elements of a short story essay

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

by Sarah Gribble | 1 comment

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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Bestselling author with over five years of coaching experience. Sarah Gribble specializes in working with Dark Fantasy, Fantasy, Horror, Speculative Fiction, and Thriller books. Sound like a good fit for you?

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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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3.7–Sample Analysis of a Short Story

Travis Rozier and R. Paul Cooper

How to Read this Section

This section contains two parts. First, you will find the prompt. The prompt is a very important element in any writing assignment. Don’t be fooled by the fact it is short! Even though it is a short document, it highlights and makes clear every element you will need to complete the given assignment effectively. When writing an essay, the prompt is where you will both begin and end. Seriously. Before you begin, familiarize yourself with the prompt, and before you submit your final draft, give the prompt one final read over, making sure you have not left anything out. When you visit the University Writing Center and Libraries, they can better help if you bring along the prompt. Both the Writing Center [1] and the Libraries [2] provide indispensable tools to aid students, so take advantage of their services.

The second part of this section contains a simulated student essay—the essay is not an actual student essay, but an essay written to demonstrate a strong student essay. The essay in this section is not meant to represent a “perfect” essay; it has its faults. However, this essay is an effective response to the given prompt. The “student” essay will be represented in a wide column on the left, and the grader’s commentary will be represented in a smaller column on the right. Use the example and the comments to help you think about how you might organize your own essay, to think about whether you will make similar—or different—choices.

Sample Prompt

Assignment Description: For this essay, you will choose a short story and write an analysis that offers an interpretation of the text. You should identify some debatable aspect of the text and argue for your interpretation using your analysis of the story supported by textual evidence.

Content: The essay should have a clear argumentative thesis that makes a debatable claim about the text. When analyzing the text, you should consider the elements of the short story discussed in class (plot, narration, character, setting, tone and style, theme, symbol, etc.). However, you should only analyze those elements that are important to understanding your interpretation of the text. You should also convey the implications of your specific claim about the text for how we might interpret the text as a whole. How does your argument shape the way we read meaning into the text?

Research Expectations: As this is not a research paper, you should use no more than two or three outside, scholarly sources, and these should be confined to historical, biographical, or literary context. In other words, they should not offer any analysis of the text itself. All the interpretative work in this paper should be produced by your own readings of the text in light of relevant contexts.

Format: All citations should adhere to current MLA 8 guidelines, and a Works Cited page including entries for the primary text and any secondary sources is also required. You will also be graded on form and correctness, so make sure you edit and proofread carefully for grammar, punctuation, etc.

Scope/Page Count: Word count should fall between 900–1200 words (3–4 pages).

Short Story Student Essay

Attribution:

Bowling, Hannah Elizabeth. “Short Story: ‘Blood for Blood’: Marital Conflict in ‘A Red Girl’s Reasoning.’” In Surface and Subtext: Literature, Research, Writing . 3rd ed. Edited by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney. College Station: Texas A&M University, 2024. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License .

Rozier, Travis, and R. Paul Cooper. “Short Story: Sample Analysis of a Short Story.” In Surface and Subtext: Literature, Research, Writing . 3rd ed. Edited by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney. College Station: Texas A&M University, 2024. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License .

• University Writing Center, Texas A&M University, 2021, https://writingcenter.tamu.edu/. ↵
• Texas A&M University Libraries, Texas A&M University, 2021, https://library.tamu.edu/. ↵

3.7--Sample Analysis of a Short Story Copyright © 2024 by Travis Rozier and R. Paul Cooper is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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4.5: How to Analyze a Short Story

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What Is a Short Story?

A short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body and conclusion. Although a short story has much in common with a novel (See How to Analyze a Novel), it is written with much greater precision. You will often be asked to write a literary analysis. An analysis of a short story requires basic knowledge of literary elements. The following guide and questions may help you:

Setting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited. Ask yourself the following questions:

• How is the setting created? Consider geography, weather, time of day, social conditions, etc.
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?

Study the time period, which is also part of the setting, and ask yourself the following:

• When was the story written?
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the short story?

Characterization

Characterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist. Ask yourself the following:

• Who is the main character?
• Are the main character and other characters described through dialogue – by the way they speak (dialect or slang for instance)?
• Has the author described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?
• Are they static/flat characters who do not change?
• Are they dynamic/round characters who DO change?
• What type of characters are they? What qualities stand out? Are they stereotypes?
• Are the characters believable?

Plot and structure

The plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment. Consider the following questions:

• What is the most important event?
• How is the plot structured? Is it linear, chronological or does it move around?
• Is the plot believable?

Narrator and Point of view

The narrator is the person telling the story. Consider this question: Are the narrator and the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character’s point of view. The following are important questions to consider:

• Who is the narrator or speaker in the story?
• Does the author speak through the main character?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is there an “all-knowing” third person who can reveal what all the characters are thinking and doing at all times and in all places?

Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.

• How would you describe the main conflict?
• Is it an internal conflict within the character?
• Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?

The climax is the point of greatest tension or intensity in the short story. It can also be the point where events take a major turn as the story races towards its conclusion. Ask yourself:

• Is there a turning point in the story?
• When does the climax take place?

The theme is the main idea, lesson, or message in the short story. It may be an abstract idea about the human condition, society, or life. Ask yourself:

• How is the theme expressed?
• Are any elements repeated and therefore suggest a theme?
• Is there more than one theme?

The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the feeling of the story. It has to do with the author’s attitude toward the subject. In some short stories the tone can be ironic, humorous, cold, or dramatic.

• Is the author’s language full of figurative language?
• What images are used?
• Does the author use a lot of symbolism? Metaphors (comparisons that do not use “as” or “like”) or similes (comparisons that use “as” or “like”)?

Your literary analysis of a short story will often be in the form of an essay where you may be asked to give your opinions of the short story at the end. Choose the elements that made the greatest impression on you. Point out which character/characters you liked best or least and always support your arguments.

Contributors and Attributions

• How to Analyze a Short Story. Authored by : Carol Dwankowski. Provided by : ndla.no. Located at : http://ndla.no/en/node/9075?fag=42&meny=102113 . License : CC BY-SA: Attribution-ShareAlike

Reading and Interpreting Literary Texts

How to analyze a short story.

Old Fence. A short story has a structure and a message. Can you analyze this picture in much the same way as a short story?

What Is a Short Story?

A short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body and conclusion. Although a short story has much in common with a novel (See How to Analyze a Novel), it is written with much greater precision. You will often be asked to write a literary analysis. An analysis of a short story requires basic knowledge of literary elements. The following guide and questions may help you:

Setting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited. Ask yourself the following questions:

• How is the setting created? Consider geography, weather, time of day, social conditions, etc.
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?

Study the time period, which is also part of the setting, and ask yourself the following:

• When was the story written?
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the short story?

Characterization

Characterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist. Ask yourself the following:

• Who is the main character?
• Are the main character and other characters described through dialogue – by the way they speak (dialect or slang for instance)?
• Has the author described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?
• Are they static/flat characters who do not change?
• Are they dynamic/round characters who DO change?
• What type of characters are they? What qualities stand out? Are they stereotypes?
• Are the characters believable?

Plot and structure

The plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment. Consider the following questions:

• What is the most important event?
• How is the plot structured? Is it linear, chronological or does it move around?
• Is the plot believable?

Narrator and Point of view

The narrator is the person telling the story.  Consider this question: Are the narrator and the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character’s point of view. The following are important questions to consider:

• Who is the narrator or speaker in the story?
• Does the author speak through the main character?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is there an “all-knowing” third person who can reveal what all the characters are thinking and doing at all times and in all places?

Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.

• How would you describe the main conflict?
• Is it an internal conflict within the character?
• Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?

The climax is the point of greatest tension or intensity in the short story. It can also be the point where events take a major turn as the story races towards its conclusion. Ask yourself:

• Is there a turning point in the story?
• When does the climax take place?

The theme is the main idea, lesson, or message in the short story. It may be an abstract idea about the human condition, society, or life. Ask yourself:

• How is the theme expressed?
• Are any elements repeated and therefore suggest a theme?
• Is there more than one theme?

The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the feeling of the story. It has to do with the author’s attitude toward the subject. In some short stories the tone can be ironic, humorous, cold, or dramatic.

• Is the author’s language full of figurative language?
• What images are used?
• Does the author use a lot of symbolism? Metaphors (comparisons that do not use “as” or “like”) or similes (comparisons that use “as” or “like”)?

Your literary analysis of a short story will often be in the form of an essay where you may be asked to give your opinions of the short story at the end. Choose the elements that made the greatest impression on you. Point out which character/characters you liked best or least and always support your arguments.

• How to Analyze a Short Story. Authored by : Carol Dwankowski. Provided by : ndla.no. Located at : http://ndla.no/en/node/9075?fag=42&meny=102113 . License : CC BY-SA: Attribution-ShareAlike

Short Story Analysis Essay

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

3+ Short Story Analysis Essay Examples

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What Is a Short Story Analysis Essay?

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

How to Compose a Critical Short Story Analysis Essay

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

1. Take Down Notes

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

2. Compose Your Thesis Statement

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

3. Analyze the Concepts

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

4. Craft Your Conclusion

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

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

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

Why is it necessary to compose analysis essays?

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

What is critical writing?

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

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

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Sat / act prep online guides and tips, the 9 literary elements you'll find in every story.

General Education

The AP Literature exam is designed to test your ability to analyze literature. That means you'll have to know how to use analytical tools, like literary elements, to uncover the meaning of a text.

Because literary elements are present in every piece of literature (really!), they're a good place to start when it comes to developing your analytical toolbox. In this article, we'll give you the literary element definition, explain how a literary element is different from a literary device, and look at the top nine literary elements you need to know before taking the AP Literature exam.

So let's get started!

What Are Literary Elements?

Take a minute and imagine building a house. (Stick with us, here.) What are some of the things that you would absolutely have to include in order to make a house? Some of those non-negotiable elements are a roof, walls, a kitchen, and a bathroom. If you didn't have these elements, you wouldn't have a house. Heck, you might not even have a building!

A literary element's definition is pretty similar. Literary elements are the things that all literature—whether it's a news article, a book, or a poem— absolutely have to have. Just like a house, the elements might be arranged slightly differently...but at the end of the day, they're usually all present and accounted for. Literary elements are the fundamental building blocks of writing, and they play an important role in helping us write, read, and understand literature.

You might even say that literary elements are the DNA of literature.

How Is a Literary Element Different From a Literary Device?

But wait! You've also learned about literary device (sometimes called literary techniques), which writers use to create literature!

So what makes a literary element different from a literary device?

Let's go back to our house metaphor for a second. If literary elements are the must-have, cannot-do-without parts of a house, then literary devices are the optional decor. Maybe you like a classic style (a trope !), or perhaps you're more of an eclectic kind of person (a conceit )! Just because you decorate your house like a crazy person doesn't make it any less of a house. It just means you have a...unique personal style.

Literary devices are optional techniques that writers pick and choose from to shape the style, genre, tone, meaning, and theme of their works . For example, literary devices are what make Cormac McCarthy's western novel, Blood Meridian , so different from Matt McCarthy's medical memoir, The Real Doctor Will See You Shortly . Conversely, literary elements—especially the elements that qualify both works as "books"—are what keep them shelved next to each other at Barnes & Noble. They're the non-negotiable things that make both works "literature."

Top 9 Literary Elements List (With Examples!)

Now let's take a more in-depth look at the most common elements in literature. Each term in the literary elements list below gives you the literary element definition and an example of how the elements work.

#1: Language

The most important literary element is language. Language is defined as a system of communicating ideas and feelings through signs, sounds, gestures, and/or marks. Language is the way we share ideas with one another, whether it's through speech, text, or even performance!

All literature is written in a recognizable language, since one of literature's main goals is sharing ideas, concepts, and stories with a larger audience. And since there are over 6,900 distinct languages in the world , that means literature exists in tons of different linguistic forms, too. (How cool is that?!)

Obviously, in order to read a book, you need to understand the language it's written in. But language can also be an important tool in understanding the meaning of a book, too. For instance, writers can combine languages to help readers better understand the characters, setting, or even tone. Here's an example of how Cherrie Moraga combines English and Spanish in her play, Heroes and Saints :

Look into your children's faces. They tell you the truth. They are our future. Pero no tendremos ningún futuro si seguimos siendo víctimas.

Moraga's play is about the plight of Hispanic migrant workers in the United States. By combining English and Spanish throughout the play, Moraga helps readers understand her characters and their culture better.

The plot of a work is defined as the sequence of events that occurs from the first line to the last. In other words, the plot is what happens in a story.

All literature has a plot of some kind. Most long-form literature, like a novel or a play, follows a pretty typical plot structure, also known as a plot arc. This type of plot has six elements:

• Beginning/Exposition: This is the very beginning of a story. During the exposition, authors usually introduce the major characters and settings to the reader.
• Conflict: Just like in real life, the conflict of a story is the problem that the main characters have to tackle. There are two types of conflict that you'll see in a plot. The major conflict is the overarching problem that characters face. Minor conflicts, on the other hands, are the smaller obstacles characters have to overcome to resolve the major conflict.
• Rising Action: Rising action is literally everything that happens in a story that leads up to the climax of the plot. Usually this involves facing and conquering minor conflicts, which is what keeps the plot moving forward. More importantly, writers use rising action to build tension that comes to a head during the plot's climax.
• Climax: The climax of the plot is the part of the story where the characters finally have to face and solve the major conflict. This is the "peak" of the plot where all the tension of the rising action finally comes to a head. You can usually identify the climax by figuring out which part of the story is the moment where the hero will either succeed or totally fail.
• Falling Action: Falling action is everything that happens after the book's climax but before the resolution. This is where writers tie up any loose ends and start bringing the book's action to a close.
• Resolution/Denouement: This is the conclusion of a story. But just because it's called a "resolution" doesn't mean every single issue is resolved happily—or even satisfactorily. For example, the resolution in Romeo and Juliet involves (spoiler alert!) the death of both main characters. This might not be the kind of ending you want, but it is an ending, which is why it's called the resolution!

If you've ever read a Shakespearean play, then you've seen the plot we outlined above at work. But even more contemporary novels, like The Hunger Games , also use this structure. Actually, you can think of a plot arc like a story's skeleton!

But what about poems, you ask? Do they have plots? Yes! They tend to be a little less dense, but even poems have things that happen in them.

Take a look at "Do not go gentle into that good night" by Dylan Thomas . There's definitely stuff happening in this poem: specifically, the narrator is telling readers not to accept death without a fight. While this is more simple than what happens in something like The Lord of the Rings , it's still a plot!

The mood of a piece of literature is defined as the emotion or feeling that readers get from reading the words on a page. So if you've ever read something that's made you feel tense, scared, or even happy...you've experienced mood firsthand!

While a story can have an overarching mood, it's more likely that the mood changes from scene to scene depending on what the writer is trying to convey. For example, the overall mood of a play like Romeo and Juliet may be tragic, but that doesn't mean there aren't funny, lighthearted moments in certain scenes.

Thinking about mood when you read literature is a great way to figure out how an author wants readers to feel about certain ideas, messages, and themes . These lines from "Still I Rise" by Maya Angelou are a good example of how mood impacts an idea:

You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise.

What are the emotions present in this passage? The first three lines are full of anger, bitterness, and violence, which helps readers understand that the speaker of the poem has been terribly mistreated. But despite that, the last line is full of hope. This helps Angelou show readers how she won't let others' actions—even terrible ones—hold her back.

#4: Setting

Have you ever pictured yourself in living in the Gryffindor dormitories at Hogwarts? Or maybe you've wished you could attend the Mad Hatter's tea party in Wonderland. These are examples of how settings—especially vivid ones—capture readers' imaginations and help a literary world come to life.

Setting is defined simply as the time and location in which the story takes place. The setting is also the background against which the action happens. For example, Hogwarts becomes the location, or setting, where Harry, Hermione, and Ron have many of their adventures.

Keep in mind that longer works often have multiple settings. The Harry Potter series, for example, has tons of memorable locations, like Hogsmeade, Diagon Alley, and Gringotts. Each of these settings plays an important role in bringing the Wizarding World to life.

The setting of a work is important because it helps convey important information about the world that impact other literary elements, like plot and theme. For example, a historical book set in America in the 1940s will likely have a much different atmosphere and plot than a science fiction book set three hundred years in the future. Additionally, some settings even become characters in the stories themselves! For example, the house in Edgar Allen Poe's short story, "The Fall of the House of Usher," becomes the story's antagonist . So keep an eye out for settings that serve multiple functions in a work, too.

All literary works have themes, or central messages, that authors are trying to convey. Sometimes theme is described as the main idea of a work...but more accurately, themes are any ideas that appear repeatedly throughout a text. That means that most works have multiple themes!

All literature has themes because a major purpose of literature is to share, explore, and advocate for ideas. Even the shortest poems have themes. Check out this two line poem, "My life has been the poem I would have writ," from Henry David Thoreau :

But I could not both live and utter it.

When looking for a theme, ask yourself what an author is trying to teach us or show us through their writing. In this case, Thoreau is saying we have to live in the moment, and living is what provides the material for writing.

#6: Point of View

Point of view is the position of the narrator in relationship to the plot of a piece of literature . In other words, point of view is the perspective from which the story is told.

We actually have a super in-depth guide to point of view that you can find here . But here's the short version: literature can be written from one of four points of view.

• First person: This is told by one of the characters of the story from their perspective. You can easily identify first-person points of view by looking for first-person pronouns, like "I," "you," and "my."
• Second person: second-person point of view happens when the audience is made a character in the story. In this instance, the narrator uses second person pronouns, like "you" and "your." If you ever get confused, just remember that "Choose Your Own Adventure" books use second person.
• Third person limited: this is when the narrator is removed from the story and tells it from an outside perspective. To do this, the narrator uses pronouns like "he," "she," and "they" to refer to the characters in the story. In a third person limited point of view, this narrator focuses on the story as it surrounds one character. It's almost like there's a camera crew following the protagonist that reports on everything that happens to them.
• Third person omniscient : in this point of view, the narrator still uses third-person pronouns...but instead of being limited to one character, the narrator can tell readers what's happening with all characters at all times. It's almost like the narrator is God: they can see all, hear all, and explain all!

Point of view is an important literary element for two reasons. First, it helps us better understand the characters in a story. For example, a first person point of view lets readers get to know the main character in detail, since they experience the main character's thoughts, feelings, and actions.

Second, point of view establishes a narrator, or a character whose job it is to tell the story, which we'll talk about in the next section!

#7: Narrator

Like we just mentioned, the narrator is the person who's telling the story. All literature has a narrator, even if that narrator isn't named or an active part of the plot.

Here's what we mean: when you read a newspaper article, it's the reporter's job to tell you all the details of a particular event. That makes the reporter the narrator. They're taking a combination of interviews, research, and their own eyewitness account to help you better understand a topic.

The same is true for the narrator of a book or poem, too. T he narrator helps make sense of the plot for the reader . It's their job to explain, describe, and even dramatically reveal plot points to the audience. Here's an example of how one of the most famous narrators in literature, John Watson, explains Sherlock Holmes' character to readers in A Study in Scarlet:

He was not studying medicine. He had himself, in reply to a question, confirmed Stamford's opinion upon that point. Neither did he appear to have pursued any course of reading which might fit him for a degree in science or any other recognized portal which would give him an entrance into the learned world. Yet his zeal for certain studies was remarkable, and within eccentric limits his knowledge was so extraordinarily ample and minute that his observations have fairly astounded me. Surely no man would work so hard or attain such precise information unless he had some definite end in view. Desultory readers are seldom remarkable for the exactness of their learning. No man burdens his mind with small matters unless he has some very good reason for doing so.

John Watson tells the story from a first person perspective (though that's not evident in this quote). That means he's giving readers his own perspective on the world around him, which includes Sherlock Holmes. In this passage, readers learn about Holmes' peculiar learning habits, which is just another part of his extraordinary nature.

#8: Conflict

Because conflict is a part of plot—and as we've already established, all literature has some sort of plot—that means conflict is a literary element, too. A conflict is the central struggle that motivates the characters and leads to a work's climax. Generally, conflict occurs between the protagonist , or hero, and the antagonist , or villain...but it can also exist between secondary characters, man and nature, social structures, or even between the hero and his own mind.

More importantly, conflict gives a story purpose and motivates a story's plot . Put another way, conflict causes the protagonist to act. Sometimes these conflicts are large in scale, like a war...but they can also be small, like conflict in a relationship between the hero and their parents.

One of the most important things to understand about conflict is it can be both explicit and implicit. Explicit conflict is explained within the text; it's an obvious moment where something goes wrong and characters have to fix it. Bram Stoker's Dracula uses explicit conflict to fuel its plot: a vampire has come to England, and the heroes in the story have to kill him as soon as possible.

Implicit conflict is more common in poetry, where there isn't a specific occurrence that obviously screams, "this is a problem." Instead, you have to read between the lines to find the conflict that's motivating the narrator. Take a look at Elizabeth Barrett Browning's "How Do I Love Thee?" for an example of implicit conflict in action:

I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day's Most quiet need, by sun and candle-light. I love thee freely, as men strive for right. I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death.

The conflict here is actually a happy one: the narrator is so in love that she's struggling with expressing the depth of her emotion!

#9: Characters

A piece of literature has to have at least one character, which can be a person, an object, or an animal.

While there are many different character types (and archetypes!), we're going to talk about the two you absolutely need to know: the protagonist and the antagonist.

The protagonist of a work is its main character. The plot circles around this person or object, and they are central to solving the conflict of the story. Protagonists are often heroic, but they don't have to be: many stories focus on the struggles of average people, too. For the most part, protagonists are the characters that you remember long after the book is over, like Katniss Everdeen, David Copperfield, Sherlock Holmes, and Hester Prynne.

Antagonists, on the other hand, are the characters that oppose the protagonist in some way. (This opposition is what causes the conflict of the story!) There can be multiple antagonists in a story, though usually there's one major character, animal, or object that continues to impede the protagonist's progress. If you ever forget what an antagonist is, just think of your favorite Disney villains. They're some of the best bad guys out there!

What's Next?

If you're not taking AP practice tests, there's no way to know how you'll do when you're taking the exam for real. Here's a list of practice tests for every AP exam, including the AP literature exam . It might seem like extra work, but we promise—practice tests are one of the best ways to help you improve your score!

Listen: we know you're busy, so it can be hard to schedule time to study for an AP test on top of your extracurriculars and normal class work. Check out this article on when you need to start studying for your AP tests to make sure you're staying on track.

What does a good AP score look like, anyway? Here's a list of the average AP scores for every single AP test. This is great for seeing how your practice scores stack up against the national average.

These recommendations are based solely on our knowledge and experience. If you purchase an item through one of our links, PrepScholar may receive a commission.

Ashley Sufflé Robinson has a Ph.D. in 19th Century English Literature. As a content writer for PrepScholar, Ashley is passionate about giving college-bound students the in-depth information they need to get into the school of their dreams.

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beginner's guide to literary analysis

Understanding literature & how to write literary analysis.

Literary analysis is the foundation of every college and high school English class. Once you can comprehend written work and respond to it, the next step is to learn how to think critically and complexly about a work of literature in order to analyze its elements and establish ideas about its meaning.

If that sounds daunting, it shouldn’t. Literary analysis is really just a way of thinking creatively about what you read. The practice takes you beyond the storyline and into the motives behind it. 

While an author might have had a specific intention when they wrote their book, there’s still no right or wrong way to analyze a literary text—just your way. You can use literary theories, which act as “lenses” through which you can view a text. Or you can use your own creativity and critical thinking to identify a literary device or pattern in a text and weave that insight into your own argument about the text’s underlying meaning. 

Now, if that sounds fun, it should , because it is. Here, we’ll lay the groundwork for performing literary analysis, including when writing analytical essays, to help you read books like a critic. 

What Is Literary Analysis?

As the name suggests, literary analysis is an analysis of a work, whether that’s a novel, play, short story, or poem. Any analysis requires breaking the content into its component parts and then examining how those parts operate independently and as a whole. In literary analysis, those parts can be different devices and elements—such as plot, setting, themes, symbols, etcetera—as well as elements of style, like point of view or tone. 

When performing analysis, you consider some of these different elements of the text and then form an argument for why the author chose to use them. You can do so while reading and during class discussion, but it’s particularly important when writing essays. 

Literary analysis is notably distinct from summary. When you write a summary , you efficiently describe the work’s main ideas or plot points in order to establish an overview of the work. While you might use elements of summary when writing analysis, you should do so minimally. You can reference a plot line to make a point, but it should be done so quickly so you can focus on why that plot line matters . In summary (see what we did there?), a summary focuses on the “ what ” of a text, while analysis turns attention to the “ how ” and “ why .”

While literary analysis can be broad, covering themes across an entire work, it can also be very specific, and sometimes the best analysis is just that. Literary critics have written thousands of words about the meaning of an author’s single word choice; while you might not want to be quite that particular, there’s a lot to be said for digging deep in literary analysis, rather than wide. 

Although you’re forming your own argument about the work, it’s not your opinion . You should avoid passing judgment on the piece and instead objectively consider what the author intended, how they went about executing it, and whether or not they were successful in doing so. Literary criticism is similar to literary analysis, but it is different in that it does pass judgement on the work. Criticism can also consider literature more broadly, without focusing on a singular work. 

Once you understand what constitutes (and doesn’t constitute) literary analysis, it’s easy to identify it. Here are some examples of literary analysis and its oft-confused counterparts: 

Summary: In “The Fall of the House of Usher,” the narrator visits his friend Roderick Usher and witnesses his sister escape a horrible fate.  

Opinion: In “The Fall of the House of Usher,” Poe uses his great Gothic writing to establish a sense of spookiness that is enjoyable to read. 

Literary Analysis: “Throughout ‘The Fall of the House of Usher,’ Poe foreshadows the fate of Madeline by creating a sense of claustrophobia for the reader through symbols, such as in the narrator’s inability to leave and the labyrinthine nature of the house. 

In summary, literary analysis is:

• Breaking a work into its components
• Identifying what those components are and how they work in the text
• Developing an understanding of how they work together to achieve a goal 
• Not an opinion, but subjective 
• Not a summary, though summary can be used in passing 
• Best when it deeply, rather than broadly, analyzes a literary element

Literary Analysis and Other Works

As discussed above, literary analysis is often performed upon a single work—but it doesn’t have to be. It can also be performed across works to consider the interplay of two or more texts. Regardless of whether or not the works were written about the same thing, or even within the same time period, they can have an influence on one another or a connection that’s worth exploring. And reading two or more texts side by side can help you to develop insights through comparison and contrast.

For example, Paradise Lost is an epic poem written in the 17th century, based largely on biblical narratives written some 700 years before and which later influenced 19th century poet John Keats. The interplay of works can be obvious, as here, or entirely the inspiration of the analyst. As an example of the latter, you could compare and contrast the writing styles of Ralph Waldo Emerson and Edgar Allan Poe who, while contemporaries in terms of time, were vastly different in their content. 

Additionally, literary analysis can be performed between a work and its context. Authors are often speaking to the larger context of their times, be that social, political, religious, economic, or artistic. A valid and interesting form is to compare the author’s context to the work, which is done by identifying and analyzing elements that are used to make an argument about the writer’s time or experience. 

For example, you could write an essay about how Hemingway’s struggles with mental health and paranoia influenced his later work, or how his involvement in the Spanish Civil War influenced his early work. One approach focuses more on his personal experience, while the other turns to the context of his times—both are valid. 

Why Does Literary Analysis Matter? 

Sometimes an author wrote a work of literature strictly for entertainment’s sake, but more often than not, they meant something more. Whether that was a missive on world peace, commentary about femininity, or an allusion to their experience as an only child, the author probably wrote their work for a reason, and understanding that reason—or the many reasons—can actually make reading a lot more meaningful. 

Performing literary analysis as a form of study unquestionably makes you a better reader. It’s also likely that it will improve other skills, too, like critical thinking, creativity, debate, and reasoning. 

At its grandest and most idealistic, literary analysis even has the ability to make the world a better place. By reading and analyzing works of literature, you are able to more fully comprehend the perspectives of others. Cumulatively, you’ll broaden your own perspectives and contribute more effectively to the things that matter to you. 

Literary Terms to Know for Literary Analysis 

There are hundreds of literary devices you could consider during your literary analysis, but there are some key tools most writers utilize to achieve their purpose—and therefore you need to know in order to understand that purpose. These common devices include: 

• Characters: The people (or entities) who play roles in the work. The protagonist is the main character in the work. 
• Conflict: The conflict is the driving force behind the plot, the event that causes action in the narrative, usually on the part of the protagonist
• Context : The broader circumstances surrounding the work political and social climate in which it was written or the experience of the author. It can also refer to internal context, and the details presented by the narrator 
• Diction : The word choice used by the narrator or characters 
• Genre: A category of literature characterized by agreed upon similarities in the works, such as subject matter and tone
• Imagery : The descriptive or figurative language used to paint a picture in the reader’s mind so they can picture the story’s plot, characters, and setting 
• Metaphor: A figure of speech that uses comparison between two unlike objects for dramatic or poetic effect
• Narrator: The person who tells the story. Sometimes they are a character within the story, but sometimes they are omniscient and removed from the plot. 
• Plot : The storyline of the work
• Point of view: The perspective taken by the narrator, which skews the perspective of the reader 
• Setting : The time and place in which the story takes place. This can include elements like the time period, weather, time of year or day, and social or economic conditions 
• Symbol : An object, person, or place that represents an abstract idea that is greater than its literal meaning 
• Syntax : The structure of a sentence, either narration or dialogue, and the tone it implies
• Theme : A recurring subject or message within the work, often commentary on larger societal or cultural ideas
• Tone : The feeling, attitude, or mood the text presents

How to Perform Literary Analysis

Step 1: read the text thoroughly.

Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand. 

It’s also important that you don’t skim or speed read. While those are helpful skills, they don’t apply to literary analysis—or at least not this stage. 

Step 2: Take Notes as You Read  

As you read the work, take notes about different literary elements and devices that stand out to you. Whether you highlight or underline in text, use sticky note tabs to mark pages and passages, or handwrite your thoughts in a notebook, you should capture your thoughts and the parts of the text to which they correspond. This—the act of noticing things about a literary work—is literary analysis. 

Step 3: Notice Patterns 

As you read the work, you’ll begin to notice patterns in the way the author deploys language, themes, and symbols to build their plot and characters. As you read and these patterns take shape, begin to consider what they could mean and how they might fit together. 

As you identify these patterns, as well as other elements that catch your interest, be sure to record them in your notes or text. Some examples include: 

• Circle or underline words or terms that you notice the author uses frequently, whether those are nouns (like “eyes” or “road”) or adjectives (like “yellow” or “lush”).
• Highlight phrases that give you the same kind of feeling. For example, if the narrator describes an “overcast sky,” a “dreary morning,” and a “dark, quiet room,” the words aren’t the same, but the feeling they impart and setting they develop are similar. 
• Underline quotes or prose that define a character’s personality or their role in the text.
• Use sticky tabs to color code different elements of the text, such as specific settings or a shift in the point of view. 

By noting these patterns, comprehensive symbols, metaphors, and ideas will begin to come into focus.  

Step 4: Consider the Work as a Whole, and Ask Questions

This is a step that you can do either as you read, or after you finish the text. The point is to begin to identify the aspects of the work that most interest you, and you could therefore analyze in writing or discussion. 

Questions you could ask yourself include: 

• What aspects of the text do I not understand?
• What parts of the narrative or writing struck me most?
• What patterns did I notice?
• What did the author accomplish really well?
• What did I find lacking?
• Did I notice any contradictions or anything that felt out of place?  
• What was the purpose of the minor characters?
• What tone did the author choose, and why? 

The answers to these and more questions will lead you to your arguments about the text. 

Step 5: Return to Your Notes and the Text for Evidence

As you identify the argument you want to make (especially if you’re preparing for an essay), return to your notes to see if you already have supporting evidence for your argument. That’s why it’s so important to take notes or mark passages as you read—you’ll thank yourself later!

If you’re preparing to write an essay, you’ll use these passages and ideas to bolster your argument—aka, your thesis. There will likely be multiple different passages you can use to strengthen multiple different aspects of your argument. Just be sure to cite the text correctly! 

If you’re preparing for class, your notes will also be invaluable. When your teacher or professor leads the conversation in the direction of your ideas or arguments, you’ll be able to not only proffer that idea but back it up with textual evidence. That’s an A+ in class participation. 

Step 6: Connect These Ideas Across the Narrative

Whether you’re in class or writing an essay, literary analysis isn’t complete until you’ve considered the way these ideas interact and contribute to the work as a whole. You can find and present evidence, but you still have to explain how those elements work together and make up your argument. 

How to Write a Literary Analysis Essay

When conducting literary analysis while reading a text or discussing it in class, you can pivot easily from one argument to another (or even switch sides if a classmate or teacher makes a compelling enough argument). 

But when writing literary analysis, your objective is to propose a specific, arguable thesis and convincingly defend it. In order to do so, you need to fortify your argument with evidence from the text (and perhaps secondary sources) and an authoritative tone. 

A successful literary analysis essay depends equally on a thoughtful thesis, supportive analysis, and presenting these elements masterfully. We’ll review how to accomplish these objectives below. 

Step 1: Read the Text. Maybe Read It Again. 

Constructing an astute analytical essay requires a thorough knowledge of the text. As you read, be sure to note any passages, quotes, or ideas that stand out. These could serve as the future foundation of your thesis statement. Noting these sections now will help you when you need to gather evidence. 

The more familiar you become with the text, the better (and easier!) your essay will be. Familiarity with the text allows you to speak (or in this case, write) to it confidently. If you only skim the book, your lack of rich understanding will be evident in your essay. Alternatively, if you read the text closely—especially if you read it more than once, or at least carefully revisit important passages—your own writing will be filled with insight that goes beyond a basic understanding of the storyline. 

Step 2: Brainstorm Potential Topics 

Because you took detailed notes while reading the text, you should have a list of potential topics at the ready. Take time to review your notes, highlighting any ideas or questions you had that feel interesting. You should also return to the text and look for any passages that stand out to you. 

When considering potential topics, you should prioritize ideas that you find interesting. It won’t only make the whole process of writing an essay more fun, your enthusiasm for the topic will probably improve the quality of your argument, and maybe even your writing. Just like it’s obvious when a topic interests you in a conversation, it’s obvious when a topic interests the writer of an essay (and even more obvious when it doesn’t). 

Your topic ideas should also be specific, unique, and arguable. A good way to think of topics is that they’re the answer to fairly specific questions. As you begin to brainstorm, first think of questions you have about the text. Questions might focus on the plot, such as: Why did the author choose to deviate from the projected storyline? Or why did a character’s role in the narrative shift? Questions might also consider the use of a literary device, such as: Why does the narrator frequently repeat a phrase or comment on a symbol? Or why did the author choose to switch points of view each chapter? 

Once you have a thesis question , you can begin brainstorming answers—aka, potential thesis statements . At this point, your answers can be fairly broad. Once you land on a question-statement combination that feels right, you’ll then look for evidence in the text that supports your answer (and helps you define and narrow your thesis statement). 

For example, after reading “ The Fall of the House of Usher ,” you might be wondering, Why are Roderick and Madeline twins?, Or even: Why does their relationship feel so creepy?” Maybe you noticed (and noted) that the narrator was surprised to find out they were twins, or perhaps you found that the narrator’s tone tended to shift and become more anxious when discussing the interactions of the twins.

Once you come up with your thesis question, you can identify a broad answer, which will become the basis for your thesis statement. In response to the questions above, your answer might be, “Poe emphasizes the close relationship of Roderick and Madeline to foreshadow that their deaths will be close, too.” 

Step 3: Gather Evidence 

Once you have your topic (or you’ve narrowed it down to two or three), return to the text (yes, again) to see what evidence you can find to support it. If you’re thinking of writing about the relationship between Roderick and Madeline in “The Fall of the House of Usher,” look for instances where they engaged in the text. 

This is when your knowledge of literary devices comes in clutch. Carefully study the language around each event in the text that might be relevant to your topic. How does Poe’s diction or syntax change during the interactions of the siblings? How does the setting reflect or contribute to their relationship? What imagery or symbols appear when Roderick and Madeline are together? 

By finding and studying evidence within the text, you’ll strengthen your topic argument—or, just as valuably, discount the topics that aren’t strong enough for analysis. 

Step 4: Consider Secondary Sources 

In addition to returning to the literary work you’re studying for evidence, you can also consider secondary sources that reference or speak to the work. These can be articles from journals you find on JSTOR, books that consider the work or its context, or articles your teacher shared in class. 

While you can use these secondary sources to further support your idea, you should not overuse them. Make sure your topic remains entirely differentiated from that presented in the source. 

Step 5: Write a Working Thesis Statement

Once you’ve gathered evidence and narrowed down your topic, you’re ready to refine that topic into a thesis statement. As you continue to outline and write your paper, this thesis statement will likely change slightly, but this initial draft will serve as the foundation of your essay. It’s like your north star: Everything you write in your essay is leading you back to your thesis. 

Writing a great thesis statement requires some real finesse. A successful thesis statement is: 

• Debatable : You shouldn’t simply summarize or make an obvious statement about the work. Instead, your thesis statement should take a stand on an issue or make a claim that is open to argument. You’ll spend your essay debating—and proving—your argument. 
• Demonstrable : You need to be able to prove, through evidence, that your thesis statement is true. That means you have to have passages from the text and correlative analysis ready to convince the reader that you’re right. 
• Specific : In most cases, successfully addressing a theme that encompasses a work in its entirety would require a book-length essay. Instead, identify a thesis statement that addresses specific elements of the work, such as a relationship between characters, a repeating symbol, a key setting, or even something really specific like the speaking style of a character. 

Example: By depicting the relationship between Roderick and Madeline to be stifling and almost otherworldly in its closeness, Poe foreshadows both Madeline’s fate and Roderick’s inability to choose a different fate for himself. 

Step 6: Write an Outline 

You have your thesis, you have your evidence—but how do you put them together? A great thesis statement (and therefore a great essay) will have multiple arguments supporting it, presenting different kinds of evidence that all contribute to the singular, main idea presented in your thesis. 

Review your evidence and identify these different arguments, then organize the evidence into categories based on the argument they support. These ideas and evidence will become the body paragraphs of your essay. 

For example, if you were writing about Roderick and Madeline as in the example above, you would pull evidence from the text, such as the narrator’s realization of their relationship as twins; examples where the narrator’s tone of voice shifts when discussing their relationship; imagery, like the sounds Roderick hears as Madeline tries to escape; and Poe’s tendency to use doubles and twins in his other writings to create the same spooky effect. All of these are separate strains of the same argument, and can be clearly organized into sections of an outline. 

Step 7: Write Your Introduction

Your introduction serves a few very important purposes that essentially set the scene for the reader: 

• Establish context. Sure, your reader has probably read the work. But you still want to remind them of the scene, characters, or elements you’ll be discussing. 
• Present your thesis statement. Your thesis statement is the backbone of your analytical paper. You need to present it clearly at the outset so that the reader understands what every argument you make is aimed at. 
• Offer a mini-outline. While you don’t want to show all your cards just yet, you do want to preview some of the evidence you’ll be using to support your thesis so that the reader has a roadmap of where they’re going. 

Step 8: Write Your Body Paragraphs

Thanks to steps one through seven, you’ve already set yourself up for success. You have clearly outlined arguments and evidence to support them. Now it’s time to translate those into authoritative and confident prose. 

When presenting each idea, begin with a topic sentence that encapsulates the argument you’re about to make (sort of like a mini-thesis statement). Then present your evidence and explanations of that evidence that contribute to that argument. Present enough material to prove your point, but don’t feel like you necessarily have to point out every single instance in the text where this element takes place. For example, if you’re highlighting a symbol that repeats throughout the narrative, choose two or three passages where it is used most effectively, rather than trying to squeeze in all ten times it appears. 

While you should have clearly defined arguments, the essay should still move logically and fluidly from one argument to the next. Try to avoid choppy paragraphs that feel disjointed; every idea and argument should feel connected to the last, and, as a group, connected to your thesis. A great way to connect the ideas from one paragraph to the next is with transition words and phrases, such as: 

• Furthermore 
• In addition
• On the other hand
• Conversely 

Step 9: Write Your Conclusion 

Your conclusion is more than a summary of your essay's parts, but it’s also not a place to present brand new ideas not already discussed in your essay. Instead, your conclusion should return to your thesis (without repeating it verbatim) and point to why this all matters. If writing about the siblings in “The Fall of the House of Usher,” for example, you could point out that the utilization of twins and doubles is a common literary element of Poe’s work that contributes to the definitive eeriness of Gothic literature. 

While you might speak to larger ideas in your conclusion, be wary of getting too macro. Your conclusion should still be supported by all of the ideas that preceded it. 

Step 10: Revise, Revise, Revise

Of course you should proofread your literary analysis essay before you turn it in. But you should also edit the content to make sure every piece of evidence and every explanation directly supports your thesis as effectively and efficiently as possible. 

Sometimes, this might mean actually adapting your thesis a bit to the rest of your essay. At other times, it means removing redundant examples or paraphrasing quotations. Make sure every sentence is valuable, and remove those that aren’t. 

Other Resources for Literary Analysis 

With these skills and suggestions, you’re well on your way to practicing and writing literary analysis. But if you don’t have a firm grasp on the concepts discussed above—such as literary devices or even the content of the text you’re analyzing—it will still feel difficult to produce insightful analysis. 

If you’d like to sharpen the tools in your literature toolbox, there are plenty of other resources to help you do so: 

• Check out our expansive library of Literary Devices . These could provide you with a deeper understanding of the basic devices discussed above or introduce you to new concepts sure to impress your professors ( anagnorisis , anyone?). 
• This Academic Citation Resource Guide ensures you properly cite any work you reference in your analytical essay. 
• Our English Homework Help Guide will point you to dozens of resources that can help you perform analysis, from critical reading strategies to poetry helpers. 
• This Grammar Education Resource Guide will direct you to plenty of resources to refine your grammar and writing (definitely important for getting an A+ on that paper). 

Of course, you should know the text inside and out before you begin writing your analysis. In order to develop a true understanding of the work, read through its corresponding SuperSummary study guide . Doing so will help you truly comprehend the plot, as well as provide some inspirational ideas for your analysis.

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Story Analysis: How to Analyze a Short Story Step-by-Step

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Have there been times that you have read a short story in class and tried to analyze its meaning by deep-diving into the text to understand it better? If yes, this article is for you.

Short stories are relatively much shorter and less complex than most novels or plays. But that does not mean that they don’t require an in-depth analysis of what is written in the text and what messages the author of the book intends to convey to its readers.

In this article, you will learn how to analyze a short story step-by-step, along with the essential elements of a short story.

What are the Elements of a Short Story

In order to analyze a short story step-by-step, it is important to know the basics of story analysis. Let’s take a look at the five key elements of a short story.

Characters (both major and minor) are what bring life to a story. Writers use them to transcend important messages throughout the plotline.

Every character has a purpose, a particular personality, and a developmental arc. To analyze these characters for your short story, you must have the answer to the following questions:

• Who is the plotline’s protagonist?
• Do you have your antagonist? If yes, who is it? What antagonistic qualities do they have?
• Are the characters dynamic (changing) or static (unchanging)?
• How does the author describe the character's appearance, personality, mindset, and actions?
• What are your thoughts, feelings, or opinions about the characters?
• What is the relationship between all the characters?

People get invested in fictional characters, relate to them, and see them as real individuals with real personalities, going through real hardships in life.

That's the key motive of the author, and that's what needs to be analyzed.

Setting or Theme

The setting of a short story depicts the theme of the plot through key metaphors. It revolves around three important points:

• Circumstances

This also aids the flow of the plotline, distinguishes the characters, influences viewpoints, and creates an aura for your story.

Even if a story is placed in a historic time and place, from when and where it was originally written, it can influence the entire context of the narrative.

Many stories would seem different and altered if their original setting was changed completely and is thus very crucial in interpreting the concept of the story.

Thus, try to assess how the setting affects the story and how it motivates its characters. Analyze why the author has chosen this particular setting, how the readers respond to it, as well as if there’s any symbolic meaning behind it.

The plotline makes a story by giving it a pattern and a structure to the events that are about to happen. Identifying and analyzing these plotlines will help in giving insights into the explanation of the story.

In short stories, the plot is majorly centered around one important character and their actions, or around one key experience that impacts the story greatly.

Usually, a short story plot has one major storyline, unlike novels, which have multiple trajectories of storylines. Thus, short stories are easier to analyze.

Authors use symbolism to convey messages poetically or indirectly, through their stories, making them more interesting and complex pieces.

Symbolism is depicted using a physical object or even a person to be an abstract idea. For example, a dove represents love and peace and a storm represents hostility and turmoil.

Symbolism can also be used as a metaphor in the narrative, such as life is a roller coaster which portrays life to have its ups and downs.

Similarly, in short story novels, authors symbolize certain conflicts and important issues by using a metaphor or a simile in their story. For example, in Shakespeare’s Julius Caesar, the officials dismantled the coronations of Caesar's statues, foreshadowing their plan to topple him.

Lastly, the reason you are reading the short story is to identify what you have learned from it and what the moral of the narrative is.

Even though short story novels are crisp, interesting, and entertaining, there is always a life lesson behind each of them. This moral is implied to help the readers understand the author’s perspective, what they want to convey, and what lesson you should learn from the text.

How to Analyze a Short Story Step-by-Step

Now that we know the major elements that are involved in crafting an exceptional story analysis, let's take a look at five tips for how to analyze a short story step-by-step.

Read and summarize

As you prepare to analyze the short story assigned to you, it is recommended to read and re-read it multiple times. Since it is a short story, you’ll have plenty of time to understand all the details included within the story and the context of the plot.

To analyze the book, divide the narrative into sections. Read each of these sections and write down key points and essential details that are related to these portions of the story. As you do that, summarize your interpretation of the plot into a more understandable and easy piece.

Brainstorm and take notes

While reading the text, if you come across an interesting subplot, a challenging character arc, or even a major theme that isn't showcased through the text, make it a point of writing them down.

These notes will be your crutch as you begin analyzing your short story for your class assignment. Taking notes brings organization to your thoughts and ideas, as well as gives you proper knowledge about every detail you find in the short story.

Brainstorm multiple ideas and write down the concepts that you find fascinating while reading the book. Always pay close attention to the details to understand the purpose of the text, as well as the author’s point of view on multiple important situations or events.

Here’s an interesting video by Jesse on how to take notes while reading

Identify crucial concepts

Identifying important concepts in the short story, such as the main conflict that helps with creating the primary argument for the thesis statement, the characters’ personalities, their defining traits, the choices they make, and also the point of view of the narrator.

The point of view is an essential aspect of the storyline as it creates a lens for the reader to understand and analyze themes, details, characters, and important events in the story.

While examining these concepts, you will realize the intention of the author, how the story was significant to them, and why they made certain choices while writing the short story.

Similarly, exploring the literary devices of the short story, such as the setting, mood, tone, and style of the text, will help further in analyzing the plotline in a more notable way.

Include examples and evidence

When you state an argument in your story analysis, it is always better to back it up with credible sources and accurate evidence. For example, you can paraphrase or directly quote a sentence from your assigned story to claim your point.

However, quotations cannot become evidence unless it is explained how it proves the claims that are being made.

Having good sources for your story analysis gives you a higher level of authority over the book that you are writing about and also makes it easier for the reader to understand the author’s perspective.

Craft the thesis statement

It is important to make sure that all the points that have been made for the analysis tie together and ultimately support your thesis.

Keep in mind that the thesis for your short story should not just summarize the plot, and neither should it be a review of the book. Your thesis statement should be an interpretation of the text or an argument that is based on the storyline.

Writing a quality analysis for short stories requires a solid thought process, an organized structure , and the ability to dive deep into the literary meaning of a text.

Here, you understand and think through the author's perspective of the book and why they have chosen to write their thoughts and ideas through this narrative.

Hence, to know how to analyze a short story step-by-step for your class assignments and also score high, you need proper guidance, key steps, and other tips and tricks that put your analysis at the front of the line. This article is here just for that!

If you still find yourself to be stuck, reach out to our analytical essay writing service . Our team of professional writers are experts in analyzing stories and will help you deliver a 100% original short story analysis written from scratch.

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

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• Strategies for Short Story Research

Page Overview

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

Before You Begin

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

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

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

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

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

Characteristics of a Well-written Paper

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

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

Basic Research Strategy

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

Things to Keep in Mind

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

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

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

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

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

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

A Note on Sources

Research requires engagement with various types of sources.

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

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

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

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

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

• Research Methods From Truckee Meadows Community College: a guide to basic research. The tab "What Type of Source?" presents an overview of the various types of information sources, identifying the advantages and disadvantages of each.
• << Previous: Find Books
• Last Updated: Apr 19, 2024 7:27 AM
• URL: https://libguides.jsu.edu/litresearchshortstories