whether he's describing socialites, policemen or secret agents.

To write your thesis statement, all you have to do is turn the question and answer around. You've already given the answer, now just put it in a sentence (or a couple of sentences) so that the thesis of your paper is clear.

For example: In his novel, The Secret Agent , Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth-century London society.

Now that you're familiar with the story or novel and have developed a thesis statement, you're ready to choose the evidence you'll use to support your thesis. There are a lot of good ways to do this, but all of them depend on a strong thesis for their direction.

For example: Here's a student's thesis about Joseph Conrad's The Secret Agent . In his novel, The Secret Agent , Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth-century London society. This thesis focuses on the idea of social corruption and the device of imagery. To support this thesis, you would need to find images of beasts and cannibalism within the text.

Think of yourself as a member of a jury, listening to a lawyer who is presenting an opening argument. You'll want to know very soon whether the lawyer believes the accused to be guilty or not guilty, and how the lawyer plans to convince you. Readers of academic essays are like jury members: before they have read too far, they want to know what the essay argues as well as how the writer plans to make the argument. After reading your thesis statement, the reader should think, "This essay is going to try to convince me of something. I'm not convinced yet, but I'm interested to see how I might be."

An effective thesis cannot be answered with a simple "yes" or "no." A thesis is not a topic; nor is it a fact; nor is it an opinion. "Reasons for the fall of communism" is a topic. "Communism collapsed in Eastern Europe" is a fact known by educated people. "The fall of communism is the best thing that ever happened in Europe" is an opinion. (Superlatives like "the best" almost always lead to trouble. It's impossible to weigh every "thing" that ever happened in Europe. And what about the fall of Hitler? Couldn't that be "the best thing"?)

A good thesis has two parts. It should tell what you plan to argue, and it should "telegraph" how you plan to argue—that is, what particular support for your claim is going where in your essay.

Steps in Constructing a Thesis

First, analyze your primary sources.  Look for tension, interest, ambiguity, controversy, and/or complication. Does the author contradict himself or herself? Is a point made and later reversed? What are the deeper implications of the author's argument? Figuring out the why to one or more of these questions, or to related questions, will put you on the path to developing a working thesis. (Without the why, you probably have only come up with an observation—that there are, for instance, many different metaphors in such-and-such a poem—which is not a thesis.)

Once you have a working thesis, write it down.  There is nothing as frustrating as hitting on a great idea for a thesis, then forgetting it when you lose concentration. And by writing down your thesis you will be forced to think of it clearly, logically, and concisely. You probably will not be able to write out a final-draft version of your thesis the first time you try, but you'll get yourself on the right track by writing down what you have.

Keep your thesis prominent in your introduction.  A good, standard place for your thesis statement is at the end of an introductory paragraph, especially in shorter (5-15 page) essays. Readers are used to finding theses there, so they automatically pay more attention when they read the last sentence of your introduction. Although this is not required in all academic essays, it is a good rule of thumb.

Anticipate the counterarguments.  Once you have a working thesis, you should think about what might be said against it. This will help you to refine your thesis, and it will also make you think of the arguments that you'll need to refute later on in your essay. (Every argument has a counterargument. If yours doesn't, then it's not an argument—it may be a fact, or an opinion, but it is not an argument.)

This statement is on its way to being a thesis. However, it is too easy to imagine possible counterarguments. For example, a political observer might believe that Dukakis lost because he suffered from a "soft-on-crime" image. If you complicate your thesis by anticipating the counterargument, you'll strengthen your argument, as shown in the sentence below.

Some Caveats and Some Examples

A thesis is never a question.  Readers of academic essays expect to have questions discussed, explored, or even answered. A question ("Why did communism collapse in Eastern Europe?") is not an argument, and without an argument, a thesis is dead in the water.

A thesis is never a list.  "For political, economic, social and cultural reasons, communism collapsed in Eastern Europe" does a good job of "telegraphing" the reader what to expect in the essay—a section about political reasons, a section about economic reasons, a section about social reasons, and a section about cultural reasons. However, political, economic, social and cultural reasons are pretty much the only possible reasons why communism could collapse. This sentence lacks tension and doesn't advance an argument. Everyone knows that politics, economics, and culture are important.

A thesis should never be vague, combative or confrontational.  An ineffective thesis would be, "Communism collapsed in Eastern Europe because communism is evil." This is hard to argue (evil from whose perspective? what does evil mean?) and it is likely to mark you as moralistic and judgmental rather than rational and thorough. It also may spark a defensive reaction from readers sympathetic to communism. If readers strongly disagree with you right off the bat, they may stop reading.

An effective thesis has a definable, arguable claim.  "While cultural forces contributed to the collapse of communism in Eastern Europe, the disintegration of economies played the key role in driving its decline" is an effective thesis sentence that "telegraphs," so that the reader expects the essay to have a section about cultural forces and another about the disintegration of economies. This thesis makes a definite, arguable claim: that the disintegration of economies played a more important role than cultural forces in defeating communism in Eastern Europe. The reader would react to this statement by thinking, "Perhaps what the author says is true, but I am not convinced. I want to read further to see how the author argues this claim."

A thesis should be as clear and specific as possible.  Avoid overused, general terms and abstractions. For example, "Communism collapsed in Eastern Europe because of the ruling elite's inability to address the economic concerns of the people" is more powerful than "Communism collapsed due to societal discontent."

Copyright 1999, Maxine Rodburg and The Tutors of the Writing Center at Harvard University

Thesis Statements

What this handout is about.

This handout describes what a thesis statement is, how thesis statements work in your writing, and how you can craft or refine one for your draft.

Introduction

Writing in college often takes the form of persuasion—convincing others that you have an interesting, logical point of view on the subject you are studying. Persuasion is a skill you practice regularly in your daily life. You persuade your roommate to clean up, your parents to let you borrow the car, your friend to vote for your favorite candidate or policy. In college, course assignments often ask you to make a persuasive case in writing. You are asked to convince your reader of your point of view. This form of persuasion, often called academic argument, follows a predictable pattern in writing. After a brief introduction of your topic, you state your point of view on the topic directly and often in one sentence. This sentence is the thesis statement, and it serves as a summary of the argument you’ll make in the rest of your paper.

What is a thesis statement?

A thesis statement:

• tells the reader how you will interpret the significance of the subject matter under discussion.
• is a road map for the paper; in other words, it tells the reader what to expect from the rest of the paper.
• directly answers the question asked of you. A thesis is an interpretation of a question or subject, not the subject itself. The subject, or topic, of an essay might be World War II or Moby Dick; a thesis must then offer a way to understand the war or the novel.
• makes a claim that others might dispute.
• is usually a single sentence near the beginning of your paper (most often, at the end of the first paragraph) that presents your argument to the reader. The rest of the paper, the body of the essay, gathers and organizes evidence that will persuade the reader of the logic of your interpretation.

If your assignment asks you to take a position or develop a claim about a subject, you may need to convey that position or claim in a thesis statement near the beginning of your draft. The assignment may not explicitly state that you need a thesis statement because your instructor may assume you will include one. When in doubt, ask your instructor if the assignment requires a thesis statement. When an assignment asks you to analyze, to interpret, to compare and contrast, to demonstrate cause and effect, or to take a stand on an issue, it is likely that you are being asked to develop a thesis and to support it persuasively. (Check out our handout on understanding assignments for more information.)

How do I create a thesis?

A thesis is the result of a lengthy thinking process. Formulating a thesis is not the first thing you do after reading an essay assignment. Before you develop an argument on any topic, you have to collect and organize evidence, look for possible relationships between known facts (such as surprising contrasts or similarities), and think about the significance of these relationships. Once you do this thinking, you will probably have a “working thesis” that presents a basic or main idea and an argument that you think you can support with evidence. Both the argument and your thesis are likely to need adjustment along the way.

Writers use all kinds of techniques to stimulate their thinking and to help them clarify relationships or comprehend the broader significance of a topic and arrive at a thesis statement. For more ideas on how to get started, see our handout on brainstorming .

How do I know if my thesis is strong?

If there’s time, run it by your instructor or make an appointment at the Writing Center to get some feedback. Even if you do not have time to get advice elsewhere, you can do some thesis evaluation of your own. When reviewing your first draft and its working thesis, ask yourself the following :

• Do I answer the question? Re-reading the question prompt after constructing a working thesis can help you fix an argument that misses the focus of the question. If the prompt isn’t phrased as a question, try to rephrase it. For example, “Discuss the effect of X on Y” can be rephrased as “What is the effect of X on Y?”
• Have I taken a position that others might challenge or oppose? If your thesis simply states facts that no one would, or even could, disagree with, it’s possible that you are simply providing a summary, rather than making an argument.
• Is my thesis statement specific enough? Thesis statements that are too vague often do not have a strong argument. If your thesis contains words like “good” or “successful,” see if you could be more specific: why is something “good”; what specifically makes something “successful”?
• Does my thesis pass the “So what?” test? If a reader’s first response is likely to  be “So what?” then you need to clarify, to forge a relationship, or to connect to a larger issue.
• Does my essay support my thesis specifically and without wandering? If your thesis and the body of your essay do not seem to go together, one of them has to change. It’s okay to change your working thesis to reflect things you have figured out in the course of writing your paper. Remember, always reassess and revise your writing as necessary.
• Does my thesis pass the “how and why?” test? If a reader’s first response is “how?” or “why?” your thesis may be too open-ended and lack guidance for the reader. See what you can add to give the reader a better take on your position right from the beginning.

Suppose you are taking a course on contemporary communication, and the instructor hands out the following essay assignment: “Discuss the impact of social media on public awareness.” Looking back at your notes, you might start with this working thesis:

Social media impacts public awareness in both positive and negative ways.

You can use the questions above to help you revise this general statement into a stronger thesis.

• Do I answer the question? You can analyze this if you rephrase “discuss the impact” as “what is the impact?” This way, you can see that you’ve answered the question only very generally with the vague “positive and negative ways.”
• Have I taken a position that others might challenge or oppose? Not likely. Only people who maintain that social media has a solely positive or solely negative impact could disagree.
• Is my thesis statement specific enough? No. What are the positive effects? What are the negative effects?
• Does my thesis pass the “how and why?” test? No. Why are they positive? How are they positive? What are their causes? Why are they negative? How are they negative? What are their causes?
• Does my thesis pass the “So what?” test? No. Why should anyone care about the positive and/or negative impact of social media?

After thinking about your answers to these questions, you decide to focus on the one impact you feel strongly about and have strong evidence for:

Because not every voice on social media is reliable, people have become much more critical consumers of information, and thus, more informed voters.

This version is a much stronger thesis! It answers the question, takes a specific position that others can challenge, and it gives a sense of why it matters.

Let’s try another. Suppose your literature professor hands out the following assignment in a class on the American novel: Write an analysis of some aspect of Mark Twain’s novel Huckleberry Finn. “This will be easy,” you think. “I loved Huckleberry Finn!” You grab a pad of paper and write:

Mark Twain’s Huckleberry Finn is a great American novel.

You begin to analyze your thesis:

• Do I answer the question? No. The prompt asks you to analyze some aspect of the novel. Your working thesis is a statement of general appreciation for the entire novel.

Think about aspects of the novel that are important to its structure or meaning—for example, the role of storytelling, the contrasting scenes between the shore and the river, or the relationships between adults and children. Now you write:

In Huckleberry Finn, Mark Twain develops a contrast between life on the river and life on the shore.

• Do I answer the question? Yes!
• Have I taken a position that others might challenge or oppose? Not really. This contrast is well-known and accepted.
• Is my thesis statement specific enough? It’s getting there–you have highlighted an important aspect of the novel for investigation. However, it’s still not clear what your analysis will reveal.
• Does my thesis pass the “how and why?” test? Not yet. Compare scenes from the book and see what you discover. Free write, make lists, jot down Huck’s actions and reactions and anything else that seems interesting.
• Does my thesis pass the “So what?” test? What’s the point of this contrast? What does it signify?”

After examining the evidence and considering your own insights, you write:

Through its contrasting river and shore scenes, Twain’s Huckleberry Finn suggests that to find the true expression of American democratic ideals, one must leave “civilized” society and go back to nature.

This final thesis statement presents an interpretation of a literary work based on an analysis of its content. Of course, for the essay itself to be successful, you must now present evidence from the novel that will convince the reader of your interpretation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Anson, Chris M., and Robert A. Schwegler. 2010. The Longman Handbook for Writers and Readers , 6th ed. New York: Longman.

Lunsford, Andrea A. 2015. The St. Martin’s Handbook , 8th ed. Boston: Bedford/St Martin’s.

Ramage, John D., John C. Bean, and June Johnson. 2018. The Allyn & Bacon Guide to Writing , 8th ed. New York: Pearson.

Ruszkiewicz, John J., Christy Friend, Daniel Seward, and Maxine Hairston. 2010. The Scott, Foresman Handbook for Writers , 9th ed. Boston: Pearson Education.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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12.14: Sample Student Literary Analysis Essays

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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 )

When You Write

Do Short Stories Have A Thesis? The Answer May Surprise You

Did you know that short stories can have a thesis? It’s true! Many people assume that only longer works like novels and academic papers have central ideas, but short stories can pack a powerful punch with a clear message as well.

In fact, the brevity of a short story can make its thesis even more impactful. So, whether you’re a writer or a reader, it’s important to understand the potential for meaning and depth in short fiction.

As you dive into the world of short stories, you’ll discover that they come in many different forms and styles. Some are plot-driven, while others are character-driven. Some are lighthearted and humorous, while others are dark and brooding.

But no matter the genre or tone, a well-crafted short story will often have a central idea or theme that ties everything together. This might be a moral lesson, a commentary on society, or a personal reflection on the human experience.

So, get ready to explore the power of short stories and uncover the surprising world of thesis in bite-sized literature.

Key Takeaways

• Short stories have a central idea or theme that acts as a thesis for the story.
• The structure of a short story follows a simple pattern with an introduction, rising action, climax, falling action, and conclusion.
• Short stories are different from longer works in their conciseness, focused themes, and reliance on reader interpretation.
• Short stories can be incredibly powerful and impactful, conveying deep meaning and leaving a lasting impression on readers.

Understanding the Structure of Short Stories

You might be wondering how short stories are structured, but don’t worry, it’s not as complicated as you may think!

Understanding the structure of a short story can help you better appreciate the narrative elements that make it a compelling read.

At its core, a short story typically follows a simple structure that includes an introduction, rising action, climax, falling action, and conclusion.

The introduction sets the scene and introduces the characters, while the rising action builds tension and conflict.

The climax is the turning point of the story, where the conflict reaches its peak.

The falling action follows the climax and leads to the conclusion, where the conflict is resolved, and the story ends.

By understanding this structure, you can better appreciate the narrative elements of the story, such as the characters, setting, conflict, and resolution.

Examples of Short Stories with Central Ideas

So, you wanna explore some examples of short stories with central ideas? Well, let’s dive into Edgar Allan Poe’s haunting tale ‘The Tell-Tale Heart’. The narrator’s guilt over a murder drives him to confess.

Or perhaps you’re interested in Kate Chopin’s ‘The Story of an Hour’. It explores the complex emotions of a woman who learns of her husband’s death.

And let’s not forget Ernest Hemingway’s ‘Hills Like White Elephants’. It’s a powerful story about a couple’s struggle with a difficult decision.

These stories all have central ideas that drive the plot and leave a lasting impact on the reader.

Edgar Allan Poe’s “The Tell-Tale Heart”

Contrary to popular belief, Edgar Allan Poe’s short story ‘The Tell-Tale Heart’ does indeed have a clear and thought-provoking thesis statement. The story is not just a random collection of events, but a carefully crafted piece of literature that explores the psychological tension within the main character and the symbolism surrounding the old man’s eye.

To understand the thesis of ‘The Tell-Tale Heart’, it is essential to analyze the symbolism and characterization in the story. The narrator’s obsession with the old man’s vulture-like eye represents his own inner turmoil and guilt. The eye is a metaphor for the narrator’s conscience, which he ultimately destroys by murdering the old man.

Additionally, the characterization of the narrator as an unreliable and mentally unstable individual highlights the destructive power of guilt and obsession. These elements work together to convey Poe’s thesis that guilt and obsession can lead to madness and self-destruction.

Kate Chopin’s “The Story of an Hour”

If you’re looking for a compelling short story that delves into the complexities of human emotion, Kate Chopin’s ‘The Story of an Hour’ is a must-read, even if you may initially dismiss it as just another piece of feminist literature.

The story, written in 1894, follows the life of Mrs. Mallard, a woman who just received the news of her husband’s death. However, as the plot unfolds, we see that Mrs. Mallard’s reaction to her husband’s death is not what we would expect. Instead of being consumed by grief, she experiences a sense of liberation, freedom, and joy.

Chopin’s use of symbolism is evident throughout the story. For instance, the open window in Mrs. Mallard’s room represents the possibility of new beginnings and the chance to escape from the social constraints that were imposed on women during that time. Also, the heart disease that Mrs. Mallard suffers from is a metaphor for the emotional and psychological burden that society imposed on her.

The story provides a feminist perspective, as it highlights the limitations that were imposed on women in the 19th century and the possibility of freedom that they could experience when their husbands were no longer around.

Ernest Hemingway’s “Hills Like White Elephants”

You’ll feel like you’re eavesdropping on a couple’s conversation as you read Ernest Hemingway’s ‘Hills Like White Elephants’, set in a train station in Spain. The story revolves around a man and a woman who are discussing whether or not to undergo an abortion.

The author doesn’t explicitly state the topic of their conversation but rather uses symbolism to convey the message. The hills, the white elephant, and the train tracks all have a deeper meaning that adds to the complexity of the story.

A symbolism analysis reveals that the hills represent the woman’s pregnancy, the white elephant symbolizes the unwanted burden of having a child, and the train tracks symbolize the irreversible decision they are about to make.

As you read, you’ll notice that the woman’s motivation for wanting to keep the child stems from her desire to have a meaningful relationship with the man. However, the man’s motivation for wanting her to have an abortion is rooted in his fear of losing his freedom and his desire to continue living a carefree life.

The story ends abruptly, leaving the reader to draw their own conclusion about what decision the couple ultimately made. Hemingway’s use of symbolism and character motivation examination makes ‘Hills Like White Elephants’ a thought-provoking and memorable short story.

How Short Stories Differ from Longer Works

As you dive into a short story, you’ll find that it’s like a small gemstone, with all the facets of a larger work condensed and shining brilliantly in a compact space. Unlike longer works, short stories have to be concise in their storytelling techniques. They have to grab your attention quickly and keep it throughout the entire story.

Here are three ways that short stories differ from longer works:

• Short stories have a limited amount of time and space to convey their themes. This means that every sentence, every word, has to count. The author has to choose their words carefully to make sure that the story has impact.
• Short stories often have a more focused theme than longer works. While a novel may have multiple themes, a short story will usually have one central idea that it’s exploring. This means that the author can delve deep into that theme and explore it thoroughly.
• Short stories often leave more up to the reader’s interpretation than longer works. Because there isn’t as much room for exposition, the author has to rely on the reader to fill in some of the gaps. This can make the story more engaging, as the reader becomes an active participant in the story.

Overall, short stories are a unique and challenging form of storytelling. They require precision and focus, but when done well, they can be incredibly powerful. As you read more short stories, keep these differences in mind and see if you can spot them in action.

The Potential for Power and Impact in Short Stories

Short stories possess a unique potential for wielding powerful and impactful storytelling that can leave a lasting impression on readers. The power of brevity is a key aspect of short stories that allows authors to explore themes in a concise and effective manner.

Through carefully crafted characters, settings, and plotlines, short stories can pack a punch and leave readers with a sense of fulfillment that longer works may not achieve.

In addition, short stories allow for experimentation and innovation in storytelling. Authors can take risks and push boundaries, using their limited word count to their advantage. This leaves readers with a sense of excitement and anticipation as they never know what to expect from a short story.

Overall, the potential for power and impact in short stories should not be underestimated, as they have the ability to convey deep meaning and leave a lasting impression on their readers in a way that longer works may not.

Tips for Writing Short Stories with a Central Idea

If you want to craft a short story with a powerful central idea, consider using symbolism and imagery to allude to deeper meaning throughout your narrative. This can create tension and intrigue for your readers as they try to decipher the underlying message of your story.

For example, you could use a recurring object or color throughout the story that represents a certain theme or idea.

In addition to using symbolism, developing strong and dynamic characters is essential for a short story with a central idea. Your characters should be complex and multi-dimensional, with flaws and motivations that drive the plot forward.

By creating characters that readers can relate to, you can further emphasize the central idea of your story and make it more impactful. So, when crafting your short story, be intentional about the symbols and characters you use to convey your central idea.

You may have been skeptical at first, but hopefully you now understand how even the shortest of stories can pack a powerful punch with a clear message or theme.

With careful crafting and attention to detail, a writer can use the limited space of a short story to convey a complex idea or emotion. Imagine each word as a brushstroke on a canvas, creating a vivid image in the reader’s mind.

So, whether you’re a writer looking to hone your craft or a reader seeking thought-provoking stories, don’t overlook the potential of short fiction.

Within those few pages, you may just find a world of ideas waiting to be explored.

Recommended Reading...

Why short stories are important for readers and writers alike, why do authors use short stories the advantages of this genre, why are short stories so hard to write understanding the challenges, what is a novelette exploring the short story genre.

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A Summary and Analysis of Ray Bradbury’s ‘There Will Come Soft Rains’

By Dr Oliver Tearle (Loughborough University)

‘There Will Come Soft Rains’ is, like many stories Ray Bradbury (1920-2012) wrote in the early 1950s, haunted by the fear of nuclear war. Sometimes known by the slightly longer title, ‘August 2026: There Will Come Soft Rains’, the story appeared in Bradbury’s 1951 collection The Martian Chronicles and remains one of his best-known and most widely studied short stories.

The story is set in a house in 2026, when nuclear war has annihilated human life. However, the technological devices in the house, such as the mechanical clock and dishwasher, continue to perform their daily automated duties, until they, too, are overwhelmed and destroyed by the forces of nature.

‘There Will Come Soft Rains’: plot summary

The setting of the story is a house in the year 2026. A clock announces the date, August 4, 2026, and tells the members of the house that it is time to wake up. However, there are no signs of human activity, or even habitation, within the house.

The various contraptions in the house continue to prepare everything for the day, but the humans these machines are designed to ‘serve’ don’t show up. Machines in the kitchen prepare eggs and toast for breakfast, but the food goes untouched, and is poured down a waste-disposal unit, with the dirty plates being washed by an automated washer. Tiny robotic mice appear out of the wall and clean the house.

At noon, the family dog returns and the automated front door recognises the sound of its whine and opens to let it inside. It is shivering, emaciated, and covered in sores: although it’s not stated, it’s implied that this is a result of the nuclear attack which killed the dog’s owners. The dog traipses mud into the house, and the robotic mice promptly clean up after him. The debris is then deposited in an incinerator which the narrator likens to ‘evil Baal’, a ‘false god’ from the Bible.

In the afternoon, the automated devices in the house continue to prepare things for its owners, but there are still no humans in sight: the cards laid out for a game remain untouched and are cleared away. A robotic voice reads a poem chosen at random (something it does every day for the mother of the family): today, the poem is Sara Teasdale’s ‘ There Will Come Soft Rains ’, a poem about ‘wartime’ which describes what the world would be like if ‘mankind perished utterly’: in summary, nature would not care and the world would carry on.

Next, a wind gets up and causes a fire in the house. The house responds by turning on water sprinklers to douse the fire, but this fails to put the fire out. The house is destroyed and the technology in it fails, with only the mechanical voice which opened the story ‘surviving’ to announce, the next morning, the new date of August 5, 2026, over and over again.

‘There Will Come Soft Rains’: analysis

‘There Will Come Soft Rains’ takes its title from Teasdale’s poem, which was written during the First World War of 1914-18: the first mass industrial war. By 1951, when Bradbury borrowed Teasdale’s title for his story, technology had made war on an even vaster and more destructive scale possible, as the bombing of the Japanese cities of Hiroshima and Nagasaki had shown in 1945.

This is the main theme of Bradbury’s story: nuclear annihilation. But there are several grim ironies which Bradbury explores and reveals in ‘There Will Come Soft Rains’. First, the technology in the story, all of the robotic mice and mechanical labour-saving devices, are part and parcel will the technological and scientific ‘progress’ which led to the development of the atomic bomb. Bradbury is inviting us to ask whether technological progress is in itself a good thing: instead, much comes down to how it is used by humans.

Second, the technological aids which fill the house were powerless to protect the house’s inhabitants from a horrible death in the nuclear blast. The robotic mice may continue to clean and the clock persist in announcing the date and time, but this is just a reminder of the emptiness which otherwise fills the house which was designed for human habitation.

This makes all of these technological developments almost laughably pathetic when some other scientific breakthrough – nuclear fission – can make it possible for humans to wipe each other from the face of the earth. Having a mechanised voice read you a poem every evening is a small consolation for the prospect of a nuclear winter.

Finally, and perhaps most poetically of all, there is the dark irony which Bradbury took from Teasdale’s poem, ‘There Will Come Soft Rains’. Even the most powerful man-made device of them all, the atom bomb, is dwarfed by the hardy persistence of nature. All it takes is a gust of wind to start a fire, and these two natural phenomena succeed in wiping out all of the remaining technology with the (again, almost grimly comical) voice of the mechanical clock announcing the new day.

With this in mind, Bradbury’s story might be productively compared – in a sort of comparative analysis – with the Wallace Stevens poem, ‘ A Postcard from the Volcano ’, which was published fifteen years before Bradbury’s story but which also offers a post-apocalyptic landscape (specifically, one written, like Bradbury’s from an American perspective) in which mankind has been forgotten and nature goes on.

It’s worth remembering that the United States of the 1950s was, for many, a time of great optimism: America had helped the Allies to win the war in 1945, and, particularly for middle-class America, this was an era of great hope and prosperity.

But it was also a time when the Cold War between the US and the USSR was starting to worry the authorities: the 1950s was the decade of Senator McCarthy ’s anti-Communist witch hunts, and Americans were only too aware that their victory in the recent world war had largely been made possible by unleashing a dangerous new weapon upon their enemies. What would happen if the Soviet Union developed, and then launched, atomic bombs on America?

Of course, in an era in which our houses are filled with voice-activated technology, security cameras, electric dishwashers, broadband, and the rest of it (and living, lest we forget, in an age dangerously close to the year in which Bradbury’s story is set, 2026), Bradbury’s vision of a home dominated by such technology has largely come true. It was the architect Le Corbusier who declared that a house is ‘a machine for living in’, but in Bradbury’s story the machine has been stripped of its life.

All of the technology mimics human activity in some way: the clock mimics human speech, and the mechanical mice (almost like something out of a fairy tale or Tchaikovsky ballet) mimic human cleaners.

Bradbury also uses a number of similes and metaphors which describe the house as a human body of sorts: he describes the house as having a ‘paranoia’ which is ‘old-maidenly’ in its nature, and he refers to the ‘nerves’, ‘veins’, and ‘capillaries’ of the house, as if it were a vast living organism itself.

The irony should not be lost on us: the simile is there to point up the ironic distance between the technological house and the recently destroyed humans for whom it was built. However, what does unite the house with its former occupants is that both will ultimately be destroyed by forces greater than themselves.

Bradbury’s reference to the incinerator, which he likens, in another simile, to ‘evil Baal’, is also revealing on several levels. The vent of the contraption is described as ‘sighing’: yet another sign of the house’s imitation of human behaviour. But Baal was a false god worshipped by people in the Old Testament. Bradbury’s point is obvious: like Baal, this incinerator – and, by extension, all technology – is a false god or idol which we worship at our peril.

The fact that the machine so described is an incinerator, something which destroys things by fire, both looks back to the nuclear fire which destroyed the family of the house but also prefigures the burning up of the house in the conflagration at the end of the story.

If we recall that Baal also features as a character in Milton’s Paradise Lost (1667), in which he is a close associate of Satan in (fiery) hell, we realise that, whilst Bradbury’s story is not overtly religious, he is drawing on such Christian associations in order to suggest the hell, not just of nuclear war, but also a world overly reliant on technology at the cost of human life.

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The short story is a fiction writer’s laboratory: here is where you can experiment with characters, plots, and ideas without the heavy lifting of writing a novel. Learning how to write a short story is essential to mastering the art of storytelling . With far fewer words to worry about, storytellers can make many more mistakes—and strokes of genius!—through experimentation and the fun of fiction writing.

Nonetheless, the art of writing short stories is not easy to master. How do you tell a complete story in so few words? What does a story need to have in order to be successful? Whether you’re struggling with how to write a short story outline, or how to fully develop a character in so few words, this guide is your starting point.

Famous authors like Virginia Woolf, Haruki Murakami, and Agatha Christie have used the short story form to play with ideas before turning those stories into novels. Whether you want to master the elements of fiction, experiment with novel ideas, or simply have fun with storytelling, here’s everything you need on how to write a short story step by step.

The Core Elements of a Short Story

There’s no secret formula to writing a short story. However, a good short story will have most or all of the following elements:

• A protagonist with a certain desire or need. It is essential for the protagonist to want something they don’t have, otherwise they will not drive the story forward.
• A clear dilemma. We don’t need much backstory to see how the dilemma started; we’re primarily concerned with how the protagonist resolves it.
• A decision. What does the protagonist do to resolve their dilemma?
• A climax. In Freytag’s Pyramid , the climax of a story is when the tension reaches its peak, and the reader discovers the outcome of the protagonist’s decision(s).
• An outcome. How does the climax change the protagonist? Are they a different person? Do they have a different philosophy or outlook on life?

Of course, short stories also utilize the elements of fiction , such as a setting , plot , and point of view . It helps to study these elements and to understand their intricacies. But, when it comes to laying down the skeleton of a short story, the above elements are what you need to get started.

Note: a short story rarely, if ever, has subplots. The focus should be entirely on a single, central storyline. Subplots will either pull focus away from the main story, or else push the story into the territory of novellas and novels.

The shorter the story is, the fewer of these elements are essentials. If you’re interested in writing short-short stories, check out our guide on how to write flash fiction .

How to Write a Short Story Outline

Some writers are “pantsers”—they “write by the seat of their pants,” making things up on the go with little more than an idea for a story. Other writers are “plotters,” meaning they decide the story’s structure in advance of writing it.

You don’t need a short story outline to write a good short story. But, if you’d like to give yourself some scaffolding before putting words on the page, this article answers the question of how to write a short story outline:

https://writers.com/how-to-write-a-story-outline

How to Write a Short Story Step by Step

There are many ways to approach the short story craft, but this method is tried-and-tested for writers of all levels. Here’s how to write a short story step by step.

1. Start With an Idea

Often, generating an idea is the hardest part. You want to write, but what will you write about?

What’s more, it’s easy to start coming up with ideas and then dismissing them. You want to tell an authentic, original story, but everything you come up with has already been written, it seems.

Here are a few tips:

• Originality presents itself in your storytelling, not in your ideas. For example, the premise of both Shakespeare’s A Midsummer Night’s Dream and Ostrovsky’s The Snow Maiden are very similar: two men and two women, in intertwining love triangles, sort out their feelings for each other amidst mischievous forest spirits, love potions, and friendship drama. The way each story is written makes them very distinct from one another, to the point where, unless it’s pointed out to you, you might not even notice the similarities.
• An idea is not a final draft. You will find that exploring the possibilities of your story will generate something far different than the idea you started out with. This is a good thing—it means you made the story your own!
• Experiment with genres and tropes. Even if you want to write literary fiction , pay attention to the narrative structures that drive genre stories, and practice your storytelling using those structures. Again, you will naturally make the story your own simply by playing with ideas.

If you’re struggling simply to find ideas, try out this prompt generator , or pull prompts from this Twitter .

2. Outline, OR Conceive Your Characters

If you plan to outline, do so once you’ve generated an idea. You can learn about how to write a short story outline earlier in this article.

If you don’t plan to outline, you should at least start with a character or characters. Certainly, you need a protagonist, but you should also think about any characters that aid or inhibit your protagonist’s journey.

When thinking about character development, ask the following questions:

• What is my character’s background? Where do they come from, how did they get here, where do they want to be?
• What does your character desire the most? This can be both material or conceptual, like “fitting in” or “being loved.”
• What is your character’s fatal flaw? In other words, what limitation prevents the protagonist from achieving their desire? Often, this flaw is a blind spot that directly counters their desire. For example, self hatred stands in the way of a protagonist searching for love.
• How does your character think and speak? Think of examples, both fictional and in the real world, who might resemble your character.

In short stories, there are rarely more characters than a protagonist, an antagonist (if relevant), and a small group of supporting characters. The more characters you include, the longer your story will be. Focus on making only one or two characters complex: it is absolutely okay to have the rest of the cast be flat characters that move the story along.

Learn more about character development here:

https://writers.com/character-development-definition

3. Write Scenes Around Conflict

Once you have an outline or some characters, start building scenes around conflict. Every part of your story, including the opening sentence, should in some way relate to the protagonist’s conflict.

Conflict is the lifeblood of storytelling: without it, the reader doesn’t have a clear reason to keep reading. Loveable characters are not enough, as the story has to give the reader something to root for.

Take, for example, Edgar Allan Poe’s classic short story The Cask of Amontillado . We start at the conflict: the narrator has been slighted by Fortunato, and plans to exact revenge. Every scene in the story builds tension and follows the protagonist as he exacts this revenge.

In your story, start writing scenes around conflict, and make sure each paragraph and piece of dialogue relates, in some way, to your protagonist’s unmet desires.

4. Write Your First Draft

The scenes you build around conflict will eventually be stitched into a complete story. Make sure as the story progresses that each scene heightens the story’s tension, and that this tension remains unbroken until the climax resolves whether or not your protagonist meets their desires.

Don’t stress too hard on writing a perfect story. Rather, take Anne Lamott’s advice, and “write a shitty first draft.” The goal is not to pen a complete story at first draft; rather, it’s to set ideas down on paper. You are simply, as Shannon Hale suggests, “shoveling sand into a box so that later [you] can build castles.”

5. Step Away, Breathe, Revise

Whenever Stephen King finishes a novel, he puts it in a drawer and doesn’t think about it for 6 weeks. With short stories, you probably don’t need to take as long of a break. But, the idea itself is true: when you’ve finished your first draft, set it aside for a while. Let yourself come back to the story with fresh eyes, so that you can confidently revise, revise, revise .

In revision, you want to make sure each word has an essential place in the story, that each scene ramps up tension, and that each character is clearly defined. The culmination of these elements allows a story to explore complex themes and ideas, giving the reader something to think about after the story has ended.

6. Compare Against Our Short Story Checklist

Does your story have everything it needs to succeed? Compare it against this short story checklist, as written by our instructor Rosemary Tantra Bensko.

Below is a collection of practical short story writing tips by Writers.com instructor Rosemary Tantra Bensko . Each paragraph is its own checklist item: a core element of short story writing advice to follow unless you have clear reasons to the contrary. We hope it’s a helpful resource in your own writing.

Update 9/1/2020: We’ve now made a summary of Rosemary’s short story checklist available as a PDF download . Enjoy!

Click to download

How to Write a Short Story: Length and Setting

Your short story is 1000 to 7500 words in length.

The story takes place in one time period, not spread out or with gaps other than to drive someplace, sleep, etc. If there are those gaps, there is a space between the paragraphs, the new paragraph beginning flush left, to indicate a new scene.

Each scene takes place in one location, or in continual transit, such as driving a truck or flying in a plane.

How to Write a Short Story: Point of View

Unless it’s a very lengthy Romance story, in which there may be two Point of View (POV) characters, there is one POV character. If we are told what any character secretly thinks, it will only be the POV character. The degree to which we are privy to the unexpressed thoughts, memories and hopes of the POV character remains consistent throughout the story.

You avoid head-hopping by only having one POV character per scene, even in a Romance. You avoid straying into even brief moments of telling us what other characters think other than the POV character. You use words like “apparently,” “obviously,” or “supposedly” to suggest how non-POV-characters think rather than stating it.

How to Write a Short Story: Protagonist, Antagonist, Motivation

Your short story has one clear protagonist who is usually the character changing most.

Your story has a clear antagonist, who generally makes the protagonist change by thwarting his goals.

(Possible exception to the two short story writing tips above: In some types of Mystery and Action stories, particularly in a series, etc., the protagonist doesn’t necessarily grow personally, but instead his change relates to understanding the antagonist enough to arrest or kill him.)

The protagonist changes with an Arc arising out of how he is stuck in his Flaw at the beginning of the story, which makes the reader bond with him as a human, and feel the pain of his problems he causes himself. (Or if it’s the non-personal growth type plot: he’s presented at the beginning of the story with a high-stakes problem that requires him to prevent or punish a crime.)

The protagonist usually is shown to Want something, because that’s what people normally do, defining their personalities and behavior patterns, pushing them onward from day to day. This may be obvious from the beginning of the story, though it may not become heightened until the Inciting Incident , which happens near the beginning of Act 1. The Want is usually something the reader sort of wants the character to succeed in, while at the same time, knows the Want is not in his authentic best interests. This mixed feeling in the reader creates tension.

The protagonist is usually shown to Need something valid and beneficial, but at first, he doesn’t recognize it, admit it, honor it, integrate it with his Want, or let the Want go so he can achieve the Need instead. Ideally, the Want and Need can be combined in a satisfying way toward the end for the sake of continuity of forward momentum of victoriously achieving the goals set out from the beginning. It’s the encounters with the antagonist that forcibly teach the protagonist to prioritize his Needs correctly and overcome his Flaw so he can defeat the obstacles put in his path.

The protagonist in a personal growth plot needs to change his Flaw/Want but like most people, doesn’t automatically do that when faced with the problem. He tries the easy way, which doesn’t work. Only when the Crisis takes him to a low point does he boldly change enough to become victorious over himself and the external situation. What he learns becomes the Theme.

Each scene shows its main character’s goal at its beginning, which aligns in a significant way with the protagonist’s overall goal for the story. The scene has a “charge,” showing either progress toward the goal or regression away from the goal by the ending. Most scenes end with a negative charge, because a story is about not obtaining one’s goals easily, until the end, in which the scene/s end with a positive charge.

The protagonist’s goal of the story becomes triggered until the Inciting Incident near the beginning, when something happens to shake up his life. This is the only major thing in the story that is allowed to be a random event that occurs to him.

How to Write a Short Story: Characters

Your characters speak differently from one another, and their dialogue suggests subtext, what they are really thinking but not saying: subtle passive-aggressive jibes, their underlying emotions, etc.

Your characters are not illustrative of ideas and beliefs you are pushing for, but come across as real people.

How to Write a Short Story: Prose

Your language is succinct, fresh and exciting, specific, colorful, avoiding clichés and platitudes. Sentence structures vary. In Genre stories, the language is simple, the symbolism is direct, and words are well-known, and sentences are relatively short. In Literary stories, you are freer to use more sophisticated ideas, words, sentence structures and underlying metaphors and implied motifs.

How to Write a Short Story: Story Structure

Your plot elements occur in the proper places according to classical Act Structure so the reader feels he has vicariously gone through a harrowing trial with the protagonist and won, raising his sense of hope and possibility. Literary short stories may be more subtle, with lower stakes, experimenting beyond classical structures like the Hero’s Journey. They can be more like vignettes sometimes, or even slice-of-life, though these types are hard to place in publications.

In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape. In Literary short stories, you are free to explore uncertainty, ambiguity, and inchoate, realistic endings that suggest multiple interpretations, and unresolved issues.

Some Literary stories may be nonrealistic, such as with Surrealism, Absurdism, New Wave Fabulism, Weird and Magical Realism . If this is what you write, they still need their own internal logic and they should not be bewildering as to the what the reader is meant to experience, whether it’s a nuanced, unnameable mood or a trip into the subconscious.

Literary stories may also go beyond any label other than Experimental. For example, a story could be a list of To Do items on a paper held by a magnet to a refrigerator for the housemate to read. The person writing the list may grow more passive-aggressive and manipulative as the list grows, and we learn about the relationship between the housemates through the implied threats and cajoling.

How to Write a Short Story: Capturing Reader Interest

Your short story is suspenseful, meaning readers hope the protagonist will achieve his best goal, his Need, by the Climax battle against the antagonist.

Your story entertains. This is especially necessary for Genre short stories.

The story captivates readers at the very beginning with a Hook, which can be a puzzling mystery to solve, an amazing character’s or narrator’s Voice, an astounding location, humor, a startling image, or a world the reader wants to become immersed in.

Expository prose (telling, like an essay) takes up very, very little space in your short story, and it does not appear near the beginning. The story is in Narrative format instead, in which one action follows the next. You’ve removed every unnecessary instance of Expository prose and replaced it with showing Narrative. Distancing words like “used to,” “he would often,” “over the years, he,” “each morning, he” indicate that you are reporting on a lengthy time period, summing it up, rather than sticking to Narrative format, in which immediacy makes the story engaging.

You’ve earned the right to include Expository Backstory by making the reader yearn for knowing what happened in the past to solve a mystery. This can’t possibly happen at the beginning, obviously. Expository Backstory does not take place in the first pages of your story.

Your reader cares what happens and there are high stakes (especially important in Genre stories). Your reader worries until the end, when the protagonist survives, succeeds in his quest to help the community, gets the girl, solves or prevents the crime, achieves new scientific developments, takes over rule of his realm, etc.

Every sentence is compelling enough to urge the reader to read the next one—because he really, really wants to—instead of doing something else he could be doing. Your story is not going to be assigned to people to analyze in school like the ones you studied, so you have found a way from the beginning to intrigue strangers to want to spend their time with your words.

Where to Read and Submit Short Stories

Whether you’re looking for inspiration or want to publish your own stories, you’ll find great literary journals for writers of all backgrounds at this article:

https://writers.com/short-story-submissions

Learn How to Write a Short Story at Writers.com

The short story takes an hour to learn and a lifetime to master. Learn how to write a short story with Writers.com. Our upcoming fiction courses will give you the ropes to tell authentic, original short stories that captivate and entrance your readers.

Rosemary – Is there any chance you could add a little something to your checklist? I’d love to know the best places to submit our short stories for publication. Thanks so much.

Hi, Kim Hanson,

Some good places to find publications specific to your story are NewPages, Poets and Writers, Duotrope, and The Submission Grinder.

“ In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape.”

Not just no but NO.

See for example the work of MacArthur Fellow Kelly Link.

[…] How to Write a Short Story: The Short Story Checklist […]

Thank you for these directions and tips. It’s very encouraging to someone like me, just NOW taking up writing.

[…] Writers.com. A great intro to writing. https://writers.com/how-to-write-a-short-story […]

Hello: I started to write seriously in the late 70’s. I loved to write in High School in the early 60’s but life got in the way. Around the 00’s many of the obstacles disappeared. Since then I have been writing more, and some of my work was vanilla transgender stories. Here in 2024 transgender stories have become tiresome because I really don’t have much in common with that mind set.

The glare of an editor that could potentially pay me is quite daunting, so I would like to start out unpaid to see where that goes. I am not sure if a writer’s agent would be a good fit for me. My work life was in the Trades, not as some sort of Academic. That alone causes timidity, but I did read about a fiction writer who had been a house painter.

This is my first effort to publish since the late 70’s. My pseudonym would perhaps include Ahabidah.

Gwen Boucher.

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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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Theses on the Short Story

I n one of his notebooks, Chekhov recorded the following anecdote: ‘A man in Monte Carlo goes to the casino, wins a million, returns home, commits suicide.’ The classic form of the short story is condensed within the nucleus of that future, unwritten story. Contrary to the predictable and conventional (gamble–lose–commit suicide), the intrigue is presented as a paradox. The anecdote disconnects the story of the gambling and the story of the suicide. That rupture is the key to defining the double character of the story’s form. First thesis: a short story always tells two stories.

The classic short story—Poe, Quiroga footnote 1 —narrates Story One (the tale of the gambling) in the foreground, and constructs Story Two (the tale of the suicide) in secret. The art of the short story writer consists in knowing how to encode Story Two in the interstices of Story One. A visible story hides a secret tale, narrated in an elliptical and fragmentary manner. The effect of surprise is produced when the end of the secret story appears on the surface.

Each of the two stories is told in a different manner. Working with two stories means working with two different systems of causality. The same events enter simultaneously into two antagonistic narrative logics. The essential elements of the story have a dual function, and are employed in different ways in each of the two stories. The points where they intersect are the foundations of the story’s construction.

Near the beginning of Borges’s ‘Death and the Compass’, a shopkeeper decides to publish a book. This book is there because it is indispensable to the framework of the secret story. How to arrange things so that a gangster like Red Scharlach is well informed about complex Jewish traditions, and capable of laying a mystical and philosophical trap for Lönnrot? The author, Borges, gets hold of this book for him so that he can educate himself. At the same time he uses Story One in order to dissimulate that function: the book seems to be there in connection with the assassination of Yarmolinsky, the reflection of an ironic causality. ‘One of those shopkeepers who have found out that there are buyers for every book came out with a popular edition of the History of the Sect of the Hasidim .’ footnote 2 What is superfluous in one story is fundamental in the other. The shopkeeper’s book is an example (like the volume of The 1001 Nights in ‘The South’, or the scar in ‘The Form of the Sword’) of the ambiguous substance that makes the microscopic narrative machinery of the story work.

The short story is a tale that encloses a secret tale. This is not a matter of a hidden meaning which depends on interpretation: the enigma is nothing other than a story which is told in an enigmatic way. The strategy of the tale is placed at the service of that coded narration. How to tell a story while another is being told? This question synthesizes the technical problems of the short story. Second thesis: the secret story is the key to the form of the short story.

The modern version of the short story that descends from Chekhov, Katherine Mansfield, Sherwood Anderson, the Joyce of Dubliners , abandons the surprise ending and the closed structure; it works the tension between the two stories without ever resolving it. The secret story is told in ever more elusive fashion. The classic short story à la Poe told a story while announcing that there was another; the modern short story tells two stories as if they were one. Hemingway’s ‘iceberg theory’ is the first synthesis of that process of transformation: the most important thing is never recounted. The secret story is constructed out of what is not said, out of implication and allusion.

‘Big Two-Hearted River’, one of Hemingway’s foundational tales, encodes Story Two (the effects of the war on Nick Adams) to such an extent that the short story seems to be a trivial description of a fishing trip. Hemingway puts all his skill into the hermetic narration of the secret story. He employs the art of ellipsis with such mastery that he succeeds in making us notice the absence of the other story. What would Hemingway have done with Chekhov’s anecdote? Recount with precise details the game and the atmosphere in which the gambling takes place, and the technique the gambler uses to place his bets, and the kind of drink he has. Never saying that the man is going to commit suicide, but writing the story as if the reader already knew this.

Kafka tells the secret story clearly and simply, and narrates the visible story stealthily, to the point of turning it into something enigmatic and dark. This inversion is the basis of the ‘Kafkaesque’. Kafka would place the story of the suicide from Chekhov’s anecdote in the foreground, recounting it as if it were entirely natural. The terrible part of the story would be centred around the gambling, which would be narrated in an elliptical, menacing way.

For Borges, Story One is a genre and Story Two is always the same. In order to attenuate or conceal the monotony of this secret story, Borges resorts to the narrative variants that genres offer him. All of Borges’s short stories are constructed through this procedure. Borges would tell the visible story, the short story, in Chekhov’s anecdote in accordance with the stereotypes (lightly parodied) of a tradition or a genre. A game of knucklebones between some gauchos on the run (say) at the back of a storeroom, in the prairies of Entre Ríos, told by an old cavalryman who served under Urquiza, a friend of Hilario Ascasubi. footnote 3 The tale of the suicide would be a story constructed out of duplicity and the condensation of a man’s life into a single scene or act that would define his destiny.

The basic variation that Borges introduced into the history of the short story consisted in making the coded construction of Story Two the theme of the tale. Borges recounts the manoeuvres of someone who is perversely building a secret plot with the materials of a visible story. In ‘Death and the Compass’, Story Two is a deliberate construction of Scharlach’s. The same is true of Azevedo Bandeira in ‘The Dead Man’ and Nolan in ‘Theme of the Traitor and the Hero’. Borges (like Poe, like Kafka) knew how to transform into an anecdote the problems of the form of narration.

The short story is constructed so as to make appear artificially something that had been hidden. It reproduces the constantly renewed search for a unique experience that would allow us to see, beneath the opaque surface of life, a secret truth. ‘The instantaneous vision which makes us discover the unknown, not in a faraway terra incognita, but rather in the very heart of the immediate’, said Rimbaud. This profane illumination has become the form of the short story.

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'Shiba Inu Killer' Dogwifhat Down 17%, But Traders See WIF As 'The Reason The Meme Super Cycle Thesis Exists'

Dogwifhat (CRYPTO: WIF ) saw its price rally cut short, but cryptocurrency traders continue to showcase it as the prime example of the “ meme coin supercycle .”

What Happened: Pseudonymous crypto influencer “ 0xMrWzrd “, in his recent tweet, shed light on the significant impact the meme coin has had, saying "WIF is the reason the meme supercycle thesis exists."

Among many reasons, he emphasizes the coin’s role in kickstarting the current meme coin craze as it pioneered the 1 billion supply meta, setting a new standard for meme coin tokenomics.

0xMrWzrd also highlighted Dogwifhat's innovative use of a picture as a ticker symbol, a trend that has since been adopted by numerous other meme coins.

One of the most impressive feats of Dogwifhat was its ability to reach a price of $1, a milestone that broke the idea of small unit bias in the crypto space, 0xMrWzrd states. This achievement demonstrated that even coins with a large supply could generate significant value.

“It’s the one that made it click for a lot of people,” he noted. Drawing a parallel to the impact of Bored Apes on the NFT market in 2021, 0xMrWzrd argued that WIF has done the same for meme coins, bringing them into the mainstream and sparking a broader movement.

“It’s the king for a reason,” 0xMrWzrd declared, emphasizing Dogwifhat's unrivaled position in the meme coin hierarchy: “There is no second best.”

Looking ahead, 0xMrWzrd predicts that $WIF has the potential to reach $100, a price target that would solidify its status as the leading meme coin and generate substantial returns for investors who recognized its potential early on.

Voicing a similar opinion , " apatheticwhale " also called WIF the "fastest meme coin to achieve a market cap of over $1 billion in approximately 6 months." He suggests traders wait for more months to see what is next.

Also Read: ‘Shiba Inu Killer’ Dogwifhat Dons Bull Hat On 7% Surge To $3.30: ‘Breakout,’ Says Trader

Price Action:  At the time of writing, WIF was trading at $ 2.94, down 17% over the past 24 hours.

Why It Matters: Traders’ lofty long-term price targets were not reflected in short-term price action, as Dogwifhat suffered a serious price dip upon Itcoin’s pullback below $64,000.

Cryptocurrency trader CrediBULL Crypto , in his latest tweet , points out that Dogwifhat has retraced back to the point of breakdown while open interest has moved higher to the levels it was at before the last liquidation flush.

He forecasts the price to drop to around $1.50.

What's Next : The influence of meme coins and  Bitcoin as an institutional asset class  are topics expected to be thoroughly explored at Benzinga's upcoming  Future of Digital Assets  event on Nov. 19.

Read Next: Crypto VC Reveals His Bitcoin, Solana, Dogwifhat, TON Price Targets For “Buying Opportunities As Huge Gifts”

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