what is a short stories essay

Essay vs. Short Story

What's the difference.

Essays and short stories are both forms of written expression, but they differ in their purpose and structure. Essays are typically non-fiction pieces that aim to inform or persuade the reader about a specific topic. They often follow a formal structure with an introduction, body paragraphs, and a conclusion. On the other hand, short stories are fictional narratives that focus on character development and plot. They can be written in various genres and styles, allowing for more creativity and imagination. While essays prioritize facts and logical arguments, short stories prioritize storytelling and evoking emotions in the reader.

Further Detail

Introduction.

When it comes to literary forms, essays and short stories are two popular choices that captivate readers with their unique attributes. While both share the goal of conveying a message or exploring a theme, they differ in various aspects, including structure, length, and narrative techniques. In this article, we will delve into the characteristics of essays and short stories, highlighting their similarities and differences.

One of the primary distinctions between essays and short stories lies in their structure. Essays typically follow a more formal and structured format, often consisting of an introduction, body paragraphs, and a conclusion. The introduction sets the stage by presenting the topic and thesis statement, while the body paragraphs provide supporting evidence and analysis. Finally, the conclusion summarizes the main points and offers a closing thought.

On the other hand, short stories have a more flexible structure. They often begin with an exposition, introducing the characters, setting, and conflict. The plot then unfolds through rising action, climax, and resolution. Unlike essays, short stories allow for more creative freedom in terms of narrative structure, with authors employing various techniques such as flashbacks, foreshadowing, or nonlinear storytelling to engage readers.

Another significant difference between essays and short stories is their length. Essays are typically shorter in length, ranging from a few hundred to a few thousand words. The brevity of essays allows writers to present their ideas concisely and directly, making them suitable for conveying arguments or exploring specific topics in a focused manner.

On the contrary, short stories are longer and more expansive in nature. They can range from a few pages to several dozen pages, providing authors with ample space to develop characters, build suspense, and create intricate plotlines. The extended length of short stories allows for a deeper exploration of themes and emotions, often leaving readers with a more immersive and satisfying reading experience.

Narrative Techniques

While both essays and short stories employ narrative techniques to engage readers, they differ in their approach. Essays primarily rely on logical reasoning, evidence, and analysis to convey their message. Writers use persuasive techniques, such as ethos, pathos, and logos, to appeal to the reader's intellect and emotions. The narrative in essays is often more straightforward and focused on presenting a coherent argument or viewpoint.

In contrast, short stories utilize a wide range of narrative techniques to create a captivating and immersive experience. Authors employ descriptive language, dialogue, and vivid imagery to bring characters and settings to life. They can experiment with different points of view, shifting perspectives, and unreliable narrators to add depth and complexity to the story. The narrative in short stories is often more imaginative and allows for a greater exploration of the human experience.

Themes and Messages

Both essays and short stories aim to convey themes and messages to their readers, but they do so in distinct ways. Essays often focus on presenting an argument or discussing a specific topic, aiming to inform, persuade, or provoke thought. The themes in essays are typically more explicit and directly related to the subject matter being discussed.

On the other hand, short stories explore themes and messages through storytelling and the experiences of characters. They often delve into complex human emotions, moral dilemmas, or societal issues, allowing readers to reflect on the deeper meaning behind the narrative. The themes in short stories are often more implicit, requiring readers to analyze the story's events and characters to uncover the underlying messages.

In conclusion, while essays and short stories share the common goal of conveying a message or exploring a theme, they differ significantly in terms of structure, length, narrative techniques, and the way they approach themes. Essays offer a more formal and structured approach, focusing on presenting arguments and analysis concisely. On the other hand, short stories provide a more immersive and imaginative experience, allowing for the exploration of complex characters, plotlines, and themes. Both forms of writing have their unique merits and appeal, catering to different reading preferences and purposes.

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Home » Writing » What is a short story?

What is the history of the short story?

Short-form storytelling can be traced back to ancient legends, mythology, folklore, and fables found in communities all over the world. Some of these stories existed in written form, but many were passed down through oral traditions. By the 14 th century, the most well-known stories included  One Thousand and One Nights (Middle Eastern folk tales by multiple authors, later known as  Arabian Nights ) and Canterbury Tales  (by Geoffrey Chaucer).

It wasn’t until the early 19th century that short story collections by individual authors appeared more regularly in print. First, it was the publication of the Brothers Grimm fairy tales, then Edgar Allen Poe’s Gothic fiction, and eventually, stories by Anton Chekhov, who is often credited as a founder of the modern short story.

The popularity of short stories grew along with the surge of  print magazines  and journals. Newspaper and magazine editors began publishing stories as entertainment, creating a demand for short, plot-driven narratives with mass appeal. By the early 1900s,  The Atlantic Monthly , The New Yorker , and  Harper’s Magazine were paying good money for short stories that showed more literary techniques. That golden era of publishing gave rise to the short story as we know it today.

What are the different types of short stories?

Short stories come in all kinds of categories: action, adventure, biography, comedy, crime, detective, drama, dystopia, fable, fantasy, history, horror, mystery, philosophy, politics, romance, satire, science fiction, supernatural, thriller, tragedy, and Western. Here are some popular types of short stories, literary styles, and authors associated with them:  

• Fable: A tale that provides a moral lesson, often using animals, mythical creatures, forces of nature, or inanimate objects to come to life (Brothers Grimm, Aesop)
• Flash fiction : A story between 5 to 2,000 words that lacks traditional plot structure or character development and is often characterized by a surprise or twist of fate (Lydia Davis)
• Mini saga: A type of micro-fiction using exactly 50 words (!) to tell a story
• Vignette: A descriptive scene or defining moment that does not contain a complete plot or narrative but reveals an important detail about a character or idea (Sandra Cisneros)
• Modernism:  Experimenting with narrative form, style, and chronology (inner monologues, stream of consciousness) to capture the experience of an individual (James Joyce, Virginia Woolf)
• Postmodernism: Using fragmentation, paradox, or unreliable narrators to explore the relationship between the author, reader, and text (Donald Barthelme, Jorge Luis Borges)
• Magical realism: Combining realistic narrative or setting with elements of surrealism, dreams, or fantasy (Gabriel García Márquez)
• Minimalism: Writing characterized by brevity, straightforward language, and a lack of plot resolutions (Raymond Carver, Amy Hempel)

What are some famous short stories?

• “The Tell-Tale Heart” (1843) – Edgar Allen Poe
• “The Necklace” (1884) – Guy de Maupassant
• “The Yellow Wallpaper” (1892) – Charlotte Perkins Gilman
• “The Story of an Hour” (1894) – Kate Chopin
• “Gift of the Magi” (1905) – O. Henry
• “The Dead,” “The Dubliners” (1914) – James Joyce
• “The Garden Party” (1920) – Katherine Mansfield
• “Hills Like White Elephants” (1927), “The Snows of Kilimanjaro” (1936) – Ernest Hemingway
• “The Lottery” (1948) – Shirley Jackson
• “Lamb to the Slaughter” (1953) – Roald Dahl
• “A Very Old Man with Enormous Wings” (1955) – Gabriel García Márquez
• “Sonny’s Blues” (1957) – James Baldwin
• “A Good Man Is Hard to Find” (1953), “Everything That Rises Must Converge” (1961) – Flannery O’Connor

What are some popular short story collections?

• The Things They Carried – Tim O’Brien
• Labyrinths – Jorge Luis Borges
• Blind Willow, Sleeping Woman – Haruki Murakami
• Nine Stories – J.D. Salinger
• What We Talk About When We Talk About Love – Raymond Carver
• The Stories of John Cheever – John Cheever
• Welcome to the Monkey House – Kurt Vonnegut
• Complete Stories – Dorothy Parker
• Interpreter of Maladies – Jhumpa Lahiri
• Suddenly a Knock at the Door – Etgar Keret

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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.

How to Write a Short Story: Contents

The Core Elements of a Short Story

How to write a short story outline, how to write a short story step by step, how to write a short story: length and setting, how to write a short story: point of view, how to write a short story: protagonist, antagonist, motivation, how to write a short story: characters, how to write a short story: prose, how to write a short story: story structure, how to write a short story: capturing reader interest, where to read and submit short stories.

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 .

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

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.

Read more about writing effective conflict here:

What is Conflict in a Story? Definition and Examples

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

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.

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.

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.

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.

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, styles , and underlying metaphors and implied motifs.

Your plot elements occur in the proper places according to classical Three Act Structure (or Freytag’s Pyramid ) 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.

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.

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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• Introduction

Analysis of the genre

• From Egypt to India
• Proliferation of forms
• Spreading popularity
• Decline of short fiction
• The 19th century
• The “impressionist” story
• Respect for the story
• French writers
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short story , brief fictional prose narrative that is shorter than a novel and that usually deals with only a few characters.

The short story is usually concerned with a single effect conveyed in only one or a few significant episodes or scenes. The form encourages economy of setting , concise narrative, and the omission of a complex plot ; character is disclosed in action and dramatic encounter but is seldom fully developed. Despite its relatively limited scope, though, a short story is often judged by its ability to provide a “complete” or satisfying treatment of its characters and subject.

Before the 19th century the short story was not generally regarded as a distinct literary form. But although in this sense it may seem to be a uniquely modern genre , the fact is that short prose fiction is nearly as old as language itself. Throughout history humankind has enjoyed various types of brief narratives: jests, anecdotes , studied digressions , short allegorical romances, moralizing fairy tales, short myths , and abbreviated historical legends . None of these constitutes a short story as it has been defined since the 19th century, but they do make up a large part of the milieu from which the modern short story emerged.

As a genre , the short story received relatively little critical attention through the middle of the 20th century, and the most valuable studies of the form were often limited by region or era. In his The Lonely Voice (1963), the Irish short story writer Frank O’Connor attempted to account for the genre by suggesting that stories are a means for “submerged population groups” to address a dominating community . Most other theoretical discussions, however, were predicated in one way or another on Edgar Allan Poe ’s thesis that stories must have a compact unified effect.

By far the majority of criticism on the short story focused on techniques of writing. Many, and often the best of the technical works, advise the young reader—alerting the reader to the variety of devices and tactics employed by the skilled writer. On the other hand, many of these works are no more than treatises on “how to write stories” for the young writer rather than serious critical material.

The prevalence in the 19th century of two words, “ sketch ” and “tale,” affords one way of looking at the genre. In the United States alone there were virtually hundreds of books claiming to be collections of sketches ( Washington Irving ’s The Sketch Book , William Dean Howells ’s Suburban Sketches ) or collections of tales (Poe’s Tales of the Grotesque and Arabesque , Herman Melville ’s The Piazza Tales ). These two terms establish the polarities of the milieu out of which the modern short story grew.

The tale is much older than the sketch. Basically, the tale is a manifestation of a culture’s unaging desire to name and conceptualize its place in the cosmos. It provides a culture’s narrative framework for such things as its vision of itself and its homeland or for expressing its conception of its ancestors and its gods. Usually filled with cryptic and uniquely deployed motifs, personages, and symbols , tales are frequently fully understood only by members of the particular culture to which they belong. Simply, tales are intracultural. Seldom created to address an outside culture, a tale is a medium through which a culture speaks to itself and thus perpetuates its own values and stabilizes its own identity. The old speak to the young through tales.

The sketch, by contrast, is intercultural, depicting some phenomenon of one culture for the benefit or pleasure of a second culture. Factual and journalistic, in essence the sketch is generally more analytic or descriptive and less narrative or dramatic than the tale. Moreover, the sketch by nature is suggestive , incomplete; the tale is often hyperbolic , overstated.

The primary mode of the sketch is written; that of the tale, spoken . This difference alone accounts for their strikingly different effects. The sketch writer can have, or pretend to have, his eye on his subject. The tale, recounted at court or campfire—or at some place similarly removed in time from the event—is nearly always a re-creation of the past. The tale-teller is an agent of time , bringing together a culture’s past and its present. The sketch writer is more an agent of space , bringing an aspect of one culture to the attention of a second.

It is only a slight oversimplification to suggest that the tale was the only kind of short fiction until the 16th century, when a rising middle class interest in social realism on the one hand and in exotic lands on the other put a premium on sketches of subcultures and foreign regions. In the 19th century certain writers—those one might call the “fathers” of the modern story: Nikolay Gogol , Hawthorne, E.T.A. Hoffmann , Heinrich von Kleist , Prosper Mérimée , Poe—combined elements of the tale with elements of the sketch. Each writer worked in his own way, but the general effect was to mitigate some of the fantasy and stultifying conventionality of the tale and, at the same time, to liberate the sketch from its bondage to strict factuality. The modern short story, then, ranges between the highly imaginative tale and the photographic sketch and in some ways draws on both.

The short stories of Ernest Hemingway , for example, may often gain their force from an exploitation of traditional mythic symbols (water, fish, groin wounds), but they are more closely related to the sketch than to the tale. Indeed, Hemingway was able at times to submit his apparently factual stories as newspaper copy. In contrast, the stories of Hemingway’s contemporary William Faulkner more closely resemble the tale. Faulkner seldom seems to understate, and his stories carry a heavy flavour of the past. Both his language and his subject matter are rich in traditional material. A Southerner might well suspect that only a reader steeped in sympathetic knowledge of the traditional South could fully understand Faulkner. Faulkner may seem, at times, to be a Southerner speaking to and for Southerners. But, as, by virtue of their imaginative and symbolic qualities, Hemingway’s narratives are more than journalistic sketches, so, by virtue of their explorative and analytic qualities, Faulkner’s narratives are more than Southern tales.

Whether or not one sees the modern short story as a fusion of sketch and tale, it is hardly disputable that today the short story is a distinct and autonomous , though still developing, genre.

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Posted on May 17, 2021

What is a Short Story? Definitions and Examples

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Savannah Cordova

Savannah is a senior editor with Reedsy and a published writer whose work has appeared on Slate, Kirkus, and BookTrib. Her short fiction has appeared in the Owl Canyon Press anthology, "No Bars and a Dead Battery". 

A short story is a form of fiction writing defined by its brevity . A short story usually falls between 3,000 and 7,000 words — the average short story length is around the 5,000 mark. Short stories primarily work to encapsulate a mood, typically covering minimal incidents with a limited cast of characters — in some cases, they might even forgo a plot altogether.   

Many early-career novelists have dabbled in the form and had their work featured in literary magazines and anthologies. Others, like Raymond Carver and Alice Munro, have made it their bread and butter. From “starter” short story writers to short story experts, there’s an incredible range of short stories out there.

In this series, we'll be looking into short stories and showing you how any writer can create a powerful piece of fiction — and even get it published. But before we get into the weeds, let's look at a few examples to demonstrate the range and flexibility of this form.

Broadly speaking, you could answer the question of "what is a short story" in a few ways, starting with the most obvious.

A classic short narrative

Though short stories must inherently be concise pieces of writing, they often incorporate elements of the novel to retain a similar impact. A ‘classic short narrative’ is the most story-telling-by-the-numbers that a short story can get — the plot will imitate long-form fiction by having a defined exposition, rising action, a climax, and a resolution.

Short stories do differ from longer prose works in some respects: they’re unlikely to contain a huge cast of characters or successive climaxes like those found in novels. But despite these cuts, if the author does their job right, a ‘classic’ short story will be just as affecting and memorable as a novel — if not more so.

Example #1: “Speaking in Tongues” by ZZ Packer

Tia, disillusioned with her strict Pentecostal upbringing in a sleepy Southern town, escapes her great-aunt’s clutches to find her mother in Atlanta. This story starts with a classic expository beat — Tia at school, flicking through a religious textbook, dreaming of another life. This is followed by a crisis: Tia travels by bus to the big city, befriends a man on the street, and goes to stay with him, only to learn that he is a drug dealer and a pimp. Eventually, Tia returns home to her great-aunt. In all, it’s a sensitive story about the vulnerability of youth and the longing for family.

As short stories go, “Speaking In Tongues” has a pretty impressive narrative. You can see how the premise and plot could work as a longer piece of fiction, but they pack even more of a punch in this shorter form.

A vignette is a short story that presents a neatly packaged moment in time, usually in quite a technically accomplished fashion. ‘Vignette’ is French word more frequently used to signify a small portrait, but in a literary sense, it means “a brief evocative description, account, or episode”. This could be of a person, event or place. 

Fleetingness is at the crux of a vignette short story. For that reason, it is likely to be heavy on description, light on plot . You might find a particularly embellished description of a character or setting, often with a strong dose of symbolism that corresponds with a central theme.

Example #2: “Viewfinder” by Raymond Carver

“Viewfinder” has a simple premise: a traveling photographer takes a photo of the narrator’s house, sells it to him on his doorstep, and is invited in for coffee. The story emphasizes feelings of loneliness that come to the fore in their interaction, captured brilliantly by Carver’s unadorned writing style. Tales like this that attribute importance to the mundane are arguably best served by a concise form as Carver's fascination with banal events could have become repetitive and rudderless in a longer piece of work.

Many critics agree that no one writes the American working classes quite like Carver. His stories chronicle the everyday experiences of Midwestern men and women eking out a living then fish, play cards, and shoot the breeze as life passes them by. It won Carver immense critical acclaim in his lifetime and is a great example of short-form writing that emphasizes mood rather than plot.

An anecdote

An anecdote recounted to friends is most successful when it’s pacey, humorous, and has a quick crescendo. The same can be said of short stories that capitalize on this storytelling device. 

Anecdotal stories take on a more conversational tone and are more meandering in style, in contrast to the directness of other short stories and flash fiction. It can have a conventional story structure, like the classic short narrative, or it may focus on a particular stylistic recounting of an event. Basically, an anecdote allows a writer to have fun with the way a story is told — though exactly how it unfolds remains important too.

Example #3: “We Love You Crispina” by Jenny Zhang

Zhang’s 2017 short story collection Sour Heart chronicles the rough-and-tumble lives of recently immigrated Chinese-Americans living in downtown Manhattan. The stories in this collection are told from the perspectives of children, and the narrative takes full advantage of the impish, filterless way in which children relate their own experiences to themselves and others.

In “We Love You Crispina”, young Christina’s life in a crowded Washington Heights tenement block is refracted through her naive, contradictory understandings of the world. Her parents are struggling to get a leg up and are contemplating sending her back to Shanghai — but Christina is more concerned with how the bed bugs in their cramped apartment are making her itchy, and dissecting the interactions she has in the school playground. It’s a wonderfully nuanced exercise in contrast, as well as a reminder of what feels most important to us when we’re small, rendered potently through Christina’s 'anecdotal' voice.

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An experiment with genre  

Short stories, by nature, are more flexible pieces of fiction that aren’t wedded to the diktat of longer-form fiction. It means they can play around with and challenge the expectations of a genre’s expected conventions, in a relatively ‘low stakes’ way compared to a full-blown novel. 

Oftentimes, an experiment won’t be a complete reinvention of the genre. Instead, one might find a refreshing twist on a classic trope — or, as in the example below, upping the ante and taking a genre to heights it has never been before.

Example #4: “A Good Man is Hard to Find” by Flannery O’Connor

This short story sent shock waves through the American literary establishment when it was first published in 1953. It follows a Southern family on a road trip to visit the children’s grandmother — who end up crashing their car and happening upon a mysterious group of men. I won’t spoil the rest for you, but one word of warning: don’t expect a happy ending.

“A Good Man Is Hard To Find” incorporates common themes of Southern gothic literature, like religious imagery, and — surprise surprise — characters meeting a gruesome demise, but its controversial final scene marks it out. The macabre detail was shocking to audiences at the time but is now held up as a stellar example of the genre (and also exemplifies how a well-executed bit of subversion can become the golden standard in literature!). You might want to sleep with one eye open after reading this, but that’s half the point, right?

An exercise in extreme brevity

How many words do you actually need to tell a great story? If you were to ask that to someone who writes flash fiction, they tell you "fewer than 1,000 words."

The defining element that sets flash fiction apart from the standard-issue short story — other than word count — is that much more needs to be implied , rather than said upfront. Flash fiction, and especially mega-short microfiction, perfectly embody this principle of inference, which itself derives from Ernest Hemingway’s Iceberg Theory of story development.

Example #5 “Curriculum” by Sejal Shah

“ Curriculum ”, clocking in at exactly 500 words, is a great sampling of the emotional, personal language that appears frequently in flash fiction. A handkerchief, some cream cloth, and a pair of glasses become important symbols around which Shah contemplates identity and womanhood, in the form of a series of questions that follow her descriptions of the objects.

This kind of deliberate, highly considered structure ensures that Shah’s flash fiction makes a razor-sharp point, whilst also allowing for a contemplative tone that transcends the words on the page. When done well, this style of short fiction can be a greater-than-expected vehicle for thoughtful comments on a range of issues.

If you’re in the mood to read more around the form, check out our picks for the 31 best short stories of all time.

As you can see, the short story is an art form on its own that requires deftness, clarity, and a strong grasp of how to make an economy of words compelling and innovative. If you’re feeling ready to write a short story of your own, proceed to the next post in this series.

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All About the Short Story

Dictionaries define a short story as "a story with a fully developed theme but significantly shorter and less elaborate than a novel." We might do well to find fault with that final clause -- there are many short stories that are as elaborate or even more elaborate than commonly published novels . So let's work on a better definition. The short story genre, or short story form, encompasses fully developed fictional stories that are typically between 1,000 and 20,000 words.

Short stories enjoyed great cultural popularity in recent modern history, a phenomenon that was aided by technical innovation. As the technology and economics of printing presses improved in the early 19th century, more and more people in America and around the world gained access to newspapers and periodicals. That started in the 1830s and expanded over the following decades. While it was impractical to publish a full-length novel in a newspaper -- Moby-Dick is 206,052 words long -- a short story, a complete end-to-end work of short fiction, fit wonderfully well and provided readers with a cherished escape at a time in history when easy access to entertainment was quite limited. Ironically, at a time when access to all forms of entertainment are at our finger-tips thanks to the Internet, modern readers are demonstrating a renewed interest in short stories, and rediscovering the classic short stories collected here; there are more than 4,000 short stories at this site! The genre probably fits very well with our busy modern lifestyles, allowing us to fill 15 and 30 minute gaps in our busy lives with a fun and rewarding reading experience. We answer some commonly asked questions about the short story below.

What is the definition of a short story in literature?

A short story is a work of fiction that is categorized by its length. Historically, short stories are typically between 1,000 and 20,000 words long and can be consumed in a single reading session -- I think we should shorten the upper limit in the modern era, as specified below in "How long is a good short story?" below. Works longer than a short story but shorter than a novel are classified as Novellas and works shorter than 1,000 words are increasing classified as very short stories , short short stories , or flash fiction . Despite their brevity, short stories are complete works of fiction generally exhibiting the common literary devices of; character, setting, plot, conflict, and theme.

How long is a good short story?

In the modern era, I think it's safe to categorize a short story to be between 1,000 and 7,500 words. I think there is reasonable consensus there. The novella or novelette occupies the space between the short story and the novel, between 7,500 words and 20,000 words. The novel, of course, occupies the domain above 20,000 words. But the interesting question here is not "How long is a good short story?" The more compelling question is what makes the compact length of a short story so effective?

Edgar Allan Poe wrote about the form in his 1896 essay The Philosophy of Composition where he qualified it temporally -- by time . He considered the duration of a literary work to be critically important consideration, "If any literary work is too long to be read at one sitting..." -- we lose the benefit of a single reading session -- "... for, if two sittings be required, the affairs of the world interfere, and everything like totality is at once destroyed." Poe recognized that there was something special in a single session of reading and that short stories and poems of a certain length could capitalize on that special quality.

The average reader reads about 130 words per minute, so a 1,900 word story can be read in just under 15 minutes. The Short Story of the Day makes it convenient and easy for readers to enjoy a great story at any time.

How are short stories different from poems?

Short stories are written in prose, and organized according to the whims of the author, in whatever fashion deemed necessary to deliver the story with maximum effect to the reader.

Poems are written to the specific verses, meters, or rhymes that characterize that genre of literature. We offer a fine collection of Poetry for Students if you seek verses, rather than prose.

Where can I find examples of good short stories?

We have over 4,000 short stories published here, but selecting at random is probably not a winning strategy. You can make an informed decision from our Short Story page, or, if you'd prefer to get straight down to business but have nothing special in mind try a selection from 100 Great Short Stories -- which actually contains 160 short stories because we just couldn't stop at 100!

The short story form also exhibits incredible variety. In addition to famous classic short stories like An Occurrence at Owl Creek Bridge and Federigo's Falcon , there are Christmas Stories , Ghost , and Gothic stories, Civil War stories and many other sub-genres. Please use our navigation bar or search box to enter author or title to find what you are looking for.

Some short stories define easy categorization. You can read the following short short story by Kate Chopin in 90 seconds or less. But it might take you much longer to figure out what it is; short story, or is it as much poem, essay, or social statement. Enjoy this one, it is beautiful: The Night Came Slowly .

We encourage students and teachers to visit our Study Guides for popular short story titles and literary genres, to get the most out of great short stories you are reading. We will continue adding guides based on reader interest and requests. Contact us via Facebook or Twitter

We also have a library of Short Stories for Students and Books for Young Readers

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• How to write a narrative essay | Example & tips

How to Write a Narrative Essay | Example & Tips

Published on July 24, 2020 by Jack Caulfield . Revised on July 23, 2023.

A narrative essay tells a story. In most cases, this is a story about a personal experience you had. This type of essay , along with the descriptive essay , allows you to get personal and creative, unlike most academic writing .

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Table of contents

What is a narrative essay for, choosing a topic, interactive example of a narrative essay, other interesting articles, frequently asked questions about narrative essays.

When assigned a narrative essay, you might find yourself wondering: Why does my teacher want to hear this story? Topics for narrative essays can range from the important to the trivial. Usually the point is not so much the story itself, but the way you tell it.

A narrative essay is a way of testing your ability to tell a story in a clear and interesting way. You’re expected to think about where your story begins and ends, and how to convey it with eye-catching language and a satisfying pace.

These skills are quite different from those needed for formal academic writing. For instance, in a narrative essay the use of the first person (“I”) is encouraged, as is the use of figurative language, dialogue, and suspense.

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Narrative essay assignments vary widely in the amount of direction you’re given about your topic. You may be assigned quite a specific topic or choice of topics to work with.

• Write a story about your first day of school.
• Write a story about your favorite holiday destination.

You may also be given prompts that leave you a much wider choice of topic.

• Write about an experience where you learned something about yourself.
• Write about an achievement you are proud of. What did you accomplish, and how?

In these cases, you might have to think harder to decide what story you want to tell. The best kind of story for a narrative essay is one you can use to talk about a particular theme or lesson, or that takes a surprising turn somewhere along the way.

For example, a trip where everything went according to plan makes for a less interesting story than one where something unexpected happened that you then had to respond to. Choose an experience that might surprise the reader or teach them something.

Narrative essays in college applications

When applying for college , you might be asked to write a narrative essay that expresses something about your personal qualities.

For example, this application prompt from Common App requires you to respond with a narrative essay.

In this context, choose a story that is not only interesting but also expresses the qualities the prompt is looking for—here, resilience and the ability to learn from failure—and frame the story in a way that emphasizes these qualities.

An example of a short narrative essay, responding to the prompt “Write about an experience where you learned something about yourself,” is shown below.

Hover over different parts of the text to see how the structure works.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
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If you’re not given much guidance on what your narrative essay should be about, consider the context and scope of the assignment. What kind of story is relevant, interesting, and possible to tell within the word count?

The best kind of story for a narrative essay is one you can use to reflect on a particular theme or lesson, or that takes a surprising turn somewhere along the way.

Don’t worry too much if your topic seems unoriginal. The point of a narrative essay is how you tell the story and the point you make with it, not the subject of the story itself.

Narrative essays are usually assigned as writing exercises at high school or in university composition classes. They may also form part of a university application.

When you are prompted to tell a story about your own life or experiences, a narrative essay is usually the right response.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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9 Key Elements of a Short Story: What They Are and How to Apply Them

by Sarah Gribble | 2 comments

If you're new to short story writing, it can be intimidating to think of fitting everything you need in a story into a small word count. Are there certain elements of a short story you'll need to know in order for your story to be great?

Writers struggle with this all the time.

You might want to develop deep character backgrounds with a huge cast of characters, amazing settings, and at least two subplots. And that's great. But that wouldn't be writing a short story.

You might try to cut some of these things, and then all the sudden you don't have a character arc or a climax or an ending.

Every story has basic elements; a short story's basic elements are just more focused than a novel's. But all those elements must be there, and yes, they need to fit into a short word count.

In this article, you'll learn what you need to make sure your short story is a  complete  story—with three famous short story examples. These story elements are what you should focus on when writing a short piece of fiction.

The Key to Compelling Stories: It's NOT Dun, Dun, DUUN!

When I first started writing, I mainly worked on horror short stories. I wanted to create that dun, dun, DUUUN! moment at the end of all of them. You know the one. In the movies it's where the screen goes to black and you’re left feeling goosebumps.

I remember the first writing contest I entered (right here at The Write Practice!), I submitted a story that I thought was pretty decent, but didn’t really think would win.

I was right; it did not win.

But mainly I wanted the upgrade I’d purchased: feedback from the judge. She was great and told me my writing was good and tight, but there was one major issue with my story.

The dun, dun, DUUN!

I’d tried to cultivate actually meant my story just . . . cut off. There was no ending. There wasn’t even a complete climax. I got it ramped up and then just . . . stopped.

That feedback changed me as a short story writer. It made me really pay attention to what needed to be in a story versus what was unnecessary.

I studied short stories. I made note of what an author did and where. I basically taught myself story structure.

This may seem obvious, but a short story, even though it’s short, still needs to be a story.

So let’s start with the basics.

P.S. If you want to learn more about the five major steps you need to complete to write a short story, read this article .

What Is a Story?

I know a man who consistently tells stories during parties. (Sort of like this guy !)

He starts out well but then goes off on tangent after tangent, ultimately not really getting to any sort of point.

New people (re: characters ) are introduced, then dropped. New events are mentioned, but not resolved. By the time he gets to the end of his “stories,” eyes have glazed over and the “punchline,” as it were, falls flat.

What this man is telling is a short story, and he’s doing it terribly.

A story, no matter the length, can be boiled down to a character wanting something, having a hard time getting it, and finally either getting it or not.

Stories are actually simple when you look at the basics. This is why writing short stories will make you a better writer.

Short stories force a writer to practice nailing structure and pace. If you nail those things, you’ll be able to write stories of any length (and not bore people at parties).

And like novel-length stories, short stories contain certain elements in order to hold up the structure and pace.

For each story element below, I'll use three classic stories as examples:

• Shirley Jackson's “The Lottery”
• Edgar Allen Poe's “The Cask of Amontillado”
• O. Henry's “The Gift of the Magi”

Take a few minutes to refresh your memory by clicking on the links of each, if you wish.

9 Key Elements of a Short Story

When it comes down to the elements of a short story, focus on nine key elements that determine if the short story is a complete  story or a half-baked one.

1. Character

Characters in books are well-drawn. There's a lot of time spent on character development and backstory. That's not needed for short stories.

Short stories need one central character and one or two other major characters. That’s about it. There isn't enough room to have a ton of characters and a story will veer away from the central plotline if a large cast is present.

The reader doesn't need to know everything about this character . They don't even need to know their physical appearance if it's not vital to the story. Your character traits in short stories can be so minimal, they don't even need a name.

This doesn't mean the protagonist is a static character who is basically a zombie on a couch. They still have to be a dynamic character, one that changes throughout the story.

When you're thinking of character creation for short stories, you don't need to dive into too much detail. Two to three character details are normally enough.

See how the three short story examples used in this article develop characters:

The Lottery

The main character is Tessie Hutchinson.

We don't know much about Tessie, other than she's unkempt and arrives late with a slew of jokes. You'll no doubt note here that this story has a lot of characters, not just two or three.

But notice only a few of the other characters are fleshed out much at all. The other characters of note here are:

• Mr. Hutchinson
• Mr. Summers
• Old Man Warner.

The Cask of Amontillado

This short story has significantly fewer characters:

• The main character

The Gift of the Magi

There are only two named characters:

• Della, the main character
• Jim, Della's husband

2. Want/Goal

The central character needs to want something—even if it’s a glass of water, as Kurt Vonnegut famously said. (They can also not want something. But they have to have an opinion either way.) The story is their quest to get said something.

Obviously, in real life people want multiple things, often at once and often in contrast to each other. But in a short story, the goal needs to be focused and relatively simple.

This want/goal is important to the story plot. This is what drives the character's decisions as they move throughout the space of your story. The goals in the short story examples are:

Tessie, as with every other person who shows up at the lottery, doesn't want to get chosen.

Montresor wants revenge for an insult Fortunato threw his way while drunk.

Della wants to give her husband a Christmas gift.

3. Conflict

Obstacles and complications need to make the protagonist's journey hard, and these types of conflicts should raise the stakes as the protagonist tries to achieve their want/goal.

In books, multiple things need to get in the way of the character completing the goal, but in short stories, there can be as little as one central conflict .

Conflict stems from the antagonist, whether that’s an external baddie (character conflicts with each other), an internal issue, forces of nature, or society being against them. Here's how conflict works in our three examples:

The Lottery 

Tessie conflicts with the other townsfolk, her husband (who is more rule-abiding than she is), and the overall way of life the lottery is forcing.

The main conflict is this supposed insult Fortunato made to Montresor. Interestingly, even though this story is a rather brutal revenge story, there isn't much surface conflict happening.

Fortunato essentially walks to his own death without much protest. Montresor also goes through an internal conflict toward the end when he hesitates, only for a moment, over what he is doing.

The Gift of the Magic

Della has a more straightforward conflict with poverty: she's only got a dollar or two and wants to buy a nice gift for her husband.

4. Decisions

If characters sit around watching the world go by, there's no story plot. A character needs to make decisions at every turn to drive the story forward.

Your want/goal is the reason behind these decisions, but the conflict is what's driving the need to even make them.

Let's go back to Vonnegut's idea of a character wanting a glass of water (goal).

Say that character was lost in the desert (conflict). They'd do anything to get a glass of water, wouldn't they? That glass of water is the primary source of them living right at that moment, and everything revolves around that.

They're not going to make a move without it being in service of that ultimate goal.

In short stories, the protagonist's main goal is the driving force behind their decisions for the few thousand words we spend with them.

Among the decisions made in the three example stories are these:

Tessie decides to protest the results of the lottery in the hopes of not getting stoned to death.

Montresor decides to keep walling up Fortunato after his slight hesitation over whether this was really a good idea to get his revenge.

TheGift of the Magic

Della decides to cut her hair off and sell it in order to afford a gift.

This is the element of most stories that’s missing when someone tells a boring story at a party. This is the exciting part, the punchline, the ultimate point of the entire story.

This is where the character goes up against the baddie in a final showdown and either wins or loses. This is the ultimate answer to the What If Question we talked about before.

The climax for each of our examples is:

Tessie “wins” the lottery and fights the results (to no avail).

Montresor chains Fortunato in the wall and he realizes what's happening to him.

Della and Jim give each other the gifts and realize those gifts are currently “pointless” because each of them sold what they would use the gift for.

The ending is short, often only a couple of sentences in a short story. This is where everything is wrapped up.

It follows the climactic fight and winds down the remaining character and plot points, letting readers breathe and showing them what comes next for the character. (This is not the time to dun, dun, DUUN !)

This is often missing in short stories.

Ambiguous endings are fine, but the writer  must  give a glimpse of what happens to the main character.

Tessie is stoned to death so the townsfolk can go back to their normal lives.

Montresor decides to keep on sealing Fortunato behind the wall, despite the feeble protests from the man.

Della and Jim realize they really gave each other the gift of love and go about their Christmas.

When you encounter conflict in real life, you make decisions, which lead to change . It’s the same for the characters.

They change throughout this little adventure they’re on, and so do their circumstances.

If they’re in the same place at the end of the story they were at the beginning, did anything even happen?

Tessie's change is pretty obvious: she's dead. Before that, though, she changes from joking and disregarding this weird tradition to getting very scared and angry very quickly.

Montresor is freed from his irksome frenemy, and also knows a little bit more about himself and what he's capable of.

Della and Jim realize the true gift wasn't anything that could be bought and are happy with the love they've shared rather than worrying about material things.

8. Point of view (POV)

Choose one point of view and stick to it.

This is essential in a short story. You do not have enough room to go head-hopping or switching points of view with each paragraph.

You want your reader to be with your character the whole time, otherwise they will lose interest.

If you need a point of view refresher, read this article .

Here's the point of view in each of the short story examples:

Third-person omniscient

First person

Third-person limited

Even short stories should have a decently drawn setting .

This is tricky because, again, you don’t have room to be describing every little thing.

You’ll need to weave in the setting as you tell the story and stick to the essentials.

Notice the three example stories have something in common: a rather ambiguous setting.

We know Tessie lives in what seems to be an agrarian small town. We don't know where, what time period, or why the lottery exists.

Our wine lovers in “The Cask of Amontillado” are mostly in the family crypt.

We know Della and Jim live in a small, run-down apartment. We don't know where or when.

The reader doesn't know much about the setting in any of these stories, but they don't need  to know much. The plot hums along just fine without all those details.

What a Short Story is Not

It's often the case that the writer lets the muse take over when story writing.

In this case, what ends up on the page is often flowy sentences that sound profound and a “story” that sounds more like the ramblings of poor Fortunato.

It's fine to let a story writing get loose and to play with language. Innovation is experiementation.

But when a writer does this, it's often not truly a short story, or a story at all. It might be profound. It might be quote-worthy.

But it also might not be a story.

A short story is not:

• Short stories are not poems . Poetry doesn’t have the burden of having to tell a story (though it can, I know that, so don’t come at me). Short stories are stories with story structure. You can write them with poetic language, but there must be a story in there.
• Short stories are not plotless . Stream of consciousness is a great way to write morning pages, to get in the mood to write, to journal, etc. It’s not a great way to write a short story. Again, short stories are stories. They have to have a plot.
• Short stories do not have subplots . Remember that guy I talked about at the beginning of this article? When he went off on tangents, he was getting into subplot territory. There is no room in a short story for subplots.

Stick with one major event that’s happening to one main character.

A Note on “Rules”

I’ve been working with writers long enough to know that some of you reading this article are telling me off, especially with the last section.

I get it. You want to be creative. You want to follow your muse.

You want to do what I’ve just told you not to do.

Here’s the thing: rules are meant to be broken. I will give you that.

If you want to experiment and find a way to insert a new subplot and resolve it in every paragraph, do it. But in order to break the rules, you need to master them first.

Start by including each of these story elements in your  short story.

When you can ensure you have each story element consistently, then you can get crazy.

Which element do you need the most practice on? Tell us in the comments .

Revisit a short story you've written. Take fifteen minutes to analyze the story.

Look for each of these nine elements. Choose one missing element and add it. (If one isn't missing, then choose one element to beef up.)

When you’re finished, share your work in the Pro Practice Workshop .  Not a member yet? Join us here !

Sarah Gribble

Sarah Gribble is the author of dozens of short stories that explore uncomfortable situations, basic fears, and the general awe and fascination of the unknown. She just released Surviving Death , her first novel, and is currently working on her next book.

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

• Find Articles
• Strategies for Short Story Research

Page Overview

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

Before You Begin

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

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

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

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

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

Characteristics of a Well-written Paper

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

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

Basic Research Strategy

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

Things to Keep in Mind

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

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

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

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

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

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

A Note on Sources

Research requires engagement with various types of sources.

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

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

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

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

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

• Research Methods From Truckee Meadows Community College: a guide to basic research. The tab "What Type of Source?" presents an overview of the various types of information sources, identifying the advantages and disadvantages of each.
• << Previous: Find Books
• Last Updated: Aug 9, 2024 11:12 AM
• URL: https://libguides.jsu.edu/litresearchshortstories

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

Essays on Short Story

Brief description of short story, importance of writing essays on this topic, tips on choosing a good topic, essay topics, concluding thought, short story: the third floor bedroom, analysis of conflict in jhumpa lahiri's "this blessed house", made-to-order essay as fast as you need it.

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Analysis of "To Room Nineteen" by Doris Lessing

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

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Analysis of Anton Chekhov’s Short Story "Agafya"

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

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Short Narrative Essay

Short narrative essay generator.

Everyone finds it interesting to tell stories about their lives or about someone else’s. Through those stories, we can get lessons which we can apply in our daily lives. This is what a narrative essay is all about. Let’s go back to your experiences when you were still in grade school. Your teacher would often ask you to write about your favorite experiences especially during Christmas season and summer vacation.

Some people would mistakenly identify a narrative essay as equally the same as a descriptive essay . They are totally different from each other, yet both of them are forms of academic writing . Look into this article to learn more about narrative essays.

What is Short Narrative Essay?

A short narrative essay is a brief piece of writing that tells a story, usually focusing on a particular experience, event, or moment. It follows a narrative structure, involving characters, a setting, a plot, and a conclusion, aiming to engage the reader through vivid descriptions and storytelling techniques within a concise format.

Best Short Narrative Essay Examples?

Title: The Summer Adventure

The scorching sun bore down on the dusty road as we embarked on our summer adventure. Packed into the old, battered car, my family and I set off for the great outdoors. The air hummed with anticipation, echoing our excitement for the unknown.

As we traversed winding roads, the landscape unfolded like a painting. Rolling hills adorned with emerald-green trees greeted us, promising the allure of exploration. The scent of pine wafted through the open windows, mingling with laughter and the crackling excitement of adventure.

Our destination? A secluded lakeside campsite embraced by nature’s serenity. The promise of tranquil waters and starlit nights ignited our spirits. Upon arrival, we pitched our weathered tent, a ritual signaling the beginning of our escape from routine.

Days melted into each other, filled with hikes through dense forests, dips in cool, crystal-clear waters, and evenings spent around crackling campfires. We discovered hidden trails, stumbled upon secret meadows, and marveled at nature’s splendid orchestra of sounds and colors.

But amidst the beauty lay unexpected challenges. Unforgiving storms threatened our haven, testing our resilience. Yet, huddled together, we found solace in each other’s company, discovering strength in unity.

As the final sun dipped behind the horizon, casting its golden glow upon the rippling waters, a bittersweet sensation enveloped us. The adventure had drawn to a close, leaving behind cherished memories etched in our hearts.

Reluctantly, we packed our belongings, bidding farewell to the tranquil haven that had nurtured us. With weary but contented hearts, we embarked on the journey back, carrying not just souvenirs but a treasure trove of shared experiences and the promise of future escapades.

The car rolled away from the lakeside, but the echoes of laughter, the scent of pine, and the warmth of togetherness lingered, reminding us of the magical summer adventure that had woven us closer together.

11+ Short Narrative Essay Examples

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What is a Narrative Essay?

A narrative essay is a type of academic writing that allows you to narrate about your experiences. This follows a certain outline just like what we have observed in argumentative essays , informative essays and more. The outline consists of the introduction, body paragraph and conclusion.

This is a type of essay that tells a story either from the point of view of the author or from the personal experience of the author. It should also be able to incorporate characteristics such as the ability to make and support a claim, develop specific viewpoint, put conflicts and dialogue in the story, and to use correct information.  You may also see personal narrative essay examples & samples

The purpose of a narrative essay is to be able to tell stories may it be real or fictional. To enable us to write a perfect narrative essay, the author should include the necessary components used for telling good stories, a good climax, setting, plot and ending.

How To Write a Narrative Essay?

Compared to all types of academic essay , the narrative essay is the simplest one. It is simply written like the author is just writing a very simple short story. A typical essay has only a minimum of four to five paragraphs contain in the three basic parts: introduction, body paragraph and conclusion. A narrative essay has five elements namely the characters, plot, conflict, setting and theme.

Plot – this tells what happened in the story or simply the sequence of events. There are five types of plot: exposition, rising action, climax, falling action and resolution. The exposition is the an information that tells about background of the story. It can be about the character, the setting, events, etc. Rising action  is where the suspense of a story begins. It helps build toward the climax of a story. Climax  is the most intense part of the story.  Falling action  happens after the climax when it is already almost the end of the story.  Resolution is the part where the problem has already been resolved.

Characters – it is the person or other being that is a part of the narrative performs an action or speak a dialogue .

Conflict – this is the struggle or the problem that is faced by the characters of the story. This can be an external conflict and an internal conflict. An external conflict is a type of problem that is experienced in the external world. An internal conflict is the type of conflict that refers to the characters’ emotions and argument within itself.

Setting – this is knowing where and when the story takes place. This can be a powerful element because it makes the readers feel like they are the characters in the story.

Theme – this is what the author is trying to convey. Examples of a theme are romance, death, revenge, friendship, etc. It is the universal concept that allows you to understand the whole idea of the story.

How to write a short narrative essay?

• Select a Theme or Experience: Choose a specific event, moment, or experience that you want to narrate.
• Outline the Story: Plan the narrative by outlining the key elements – characters, setting, plot, and a clear beginning, middle, and end.
• Engaging Introduction: Start with a hook to captivate readers’ attention, introducing the setting or characters involved.
• Develop the Plot: Write body paragraphs that progress the story logically, describing events, actions, and emotions, using vivid details and sensory language to immerse readers.
• Character Development: Focus on character traits, emotions, and reactions to make the story relatable and engaging.
• Climax and Resolution: Build tension towards a climax, followed by a resolution or lesson learned from the experience.
• Concise Conclusion: Conclude the essay by summarizing the experience or reflecting on its significance, leaving a lasting impression on the reader.
• Revise and Edit: Review the essay for coherence, clarity, grammar, and punctuation, ensuring it flows smoothly.

What are the 3 parts of a narrative essay?

• Introduction: Sets the stage by introducing the story’s characters, setting, and providing a glimpse of the main event or experience. It often includes a hook to capture the reader’s attention.
• Body: Unfolds the narrative, presenting the sequence of events, actions, emotions, and details that drive the story forward. It develops the plot, characters, and setting.
• Conclusion: Summarizes the narrative, reflecting on the significance of the experience or event, and often delivers a lesson learned or leaves a lasting impression on the reader.

How do you start a narrative essay with examples?

• ” ‘Are we there yet?’ echoed in my ears as our family car trudged along the endless highway, marking the beginning of our unforgettable summer road trip.”
• “The sun dipped low on the horizon, casting a warm, golden hue over the serene lake. It was there, amidst the tranquil waters, that my adventure began.”
• “The deafening roar of applause faded as I stepped onto the stage, my heart racing with anticipation. Little did I know, that moment would change everything.”
• “Looking back, it all started with a single decision. That decision, made in a moment of uncertainty, led to a series of events that transformed my life.”
• “The scent of freshly baked cookies wafted through the air, mingling with the joyous laughter of children. It was a typical afternoon, until an unexpected visitor knocked on our door.”

How do you start a narrative introduction?

You may start by making the characters have their conversation or by describing the setting of the story. You may also give background information to the readers if you want.

What makes a good narrative?

A good narrative makes the readers entertained and engage in a way that they will feel like they are becoming a part of the narrative itself. They should also be organized and should possess a good sequence of events.

How many paragraphs are there in personal narratives?

Usually, there are about five paragraphs.

How many paragraphs are in a short narrative essay?

A short narrative essay typically comprises an introductory paragraph introducing the story, three to four body paragraphs unfolding the narrative, and a concluding paragraph summarizing the experience.

How long is a short narrative essay?

A short narrative essay typically ranges from 500 to 1500 words, aiming to convey a concise and focused story or experience within a limited word count.

Narrative essays are designed to express and tell experiences making it an interesting story to share. It has the three basic parts and contains at least five elements. If you plan to create a good narrative essay, be sure to follow and assess if your narrative has all the characteristics needed to make it sound nice and pleasing.

Text prompt

• Instructive
• Professional

Write a Short Narrative Essay on a memorable moment with your family.

Create a Short Narrative Essay about a lesson learned from a mistake.

The Difference between an Essay and a Story

There are several types of essays, and only a narrative essay resembles a story. The traditional length of a narrative essay would be comparable only to a short story in length.

A narrative essay is, in essence, a short version of a personal story from a writer's experience. In some ways, a narrative essay and a short story can feel similar to one another. Both require a certain amount of imaginative narrative from the writer and use descriptive words to convey emotions, lay out the scene, and place the reader inside the events.

However, there are quite a few differences, which is why you won't find a narrative essay in a compilation book of short stories.

Like all other forms of essays, a narrative essay needs a clear outline of ideas that organize the writer's thoughts. Essays will always include an introduction, a body of writing, and a conclusion that sums up the writer's points or describe what the writer learned from the experience they write about.

Short stories need no such structure. While there is technically a beginning, a middle, and an end, the linear structure of a narrative essay is often not followed in a short story. Some jump around in time and play with the reader's imagination to determine the sequence of events and how one event affects or leads to another.

Tell the Truth

One of the most notable differences between a narrative essay and a short story is that a short story does not always have to be true. A story can be fiction or non-fiction, as both fit the definition of a short story. A narrative essay, on the other hand, is expected by the reader to be an actual experience from the writer's life.

The intent of an essay is always to inform, so readers have an expectation that they will learn something by reading an essay regardless of its form. When reading a narrative essay, a reader expects to learn more on the topic being discussed through first-hand knowledge due to the lived experience of the writer.

The intent of a story is to entertain. Some short stories are fables, which include a moral that teaches a lesson. However, even the best lessons in short stories will not come across or even be remembered if the story itself isn't engaging and entertaining.

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What about MLA format?

All research papers on literature use MLA format, as it is the universal citation method for the field of literary studies. Whenever you use a primary or secondary source, whether you are quoting or paraphrasing, you will make parenthetical citations in the MLA format [Ex. (Smith 67).] Your Works Cited list will be the last page of your essay. Consult the OWL handout on MLA for further instructions.

Note, however, the following minor things about MLA format:

• Titles of books, plays, or works published singularly (not anthologized) should be italicised unless it is a handwritten document, in which case underlining is acceptable. (Ex. Hamlet , Great Expectations )
• Titles of poems, short stories, or works published in an anthology will have quotation marks around them. (Ex. "Ode to a Nightingale," "The Cask of Amontillado")

Tip If you're using Microsoft Word, you can easily include your name and page number on each page by following the these steps:

• Open "View" (on the top menu).
• Open "Header and Footer." (A box will appear at the top of the page you're on. And a "Header and Footer" menu box will also appear).
• Click on the "align right" button at the top of the screen. (If you're not sure which button it is, hold the mouse over the buttons and a small window should pop up telling you which button you're on.)
• Type in your last name and a space.
• Click on the "#" button which is located on the "Header and Footer" menu box. It will insert the appropriate page number.
• Click "Close" on the "Header and Footer" window.

That's all you need to do. Word will automatically insert your name and the page number on every page of your document.

What else should I remember?

• Don't leave a quote or paraphrase by itself-you must introduce it, explain it, and show how it relates to your thesis.
• Block format all quotations of more than four lines.
• When you quote brief passages of poetry, line and stanza divisions are shown as a slash (Ex. "Roses are red, / Violets are blue / You love me / And I like you").
• For more help, see the OWL handout on using quotes .

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Adani Group, the Indian conglomerate rocked by a Hindenburg Research report last year , faced another heavy share selloff on Monday after the shortseller accused the head of India’s market regulator of having links to offshore funds also used by the group.

About $2.4 billion, or 1%, had been wiped off the market value of Adani companies by the end of the trading day, although that was a substantial recovery from earlier losses of more than $13 billion.

The battle between Hindenburg Research and the  Gautam Adani’s Adani Group began 18 months ago when the US shortseller alleged Adani improperly used tax havens, accusations the group denied again on Sunday, saying its overseas holding structure was fully transparent.

Citing whistleblower documents, Hindenburg said on Saturday that Madhabi Puri Buch, chair of the Securities and Exchange Board of India (SEBI) since 2022, has a conflict of interest in the Adani matter due to previous investments.

Buch said the report’s allegations were baseless and in a separate statement the regulator said allegations made by Hindenburg Research against the Adani Group have been duly investigated.

Shares in the group’s flagship firm Adani Enterprises closed out Monday 1.1% lower, while Adani Ports, Adani Total Gas, Adani Power, Adani Wilmar and Adani Energy Solutions were down between 0.6% and 4.2%. Only Adani Green bucked the trend, closing 1% higher.

“The allegations are coming for the second time. Lot of investigations have happened over the last year and a half. This is a temporary, knee-jerk reaction. Things will get back to normalcy,” said Sunny Agrawal, head of fundamental equity research at SBICAPS Securities.

Investments from Abu Dhabi-based International Holding and US boutique investment firm GQG Partners have helped restore some investor confidence since Hindenburg’s first report in January 2023, with Adani Group’s share value losses narrowing to about $32.5 billion from $150 billion in the immediate aftermath.

Buch termed Hindenburg’s allegations an attempt at “character assassination” following the regulator’s enforcement action and “show cause” notice to the shortseller for violating Indian rules.

A show cause notice signals an intention to take disciplinary action if satisfactory explanations are not provided.

Adani Enterprises is looking to launch a $1 billion share sale by mid-September, having shelved a record $2.5 billion offer in the wake of Hindenburg’s first set of allegations. 

Adani Energy raised $1 billion from US investors and sovereign wealth funds earlier this month.

“We will likely see a short to medium term sentiment impact on Adani stocks, especially as retail investors are pressurized by the allegations made against SEBI,” said Kranthi Bathini, Director, Equity Strategy, WealthMills Securities.

As the latest allegations gained political traction, ruling Bharatiya Janata Party lawmaker Ravi Shankar Prasad said: “Instead of giving a response to the SEBI show cause notice, Hindenburg has issued this report, which is a baseless attack.”

“The SEBI and the family (of Buch) have responded, we don’t have anything to add to that,” he told reporters.

However, opposition leader Rahul Gandhi said on X: “The integrity of SEBI, the securities regulator entrusted with safeguarding the wealth of small retail investors, has been gravely compromised by the allegations against its chairperson.”

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Tim Walz's military record: What to know about potential VP's National Guard service

Democratic presidential candidate Kamala Harris selected Minnesota Governor Tim Walz as her running mate on Tuesday, choosing a progressive yet plain-spoken VP candidate from America’s heartland to help her win over rural, white voters.

“I’m pleased to share that I’ve made my decision: Minnesota Governor Tim Walz will join our campaign as my running mate,” Harris said via text to supporters. “Tim is a battle-tested leader who has an incredible track record of getting things done for Minnesota families. I know that he will bring that same principled leadership to our campaign, and to the office of the vice president.”

We look at Walz, a 60-year-old U.S. Army National Guard veteran, and his military career over the years.

More: Tim Walz is Kamala Harris' VP pick: Minnesota governor named running mate: Live updates

How long was Walz in the military?

Walz served in the military for 24 years, enlisting in the Nebraska National Guard at 17 in 1981 and then transferring to the Minnesota National Guard in 1996. He retired in 2005 to begin his successful run for the U.S. House, representing Minnesota as command sergeant major, among the highest ranks for enlisted soldiers. His battalion went on to deploy to Iraq shortly after Walz's retirement.

Walz specialized in heavy artillery and had proficiency ribbons in sharpshooting and hand grenades.

But during the 21 years that Walz spent working with large artillery pieces, he suffered hearing loss and tinnitus in both ears, Minnesota Public Radio reported. He was allowed to continue his service after undergoing surgery, which partially resolved his hearing loss.

Where did Walz serve, and what did he do in the National Guard?

During his service, Walz responded to natural disasters, including floods and tornadoes in Minnesota and Nebraska, and was deployed overseas for months at a time, according to MPR.

In 2003, he was sent to Italy, where he served with the European Security Force to support the war in Afghanistan. He was also stationed in Norway for joint training with other NATO militaries.

Walz told MPR that he reenlisted in the National Guard after the September 11 attacks but never saw active combat in his years in the military.

Stars and Stripes reported in 2020 that Walz credited his Army experience with helping him steer Minnesota through the COVID-19 pandemic as governor.

As governor of Minnesota, Walz is commander in chief of the 13,000-soldier Minnesota National Guard. “I’m certainly proud of my military service, but it’s one piece of me,” he told Minnesota Public Radio in 2018. “It doesn’t define me.”

Reuters and USA TODAY reporter Tom Vanden Brook contributed to this story.

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NASA Says Boeing Starliner Astronauts May Fly Home on SpaceX in 2025

The agency had insisted for a couple of months that it was confident that Suni Williams and Butch Wilmore would return on Starliner.

By Kenneth Chang

For weeks, NASA has downplayed problems experienced by Starliner, a Boeing spacecraft that took two astronauts to the International Space Station in June.

But on Wednesday, NASA officials admitted that the issues might be more serious than first thought and that the astronauts might not return on the Boeing vehicle, after all.

The agency is exploring a backup option for the astronauts, Suni Williams and Butch Wilmore, to instead hitch a ride back to Earth on a spacecraft built by Boeing’s competitor SpaceX.

The astronauts’ stay in orbit, which was to be as short as eight days, could be extended into next year.

“We could take either path,” Ken Bowersox, NASA’s associate administrator for the space operations mission directorate, said during a news conference on Wednesday. “And reasonable people could pick either path.”

The announcement adds more headaches and embarrassment for Boeing, an aerospace giant that has billions of dollars of aerospace contracts with the federal government and builds commercial jets that fly all around the world.

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