short story presentation assignment

Summaries, Analysis & Lists

Short Stories in English for College Students: Short Story Examples for University + PDF

This page contains appropriate examples of short stories for college students in English. Every story is part of the English literary canon and is suitable for deep reading and studying the usual story elements: plot, point of view, character, setting, tone and style, theme, and symbol. Most of the short stories for college students on this page are well known, so you’ll be able to find a lot of explanatory notes on most of them to supplement your understanding, and many of them have links to a summary and analysis.

Many of the short stories for High School are also suitable for college students. For stories that are about college see: Campus | Academic

Short Stories in English for College Students

The short stories for college students with PDF links are noted below.

“What We Talk About When We Talk About Love” by Raymond Carver

Two married couples sit in the McGinnis’s apartment, drinking and talking about real love. They use their own, and second-hand experiences, to try to define it.

Get  What We Talk About When We Talk About Love  Free on Audible

Read “What We Talk About When We Talk About Love” ( Analysis & Themes )

“Everyday Use” by Alice Walker

Mama is an African-American woman living in the Deep South with her daughter, Maggie. Her other daughter, Dee, an educated woman who’s drawn to a traditional African identity, is coming for a visit. ( Summary & Analysis )

“The Yellow Wallpaper” by Charlotte Perkins Gilman

A woman’s husband, a doctor, confines her to the upstairs bedroom of their summer house. He diagnoses her with a “hysterical tendency” and “nervous depression”. She chronicles her confinement in her journal; the treatment doesn’t have a positive effect on her condition. ( Summary )

This story can be read in the preview of  The Yellow Wall-Paper and Other Stories.

“King of the Bingo Game” by Ralph Ellison

A black man sits through a movie, waiting for the bingo game to follow. He’s very hungry but knows he can’t ask to share anyone’s food, because things in New York aren’t like back South. He’s unemployed and has no money. He needs to win the bingo jackpot so he can take his sick wife to the doctor. ( Summary & Analysis )

“A Rose for Emily” by William Faulkner

A Southern spinster, Emily Grierson, has died. She had been a recluse, so the townspeople are curious about her and her house. The narrator recounts episodes from her life. ( Summary & Analysis )

This story can be read in the preview of  A Rose for Emily and Other Stories. (18% into preview)

“The Story of an Hour” by Kate Chopin

A woman receives the news that her husband has been killed in a train accident. She processes the news over the next hour, experiencing a range of emotions.

Read “The Story of an Hour” (Includes Summary & Analysis)

Get The Clash of Civilizations and the Remaking of World Order free on Audible

“The Rocking-Horse Winner” by D. H. Lawrence

A middle-class woman, successful but perpetually short of money, lives with her two children. She is unlucky, but her son isn’t: when he rides his rocking-horse, he’s able to work himself into a state where he can pick the winner of a horse race.

This is the first story in the preview of  Big Book of Best Short Stories .

“The Zebra Storyteller” by Spencer Holst

A Siamese cat learns to speak to Zebras, taking advantage of the shock of it to tie them up and kill them. ( Summary )

This story can be read in the preview of The Language of Cats and Other Stories .

“Blue Winds Dancing” by Tom Whitecloud

A young American Indian man, lonely and disillusioned with college, leaves for home to be with his own people again. ( Summary )

“The Short Happy Life of Francis Macomber” by Ernest Hemingway

The Macomber’s are an American couple on an African safari. They have a guide, Wilson, a professional hunter, who will lead their outing. It is revealed that Francis had panicked in an earlier hunt when a wounded lion charged at him.

This is the first story in the preview of  The Complete Short Stories of Ernest Hemingway .

“20/20” by Linda Brewer

Bill and Ruthie are on a road trip. Bill finds her conversation simplistic; she refuses to argue anything. She says what she sees along the way. ( Summary & Analysis )

“Shiloh” by Bobbie Ann Mason

Leroy has been off work for four months since getting hurt. His wife, Norma Jean, supports them both by working at a drugstore. Leroy is glad to be home with his wife, but he’s worried that she’s drawing away from him—maybe his presence reminds her of their son who died as a baby.

This story can be read in the preview of  Shiloh & Other Stories .

“A Very Old Man with Enormous Wings” by Gabriel Garcia Marquez

In a small town, an old man with wings washes up on shore. There are many ideas about what he is and where he’s from. A couple takes him and locks him up on their property.

This is the eleventh story in the preview of  The Big Book of Modern Fantasy . (78% into preview)

English Short Stories for College Students, Cont’d

“A Good Man is Hard to Find” by Flannery O’Connor

An extended family is headed to Florida for a vacation. The grandmother wants to go to Tennessee instead, so she talks about an escaped murderer—The Misfit—who is suspected to be on his way to Florida. Despite her efforts, her son Bailey is set on going to Florida.

This story can be read in the preview of A Good Man is Hard to Find and Other Stories . (Kindle preview)

“The Necklace” by Guy De Maupassant

Mathilde is married to a minor government official. They’re of modest means, but Mathilde has expensive tastes. When they get invited to a party, she borrows a necklace from a rich friend.

Read “The Necklace”

“Miss Brill” by Katherine Mansfield

A middle-aged woman takes a weekly Sunday walk. She likes to observe and listen to people, but she overhears something that upsets her.

Read “Miss Brill”

“Cathedral” by Raymond Carver

A woman and a blind man have kept in contact for ten years, mailing tapes to each other. His wife has recently died, so he’s going to visit her family. On the way, he’s going to spend a night at the woman’s place with her new husband. Her husband isn’t looking forward to the visit.

Read “Cathedral” (PDF)

“In Broad Daylight” by Ha Jin

Two boys rush to the home of Mu Ying on Eternal Way. A crowd is gathering there, as Mu Ying is going to be paraded through town as a punishment. Grandma remembers the old way of punishing an adulteress and wants her to be executed. Mu Ying, surrounded by Red Guards, is led out through her gate.

“How” by Lorrie Moore

The narrator describes the progression of a relationship, with some possible variations, from the first meeting to its dissolution.

“Sonny’s Blues” by James Baldwin

The narrator is a teacher in Harlem; he has managed to keep away from the bad influences around him. His brother, Sonny, is a jazz musician with a heroin problem. They haven’t stayed close over the years.

Read “Sonny’s Blues” (PDF)

“Paul’s Case” by Willa Cather

Paul gets suspended from his Pittsburgh High School. His father wants him to be a responsible wage-earning family man when he grows up, but Paul is drawn to a life of wealth and glamour, so he decides to go to New York.

Read “Paul’s Case” (PDF)

“A Worn Path” by Eudora Welty

An elderly African-American woman, Phoenix Jackson, walks through the Mississippi forest to get into town. She encounters many obstacles along the way.

“Silence” by Tadeusz Borowski

A man is seized in a German barracks and dragged into an alley. The mob is broken up when they are warned of an approaching company of American soldiers.

“The Garden of Forking Paths” by Jorge Luis Borges

A German spy knows that his cover has been blown and he’s being pursued by English authorities. He has vital information to communicate to his government, so he comes up with a plan: he finds a man named Stephen Albert in the phonebook and heads for his home.

Read “The Garden of Forking Paths” (PDF)

“Winter Dreams” by F. Scott Fitzgerald

Dexter Green is a fourteen-year-old caddy, working for pocket money. He quits one day when Judy Jones, a beautiful eleven-year-old, treats him as an inferior. Years later he goes into business and becomes a success. He has another meeting with Judy Jones.

Read “Winter Dreams” (PDF)

“Flowering Judas” by Katherine Anne Porter

Laura, an American, is in Mexico City after the Mexican Revolution working for the revolutionary cause and its leader, the socialist Braggioni. Braggioni indulges himself and tries to seduce Laura. Her religious and revolutionary ideals are tested.

“Where Are You Going, Where Have You Been?” by Joyce Carol Oates

A rebellious fifteen-year-old girl encounters an older man in a parking lot. He later shows up at her place when she’s home alone to ask her to go for a ride with him.

Read “Where Are You Going . . .” (PDF)

“The Swimmer” by John Cheever

On a summer Sunday, Neddy is hanging out at the Westerhazy’s pool. They’re talking about how they drank too much last night. He realizes he could make his way home by swimming the length of the pools in his neighborhood.

“A Hunger Artist” by Franz Kafka

A hunger artist—a professional faster—puts on public fasting exhibitions. The public responds enthusiastically at first, but eventually loses interest.

Read “A Hunger Artist”

There are many other excellent short stories in English for college students. This page is just a sampling of short stories for college students, offered as a starting point.

Need Used Textbooks?

If you want the latest literary anthology that all the cool students are reading, check out The Norton Introduction to Literature: Shorter 13th Edition . (Amazon) It has the usual selections from the English literary canon as well as some newer pieces.

If you’d like to browse some Norton anthologies, this page looks at some popular volumes.

ENG 243 - Introduction to the Short Story

Eng 243-01 syllabus: introduction to the short story.

Dr. Suzanne O'Brien, Instructor 

Fall 2016, section 01

Office and Phone: 319-H Main Bldg.  810-989-5747

Twitter @autumnenglish 

College website:  www.sc4.edu

SC4 Mission and Vision:  Our mission is to maximize student success.

Our vision is to create an academic and cultural environment that empowers students to succeed

Course Description

Catalog description.

ENG 243 Modern Short Story .  The short story is studied in-depth as a literary form with emphasis on analysis.  Through reading, discussing, and writing about historical, international and multi-cultural stories, students understand plurality of values, ethics and aesthetics related to society and culture.

                Prerequisite:  ENG 101 and 102, or permission of the instructor

                3 credits = 3 lecture GA (Global Awareness)

Text Required:  None.  

All readings will be available Via Microsoft Onedrive and the SC4 Library

Library Course Reserves http://esearch.sc4.edu/er.php  Detailed course reserve access instructions will be distributed to students at the start of the semester.

Purdue Online Writing Lab: https://owl.english.purdue.edu/owl/resource/679/01/  

**Note:  Microsoft 365, the free set of services and applications for SC4 students is REQUIRED.  Students will be provided with assistance and support so they are able to access and download the office suite that includes Word, OneNote, and Yammer. https://portal.sc4.edu/studentresources/Technology/Documents/OFFICE%20365%20021916.pdf

one does not simply write a paper. O'brien will force you to access it 365.

 Your grade for the course will be based on the following:

1. One take home exam and one paper, of four to six pages each, worth one-hundred points each

2. Four-6 quizzes, worth 100 points total

3. Four personal response and discussion presentations, worth twenty-five points each. 

4. Two responses to discussion presentations, worth ten points for each

5. The final capstone project, worth one-hundred points

The total number of points possible, then, is 520.  To determine your grade at any point in the course, simply divide the number of points possible into the number of points you have earned.  The resulting percentage (with attendance taken into consideration) translates into the following grade:

The assignments have been modified from the previous offering of 243.

     All written assignments are based on the readings, student research, and discussion.   A schedule with reading, writing and presentation assignments organized by unit and week (O’Brien’s famous Squares of Justice) will be provided separately and is subject to change.

Unit 1.  Textual Tours: Lit Critters

Monomyth, Innocence to Experience, Lit with a capital “L”

Hawthorne, Singer, Alexie, Kaplan, Oates

• Response #1

Unit 2. Authors and Approaches (psychological, biographical, genre)  

Poe, Grafton, Gilman, Ellison, O’Connor, Carver, Wright, Wallace, King, Vonnegut

• Take home exam
• Response #2

Unit 3.  Textual “GA”

Joyce, Barr, Akutagawa, Kafka, Lahri, Atwood

• Response #3

Unit 4.  Capstone Project

Johnson and Johnson J

ü  Instructor-approved Original Short story or

ü  In-depth presentation

Assignments

All written assignments are based on the readings, student research, and discussion.   A schedule with reading, writing and presentation assignments organized by unit and week (O’Brien’s famous Squares of Justice) will be provided separately and is subject to change. 

Textual Tours: Lit Critters

Authors and Approaches (psychological, biographical, genre)  

Textual “GA”

Instructor-approved Original Short story or

In-depth presentation

Assignment Policies

• All units and requirements for the class must be complete.
• Students must meet attendance guidelines and complete all of the assignments on time.
•  I follow the College policy regarding incompletes; the student must be in good standing, with 80% of the work already complete. Please see the catalog for additional information.  I do not grant incompletes for missing or failing work, however.
• I do not take late work or allow make ups because students are responsible to keep track of their points and assignments. Instead, I encourage students to do extra credit* to make up for missing or weak assignments other than the final unit requirement . Whether students need additional points to boost a weak grade or move from B+ to A-, for example, makes no difference.  All students have the same opportunity.
• Attendance: Students with more than 6 absences (three weeks) EXCUSED OR UNEXCUSED will receive an “E” unless they withdraw from the course by Saturday, November 12 th . Please schedule doctor’s appointments and other meetings some other time, and I will do the same.  If you exceed this limit, you will not pass.
• If you are late more than three times , I will count each time you are late after that as an absence. If I am late, (and I don’t plan on it), I will apologize and make up the time.

Plagiarism is considered academic theft and most students and writers know it involves using the words of someone else and not giving proper credit. Many of the issues are caused by a lack of attention to taking appropriate notes and overuse of the cut-and-paste editing tool. If there is a concern regarding a student’s assignment, the student will be contacted for a meeting in the instructor’s office and further steps will be taken ranging from failure on the assignment to addition consequences based on the situation.   I will fail ANY PAPER or ASSIGNMENT that belongs to someone else, was written by someone else, cut and pasted from somewhere else, or copied with the words changed a little bit.  Don’t cheat on quizzes and tests or do other people’s work. Do not have parents and significant others do part of your work. Please see the college policy on Academic Honesty in the College catalog.  Acts of plagiarism are taken very seriously.  If you are caught twice, I will give you a failing grade for the course and refer you to the Academic Lead and the Chief Academic Officer.

Extra Credit

I don’t take late assignments, so I provide opportunities for extra credit.  Handouts, directions, grading criteria and due dates will be provided. Extra credit assignments must be done according to the same guidelines as “regular” assignments and require effort. 

Assignment Guidelines

Assistance and deadlines

The writing center is located in Main 302/313 (right next to our classroom) and printers are available there.  Copies for review that don’t open are not the problem of the instructor.  Papers must be turned in by the deadline in hard copy form unless specified and correctly formatted.  Deadlines are 4:00 pm to prevent difficulties with weather, schedules, transportation, printers, and software.  

SC4 + Office = Success

Assignment Format

All drafts must be typed.  Use standard typing paper, the type that is in the printers in our lab, and double space with about one inch margins (the default setting for your program). Please use your 365 Microsoft Word MLA template.

     Your Microsoft Word document will be double-spaced.  Since the template allows an extra double-space between paragraphs, I will adhere to the 365 office standard setting.  Using the template, put your name, my name, the course and section number (01 or 06), and the date in the upper left-hand corner. The template will automatically set your paper to 12 point times roman.

       Then center your title. On additional pages, do use the insert feature to add the page number in the upper-right corner. DO NOT use a title page, plastic cover, or other folder.  Please staple the paper in the upper-left corner before turning it in.

  Please be aware that your instructor has viewed YouTube and Wikihow for the latest on how to make a student paper appear longer. Additional format information is in our textbook and on the Owl (Online Writing Lab) website.

Concerns, complaints, problems

      Students who have concerns about any aspect of the class are encouraged to see the instructor in her office at any time. However, if a student is not comfortable discussing matters with the instructor, he or she is encouraged to make an appointment to discuss communication barriers or policy issues with the Humanities Division Academic Lead for 101, Professor Jim Frank, 989-5589 ([email protected]).  Our supervisor is the Chief Academic Officer, Mr. Neese.  His number is 810-989-5585 ([email protected]).  The complaint/grievance process is outlined in the College catalog and on the SC4 website.   

St. Clair County Community College Logo

Accommodations and support

Disability and special services support is provided by a coordinator in the Academic Achievement Center (810-989-5759).  The center also provides tutoring for all students and additional resources for those with special needs.  If you have any needs, please let your instructor know.  The writing center is also provided with copies of the assignments and a textbook (810-984-3881 ext. 6223). SC4 also provides TRiO support (see me for a referral to see if you qualify), educational planning, career services, veteran’s support services and many other programs and resources. I am happy to assist with referrals.  Additional information regarding equal education opportunity, human resources, due process, issues of conduct and sexual harassment are in the College catalog and available online.  This class follows all college policies and ADA guidelines. 

Cell phone policy

There may be times where I need to collect cell phones for in class work that is graded. Please turn off your cell phone and forget about texting in class.

Kindness policy

I like to joke and keep things relaxed.  However, pleasetreat other students in the class the way you would like to be treated. Prepare for class and be ready to help your group. If I say something accidentally that makes you uncomfortable, please see me right after class so we can work things out.

No Alignments yet.

Cite this work

Teaching Plot Structure through Short Stories

• Resources & Preparation
• Instructional Plan
• Related Resources

There's more to plot than identifying the series of events in a story. After viewing a PowerPoint presentation on plot structure, students identify the significant events that shape the structure of a familiar fairy tale, "Jack and the Beanstalk," using an online graphic organizer. Students then read short stories as a whole class, in small groups, and, finally, individually, analyzing the plot of three different short stories using an online graphic organizer to diagram the structures.

Featured Resources

Elements of Plot PowerPoint Presentation : This PowerPoint presentation introduces the basic elements of plot structure.

Plot Diagram Interactive : Students can use this open-ended online tool to graph the plot of any story.

From Theory to Practice

As Carol Jago explains, "It's easy to ‘teach' literary terminology and devise quizzes on the terms, but to make the language of literature useful to readers, students need to practice using academic vocabulary in ways that deepen their understanding of how stories work" (51). Emphasizing the connection between reading and writing, this lesson combines collaborative, small-group, and individual learning activities using literature circles and group investigations, as suggested by Harvey Daniels and Marilyn Bizar, to give students the opportunity to apply the literary terminology related to plot structures to short stories that they read together and individually.

Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

• Copies of short stories either on paper or online
• Computers for students with Internet access
• Projector for PowerPoint, and first uses of Plot Diagram interactive
• Reflective Journal Instructions
• Reader's Guide to Understanding Plot Development
• Writing Rubric

Preparation

• Arrange for computers and projector.
• Preview the PowerPoint presentation and download a copy to your machine if desired to share with your class.
• Make copies or overhead transparencies of the Reader's Guide to Understanding Plot Development , the Reflective Journal Instructions , and the Writing Rubric .
• Choose short stories for your students. This lesson plan uses "The Flowers" by Alice Walker and "Marigolds" by Eugenia Collier as examples; however, any stories that you're reading will work for this lesson plan. If desired, groups in Session Two can all read different short stories, or they can all read the same story.
• Test the Plot Diagram interactive and "Jack and the Beanstalk" Plot Diagram on your computers to familiarize yourself with the tools and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.

Student Objectives

Students will

• review the characteristics of plot.
• work in whole class, cooperative groups, and individually to read short stories.
• demonstrate an understanding of plot structure by analyzing a several short stories.
• use Plot Diagram interactive as prewriting activity for essay tracing plot structure in a short story.

Session One

• Introduce students to plot structure, using the Elements of Plot PowerPoint Presentation (see notes on the slides).
• View together the "Jack and the Beanstalk" Plot Diagram . Record each of the elements using the Plot Diaram Interactive Tool . While this may seem elementary, fairy tales are frequently used at the secondary level to help students more easily see plot structure. Students can also work in small groups in the computer lab. If Internet access is limited, the teacher can read aloud the tale, students can brainstorm events, and the class can diagram the plot on the board or on paper.
• As a class, read "The Flowers" by Alice Walker (or short story of choice).
• Ask students to brainstorm the significant events in the story. As students make suggestions, write the events on the board.
• When students finish making suggestions, review the list. Ask students to look for any items which have been omitted or items which should be combined.
• Discuss the difference between significant events and the other events in the story. Remind students of the information from the Elements of Plot PowerPoint Presentation , particularly the connections between the plot and the conflict in the story.
• Display the Reader's Guide to Understanding Plot Development and work as a group to structure the events into the specific plot structures.
• As a class, arrange the events of the plot, using the Plot Diagram student interactive, and discussing the literary terms of exposition, rising action, climax, falling action, and resolution.

Session Two

• Review the literary terms from the previous session, including plot, exposition, rising action, climax, falling action, and resolution.
• Answer any questions that students have regarding the elements.
• Divide students into groups of three each. In small groups ask students to read "Marigolds" by Eugenia Collier.
• When groups have finished exploring the story, ask them to work through the story, identifying the significant events using the Reader's Guide to Understanding Plot Development .
• Next, have groups arrange the significant events as they relate to the plot structures of exposition and so forth by completing the Plot Diagram student interactive.
• Ask groups to print the plot diagram and share with class.
• Compare the diagrams completed by the groups, looking for similarities and differences. Ask students to explain the decisions that they made as they completed the diagram.
• If there are significant differences among groups' diagrams, ask students to account for the differences-are the differences supportable? Can the story have more than one climax, depending upon the reader's perspective?
• For homework or in the time remaining, ask students to assess and reflect upon their group work by completing a reflective journal entry in response to the Reflective Journal Instructions .

Session Three

• Ask students to refer to their Reflective Journal responses and share any observations or questions that they recorded as they reflected on their group exploration.
• Individually, ask students to each choose and read a short story.
• After they finish reading, ask students to work through the story, identifying the significant events using the Reader's Guide to Understanding Plot Development .
• Next, have students arrange the significant events of the plot structures by completing the Plot Diagram student interactive.
• Students print plot diagram, share with class, and post on bulletin boards.
• Again, compare the diagrams completed by the groups, looking for similarities and differences.
• Look for plots that show significant differences. For instance, some stories have a long rising action and then a very short, fast falling action after the climax. Other plots may follow Aristotle's unified structure with rising and falling actions of similar length.
• Discuss the differences among the structures, asking students to consider how the differences in the structure relate to the kind of story and its theme.

Session Four

• Using the printouts from the Plot Diagram student interactive created in the previous session, ask students to write a paper that analyzes the plot of the story that they chose and read.
• Share the Writing Rubric with students and discuss the requirements for the paper.
• Discuss the difference between a paper that analyzes plot and one that summarizes the story. The plot is composed of the cause-and-effect events that explain why the story happens. Summary includes all the events without any attention to how the story events lead to the story's conclusion or support the story's theme.
• If students need reinforcement of the difference, remind students that plot focuses on the significant events in the story.
• During the remainder of the session, students can begin work on their essays, sharing with peers as desired. Circulate among students providing support as they work.
• Collect assignments at the end of the session, or if desired, allow students additional time to work on the papers and collect them during a later session.

Student Assessment / Reflections

Review the reflective journal entries that students write in response to the Reflective Journal Instructions to gauge their understanding of plot structures during Session Two. Ideally, review these entries before Session Three so that you can identify any concepts that need more exploration. Read both for specific details that indicate that students understand and can define the literary terms covered in the first session and for students’ tone as an indication of their confidence in their knowledge. Assess the final essay students compose using the Writing Rubric . Focus your attention on evidence that students understand the difference between summarizing the story and its analyzing plot. Additionally ensure that students understand the key literary terms introduced during the lesson (exposition, rising action, climax, falling action, resolution).

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The Plot Diagram is an organizational tool focusing on a pyramid or triangular shape, which is used to map the events in a story. This mapping of plot structure allows readers and writers to visualize the key features of stories.

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Short Story Writing for Students and Teachers

What Is a Short Story?

The clue is in the title!

Short stories are like novels only…well…shorter! They contain all the crucial elements of fully developed stories except on a smaller scale.

In short story writing, you’ll find the key story elements such as characterization, plot development, themes explored, etc., but all within a word count that can usually be comfortably read in one sitting.

Short stories are just one of many storytelling methods; like the others, they help us derive meaning from our world.

How Do Short Stories Differ From Novels?

The reduced scale of a short story explains most of the differences the form has with longer forms such as novels.

Short stories usually have a tighter focus on a single main character and rarely shift between perspectives the way we often find in longer works of fiction.

Space is of the essence in this form, so long passages of exposition are usually avoided and the story starting at the last possible moment.

In purely numerical terms, short stories can be anywhere between about 1,000 to around 20,000 words or so, though many would consider even 10,000 too long.

A short novel clocks in at around 60,000 words, with word counts between 20-60,000 words being taken up by that red-headed stepchild of prose, the novella.

THE STORY TELLERS BUNDLE OF TEACHING RESOURCES

A MASSIVE COLLECTION of resources for narratives and story writing in the classroom covering all elements of crafting amazing stories. MONTHS WORTH OF WRITING LESSONS AND RESOURCES, including:

How to Write a Short Story

Good storytelling is an art. But, luckily it’s a craft too and, like any craft, the skills and techniques can be learned by anyone.

In this article, we’ll first take a look at some ways to kickstart the short story writing process, before taking a look at some of the structural considerations essential for students to understand before they write their short stories.

We’ll also explore some simple practical activities that will help students to draw on their creative resources and personal experiences to help bring their stories to life.

Finally, we’ll look at some general tips to help students put a final polish on their masterpieces before they share them with the world.

How t o begin a story

Create a Dramatic Question

The first thing a student needs to do when writing a short story is to create a dramatic question. Without a dramatic question, readers will have no motivation to read on as there will be no story .

This dramatic question can take many forms, but as it will be the driver of the plot, it will be the single most important element of the story.

Take the movie Rocky as an example. In it, an aging journeyman boxer, Rocky Balboa, answers two dramatic questions:

1. Will Rocky find love?

2. Can he become the Heavyweight Champion of the World?

Often the dramatic question is of this will she/won’t she type. But, whatever form it takes, there must be some obstacles put in the way of answering it.

These obstacles can come in the form of an external obstacle, such as an antagonist or a negative environment, or the form of an internal obstacle, such as heartbreak or grief.

This is the conflict that creates the crucial element of suspense necessary to engage the reader’s interest.

Whatever form a student’s dramatic question takes, it will provide the plot impetus and how the student will explore their story’s theme.

Practice Activity: Identify the Dramatic Question

It is good practice for students to attempt to identify the dramatic question any time they read a book or watch a movie. Ask the students to think of some classic or popular books and movies that they are already familiar with. Can they extract the major dramatic question from each?

Find Inspiration in the World Around

One of the most common complaints from students, when asked to write a short story, is that they don’t know what to write about. This is the age-old curse of writer’s block.

Figuring out what to write about is the first hurdle students will need to overcome. Luckily, the inspiration for stories lies everywhere. We just need to help students to know where to look.

As writers, students must learn to see the world around them with the freshness of the eyes of a young child. This requires them to pay close attention to the world around them; to slow things down enough to catch the endless possibilities for stories that exist all around.

Luckily, we have the perfect activity to help our students to do this.

Practice Activity: Breathe Life into the Story

We can find stories and the details for our stories everywhere.

Students need to tune their ear to the fragments of stories in snatches of overheard daily conversations. They need to pay enough attention to catch their own daydreaming what-ifs on the bus to school or to keep an eye out for all those little human interest stories in the local newspaper.

Once the living details of life are noticed, students need to capture them quickly by recording them in a journal. This journal will become a great resource for the student to dip into for inspiration while writing their stories.

Those half-heard conversations, those anecdotes of street life witnessed through a bus window, the half-remembered dreams scribbled down while gulping down a rushed breakfast. All these can provide jumping-off points and rich detail for a student’s short story.

Outline and Prepare

Preparation is important when writing a short story. Without a doubt. There is, however, a very real danger of preparation becoming procrastination for our student writers.

Students must learn to make their preparation time count. The writing process is much more productive if students invest some time in brainstorming and organizing their ideas at the start.

To organize their short story, students will need to understand the basic elements of structure described in the next section, but the following activity will first help them to access some of the creative gold in their imaginations. The discipline of structure can be applied afterward.

Practice Activity: Dig for Nuggets

For this activity, give each student a large piece of paper, such as a leaf from an artist’s sketchbook, to brainstorm their ideas. Employing a large canvas like this encourages more expansive thinking.

Instruct students to use colored pens to write sentences, phrases, and fragments, even doodles. Anything that helps them to dump the contents of their mind onto the paper. This is all about sifting through the rubble for those nuggets of gold. Students shouldn’t censor themselves, but instead, allow their mind’s free reign.

To help your students get started, you can provide them with some prompts or questions as jumping-off points. For example:

• What is your basic premise?
• What is the story about?
• Who are your main characters?
• Where is your story set?  

Encourage students to generate their own questions too by allowing their minds ample room to roam. Generating new questions in this way will help them gather momentum for the telling of their tale.

SHORT STORY WRITING STRUCTURE

Even getting off to a great start, students often find themselves in difficulties by the middle of their story, especially if they haven’t achieved a firm grasp of structure yet.

The main elements students will need to master are plot, theme, and character development.

In this section, we’ll take a look at each of these in turn.

Plot refers to the events of the story. This is the what of the tale. It’s useful for students to understand the arc of the plot in five sections: exposition, rising action, climax, falling action, and resolution.

Exposition: This is the introductory part of your story. It should introduce the reader to the central characters and orientate them to the setting.

Rising Action: Here the student begins by introducing the central dramatic question which will be the engine of the story. A series of obstacles must be placed in the way of the main character that will increase suspense and tension as the story moves forward toward the climax.

Climax: The climax is the dramatic high point of the story. This is where interest peaks and the emotions rise to their most intense.

Falling Action: Now the conflict is resolving and we are being led out to the story’s end.

Resolution: The central dramatic question has been answered, usually in either a happy or tragic manner, and many loose ends are tied up.

Practice Activity: Instruct students to use the five-part plot structure above to map an outline for their tale before writing .

If the plot consists of the series of events that constitute the story, then the theme refers to what those events mean.

The theme of a story is the underlying message of the story.

What is the ‘big idea’ behind all the action of the plot? This is open to a certain amount of interpretation on the part of the reader, but usually, a little reflection by the student writer will reveal what the events of the plot mean to them.

If, as described in the introduction, stories are how we derive meaning from the world, the theme will reveal the writer’s perspective on things.

Practice Activity: Organize students into groups and ask them to list their Top 5 movies or books of all time. Instruct them to briefly outline the main plot points using the plot structure above. When they’ve completed that, instruct the students to discuss what they think the main themes of each of the works of fiction were.

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Character Development IN SHORT STORY WRITING

No doubt about it, characterization is essential to the success of any short story. Just how important characterization is will depend on whether the story is plot-driven or action-driven.

In the best writing, regardless of genre or length, the characters will be at least plausible. There is a lot that students can do to ensure their stories are populated with more than just cardboard cutouts.

One effective way to do this is to reveal a character through their actions. This is the old show, don’t tell trick at work.

A good short story writer will allow the character to reveal their temperament and personality through their actions.

For example, instead of merely describing a character as putting a mug on the table, perhaps they bring it down with a thud that betrays their anger.

Another great way to reveal character is in the use of dialogue. How characters speak to each other in a story can reveal a lot about their status, mood, and intent, etc.

Our students must learn to draw complex characters. Archetypes may serve us well in some contexts, but archetypes are not real people. They are caricatures. If our students want to people their fictional world with real people, they need to create complex, even contradictory characters, just like you and I are.

If their characters are too consistent, they are too predictable. Predictability kills suspense, which in turn kills the reader’s interest.

Practice Activity: Reveal Mood through Action

For this simple activity, provide the students with a list of emotions. Now, challenge the students to concoct a short scene where a character performs an action or actions that reveal the chosen mood.

To start, you might allow the students a paragraph in which to reveal the emotion. You might reduce this to just a sentence or two as they get better at it. Remind students that they need to show the emotion, not tell it!

HOW TO POLISH AND REFINE A SHORT STORY

Now students have already had a look at how to begin and how to structure a story, we’ll take a look at a few quick tips on how they can polish their stories generally – especially during the editing process.

Write Convincing Dialogue:

For students, investing time in learning how to write great dialogue is time well spent.

Not only is well-written dialogue great for revealing character, but it will break up intimidating walls of text too.

Dialogue is a great way to move the story forward and to provide subtle exposition.

 As mentioned earlier, journals are the perfect place to dump interesting snatches of conversation that become a valuable resource for writing convincing dialogue – except, of course, if you are passing through North Korea or the like!

Vary Sentence Length:

 When finished with their first drafts, encourage students to read their work out loud when editing and rewriting.

Often, students will be surprised to realize just how regular the rhythm of their sentences has become.

Like musicians, writers have chops. It’s easy to fall back on the same few favored structures time and again. Students can do a lot to spice up their writing simply by varying sentence lengths.

Shorter sentences are pacier and punchier while longer sentences can slow things down, calming the reader, then, boom!

Varying sentence length throughout a story prevents the writing from becoming stale and monotonous.

Punctuation:

As with varying sentence length above, the rhythm of a story can be altered through the choice of punctuation.

Students can think of punctuation as musical notation marks. It’s designed to help the reader understand the composer’s intention for how it is to be read and interpreted.

Students should understand punctuation as an imperfect but effective tool. Its use affects not only the work’s rhythm but also the meaning.

It is well worth the student’s time to perfect their use of punctuation.

To Conclude                                                  

There are a lot of moving parts to short stories.

From the nuts and bolts of grammar and punctuation to crafting a plot and exploring big thematic ideas, mastering the art of short story writing takes time and lots of practice.

With so much ground to cover, it’s impossible to address every aspect in a single unit of work on short story writing.

Be sure to offer students opportunities to see the short story in action in the work of accomplished writers, as well as opportunities to practice the various aspects of short story writing mentioned above.

Draw attention to writing best practices when they appear even in work unrelated to the short story.

Lots of time and plenty of practice might just reveal a latter-day O. Henry or Edgar Allen Poe sat in one of the desks right in front of you.

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Lesson Plans Using Film Adaptations of Novels, Short Stories or Plays

— with discussion questions and assignments.

For a list of movies frequently shown as adaptations of literary works, see TWM’s Adaptations Index .

Used appropriately, movies based on novels or short stories can supplement units based on the written original, enhance students’ interest in analyzing the written work, and motivate classes to excel in completing assignments that teach the skills required by the ELA curriculum. Filmed versions of plays supply the same benefits and often provide an experience that is close to viewing a live performance. Studying a cinematic adaptation of a literary work will show students how words are converted to visual media and allow a comparison of the written original to the cinematic version, permitting teachers to highlight the techniques of both film and the written word in telling a story. Presenting a filmed adaptation with high production values will demonstrate that movies can be an art form which communicates differently, but no less importantly, than the written word. Moreover, when used as a reward for having read a novel, a filmed adaptation can demonstrate that novel-length works of fiction usually contain a wealth of detail, information, and subplot that cannot be included in a movie. For all of these reasons, filmed adaptations of novels, short stories, or plays, are excellent resources for lessons requiring students to learn and exercise the analytical and writing skills required by ELA curriculum standards.

Note that novels and short stories can be analyzed for their use of the devices of fiction. Plays employ most of the devices of fiction but add the theatrical devices of music, sound effects, lighting, acting, set design, etc. Movies employ most of the fictional and theatrical devices as well as a separate set of cinematic techniques such as shot angle, focus, editing, etc. This essay focuses of the literary devices shared by written works, theatrical works, and film. For an analysis of theatrical and cinematic devices, see TWM’s Introducing Cinematic and Theatrical Elements in Film .

I. SHOWING THE FILM BEFORE READING A NOVEL, SHORT STORY, OR THE SCRIPT OF A PLAY

Usually, a filmed adaptation of a written work is best shown after a novel or short story has been read by students. This avoids the problem of students watching the movie in place of reading the book or story. However, in certain instances, where the written work is hard to follow or when students have limited reading skills, it is better to show the film before reading the written work or to show segments of the film while the writing is being read. Students who have difficulty reading a novel or a short story can often follow the conflicts, complications, and resolutions in a screened version that they would otherwise miss. For example, obscure vocabulary and difficult sentence structure in The Scarlet Letter and Billy Budd make these classics difficult reading for today’s students. The PBS version of The Scarlet Letter and the Ustinov version of Billy Budd are excellent adaptations which can serve as an introduction and make the reading more understandable. Viewing a filmed adaptation of a book by Jane Austen enables students to understand the story and avoid getting lost in the language as they read. (See “Emma Thompson’s Sense and Sensibility as Gateway to Austen’s Novel” by Cheryl L. Nixon, contained in Jane Austen in Hollywood, Edited by Linda Troost and Sayre Greenfield, 1998, University of Kentucky Press, pages 140 – 147.)

Plays, which were meant to be watched rather than read, are usually a different matter. Viewing a staged presentation with actors, a set, sound, and lighting is an experience more like watching a movie than reading a script. One of the few exceptions are the plays of Shakespeare which are usually better when read and studied before they are seen. Students need to be introduced to the Bard’s language in order appreciate a performance.

II. SCREENING ALL OR PART OF THE MOVIE IN SEGMENTS

A film can be segmented, or chunked, and shown before or after the corresponding segment is read by students studying the novel, story or play on which the movie is based. Have students keep up with the reading so that the timing is accurate and the events in the film do not get ahead of their presentation in the written work.

Several of the assignments suggested in Section IV can be modified for segmented viewing. The following assignment will allow students to exercise their analytical and writing skills after a segment of the film has been shown. The assignments can be modified to focus on specific elements of fiction or literary devices.

Discussion Question: What is the difference in the presentation of the story between this segment of the film and the corresponding sections of the [novel/story/play]? [Lead students into a discussion of any important elements of fiction or literary devices which are present in both or which are present in one but not the other.]

Assignment: [Describe a scene in the film.] Compare this segment of the movie with the corresponding sections of the [novel/story/play]. Cite specific examples to illustrate how the presentation in the two media either differ or are the same. Your comparison should include: (1) any elements of fiction and literary devices which are present in both or which are present in one but not in the other; (2) a discussion of the tone of the two presentations; and (3) an evaluation of the two presentations stating which you think is more effective in communicating the ideas contained in the story, including your reasons for that opinion. When you refer to the [novel/story/play], list specific pages on which the language you are referring to appears.

III. WATCHING THE MOVIE AFTER THE BOOK HAS BEEN READ

Comparing film adaptations with their literary sources can enhance students’ ability to analyze, think, and critique the writing, imagery, and tone of a literary work. Differences between the movie and the written work can be used to explicate various literary devices. The discussion questions and assignments set out below, as they are written or modified to take into account the needs of the class, will assist teachers in making good use of a filmed adaptation of a novel, short story, or play.

Before showing the film, think about whether you want to point the students’ attention toward any issues that you want them to think about as they watch the movie. This could be the use of a motif or other literary device or changes in theme. Many of the discussion question and assignments set out below can be easily adapted to be given to students before they watch the film, the discussion to be held, and the assignment completed after the movie is over.

IV. DISCUSSION QUESTIONS AND ASSIGNMENTS FOR USE WITH FILMED ADAPTATIONS

Fill in the blanks with a number appropriate to the abilities of the class and the relationship of the written work to the filmed adaptation. To make sure that students complete the assigned reading, the exercises set out below require a thorough knowledge of the written work with references to page numbers of the text.

• Discussion Question: How is the presentation of [name a major character who appears in both versions] different in the [book/story/play] and the movie? [Follow up with:] Why did the filmmakers change the way in which this character was presented?

Assignment: Describe _____ characters which appear in both the film and the [book/story/play]. At least one of them should be a minor character. Specify how dialogue, action, and physical appearance in the movie define the individual. Using direct quotes from the written work, citing page numbers, describe the characters using the same criteria. Evaluate which presentation is best in allowing either the viewer or the reader to fully grasp the nature of the characters.

• Discussion Question: Were any scenes described in the [book/story/play] substantially altered in the filmed adaptation? [Follow up with:] Why did the filmmakers change the scene?

Assignment: Select at least _____ scenes from the film that were altered considerably from similar scenes described in the [novel/story/play]. Use direct reference to details in order to illustrate the differences. Cite specific page numbers when you are referring to anything appearing in the [book/story/script]. Evaluate the changes in terms of how well the intention of the scene is made manifest in either media.

• Discussion Question: What elements of fiction appear in the [book/story/play] but not in the film? Did this detract from the quality of the story told by the movie?

Assignment: Note _____ examples of elements of fiction that have been left out of the film but seem important in the [book/story/play]. Suggest reasons that may justify the elimination of the scenes, characters, subplots, or settings. Be sure to use direct reference, with page numbers, to the written work in order to support the opinion offered.

• Discussion Question: Did the filmmakers add any characters or events that do not appear in the [book/story/play]? Did this help to tell the story first suggested in the literary work?

Assignment: Often in movies, the screenwriters will add characters or events that do not appear in the original [book/story/play]. Note _____ examples of these additions and suggest reasons that they may have been written into the film.

• Discussion Question: How does the tone of the story told in the film differ from the tone of the story told in the [book/story/play]?

Assignment: Evaluate the tone created in the movie. Cite clear examples of color, visuals, editing, and music that may have contributed to the tone of any particular scene. Compare the tone created in the film to the tone created in the [book/story/play] using the same scene. Cite specific examples, giving page numbers, of the description that created the tone in the written work.

• Discussion Question: Did this film change the theme or any of the ideas presented in the [novel/story/play]? What were they? Did these changes improve on the story underlying both the written work and the movie?

Assignment: Ideas are the reasons stories are told. Themes are the major ideas in a story; however, most stories contain other ideas as well. Some films change the ideas presented in the work of literature from which they were adapted. Pay close attention to theme and other ideas in both the written version and in the movie and write about how they were changed. Evaluate the changes.

• Discussion Question: Which told the story better, the [novel/story/play] or the movie?

Assignment: Often a story will seem to be deprived of beauty or meaning by the changes made in a filmed adaptation. On other occasions, the experience of the written story will be enriched by watching a filmed version. Write an informal essay stating your opinion of the quality of the story told by the movie as compared to the [novel/story/play]. Justify your opinion with direct reference to both the film and the written work; for the latter, cite the specific page numbers for the passages on which you rely.

• Discussion Question: Compare the settings of the story in the written work and in the movie. Is the movie faithful to the [novel/short story/play] in terms of the settings used?

Assignment: How do the settings in the movie reflect the images of place found in the [novel/story/play]? Describe specific details in both the film and the work of literature that support your conclusion. When referring to the written work, cite page numbers.

• Discussion Question: Compare the use of visual images in the movie and in the [novel/story/play] in the description of the various characters.

Assignment: Using specific examples of written descriptions in the literary work and visuals in the movie, discuss the presentation of character contained in both.

• Discussion Question: Describe any important differences in theme between the story appearing in the written work and the story told on screen.

Assignment: Attitude toward subject, meaning the basic topic (such as war, love, politics) can shift dramatically between a [novel/story/play] and its movie adaptation. Explain through example any changes that can be seen between the attitude toward the subject expressed by the filmmakers and presented by the author of the [book/story/play].

• Discussion Question: Were any important motifs, symbols, or allusions included in the work of literature missing or changed in the movie adaptation? Why do you think the filmmakers made these changes?

Assignment: Important motifs, symbols, or allusions contained in a written work of fiction are sometimes missing or changed in the movie. Specify examples of these literary tools that are not a part of the filmed adaptation. Note any replacement motifs, symbols or allusions contained in the movie.

• Discussion Question: What, if any, were the changes in the plot between the [book/story/play] and the film?

Assignment: Rising action, an important part in the plots of both written fiction and movies, may be different in filmed adaptations. Note any changes. Describe details which are important in the written work that have been removed from the movie and details which are not in the [book/story/play] which have been added by the filmmakers. When referring to the written work, give the page numbers of any passages or details to which you refer. Justify the changes.

• Discussion Question: Which ending did you like better, the conclusion of the [book/story/play] or the way in which the movie ended? Explain why.

Assignment: Compare the ending of the [book/story/play] to the ending of the film. Illustrate how any differences either reiterate or obscure the intention of the original work. Cite specifics and support all assertions.

Movies with screenplays that are carefully adapted from novels, short stories, and plays can be an important part of lesson planning. Using the techniques described above, teachers can make film adaptations an integral part of the learning process.

Written by Mary RedClay and James Frieden .

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ASL VIDEO ASSIGNMENT By Eser Aziel Hernandez. PICK A TOPIC Create a video in American Sign Language by choosing any of the following: A short story A.

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