Short story

Short story
A short story is a form of short fictional narrative prose. Short stories tend to be more concise and to the point than longer works of fiction, such as novellas (in the modern sense of this term) and novels.
short stories are categorized by being 1,000-7,000 words, or 5-45 pages, in length.
Short stories have their origins in oral story-telling traditions and the prose anecdote, a swiftly-sketched situation that comes rapidly to its point. With the rise of the comparatively realistic novel, the short story evolved as a miniature, with some of its first perfectly independent examples in the tales of E.T.A. Hoffmann and Anton Chekhov.
Many authors today release compilations of their short stories in short story collections.
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History
Origins
Short stories date back to the (oral) story-telling traditions which produced such notable tales as Homer's the Iliad and the Odyssey. Tales such as these were told in a rhyming, poetic format, with the rhymes acting as a mnemonic tool for people to remember the story. Short sections of these tales focused on individual narratives that could be told at one sitting. The overall arch of the story would only emerge through the telling of multiple sections of the tale.
Fables, which tend to be folk tales with an explicitly expressed moral, were said by the Greek historian Herodotus to have been invented by a Greek slave named Aesop in the 6th century BCE (although other times and nationalities are also given for Aesop). These ancient fables are known today as Aesop's Fables.
The other ancient form of short story, anecdotes, were popular during the years of the Roman Empire. Anecdotes functioned as a sort of parable, a brief realistic narration that embodies a point. Many of the surviving Roman anecdotes were later collected in the Gesta Romanorum in the 13th or 14th century. Anecdotes remained popular in Europe well into the 18th century, when the fictional anecdotal letters of Sir Roger de Coverley were published.
In Europe, the oral story-telling tradition began to develop into written stories in the early 14th century, most notably with Geoffrey Chaucer's Canterbury Tales and Giovanni Boccaccio's Decameron. Both of these books are composed of individual short stories (which range from farce or humorous anecdotes to well-crafted literary fictions) set within a larger narrative story (a frame story), although the frame tale device was not adopted by all writers. At the end of the 16th century, some of the most popular short stories in Europe were the darkly tragic "novella" of Matteo Bandello (especially in their French translation). During the Renaissance, the term novella was used when referring to short stories.
The mid 17th century in France saw the development of a refined short novel, the "nouvelle", by such authors as Madame de Lafayette. In the 1690s, traditional fairy tales began to be published (one of the most famous collections was by Charles Perrault). The appearance of Antoine Galland's first modern translation of the Thousand and One Nights (or Arabian Nights) (from 1704; another translation appeared in 1710–12) would have an enormous influence on the 18th century European short stories of Voltaire, Diderot and others.
Modern short stories
Modern short stories emerged as their own genre in the early 19th century. Early examples of short story and short story collections include the Brothers Grimm Fairy Tales (1824–1826), Nikolai Gogol's Evenings on a Farm Near Dikanka (1831-1832), Edgar Allan Poe's The Gold Bug (1843),[1] about a cryptographic treasure map[2] and Nathaniel Hawthorne's Twice Told Tales (1842). In the later part of the 19th century, the growth of print magazines and journals created a strong market demand for short fiction between 3,000 and 15,000 words in length. Among the famous short stories to come out of this time period was "Ward No. 6" by Anton Chekhov.
In the first half of the 20th century, a number of high-profile magazines, such as The Atlantic Monthly, Scribner's, and The Saturday Evening Post, all published short stories in each issue. The demand for quality short stories was so great, and the money paid for them so high, that F. Scott Fitzgerald repeatedly turned to short story writing to pay off his numerous debts.
The demand for short stories by print magazines hit its peak in the middle of the 20th century, when in 1952 Life magazine published Ernest Hemingway's long short story (or novella) The Old Man and the Sea. The issue containing this story sold 5,300,000 copies in only two days.
Since then, the number of commercial magazines that publish short stories has declined, even though several well-known magazines like The New Yorker continue to feature them. Literary magazines also provide a showcase for short stories. In addition, short stories have recently found a new life online, where they can be found in online magazines, in collections organized by author or theme, and on blogs.
Elements and characteristics
Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time.
In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral.
Because of their short length, short stories may or may not follow this pattern. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson.
Of course, as with any art form, the exact characteristics of a short story will vary by author.
Length
Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846). Other definitions place the maximum word length at 7,500 words. In contemporary usage, the term short story most often refers to a work of fiction no longer than 7,000 words and no shorter than 1,000.
A selection of famous short stories
• "The Last Question" by Isaac Asimov (Online Text)
• "An Occurrence at Owl Creek Bridge" by Ambrose Bierce (online text)
• "Yours Truly, Jack the Ripper" by Robert Bloch
• "A Sound of Thunder" by Ray Bradbury
• "Cathedral" by Raymond Carver
• "The Story of an Hour" by Kate Chopin (online text)
Example of a short story
The Last Question
The Last Question is a short story by science fiction author Isaac Asimov. It first appeared in the November 1956 issue of Science Fiction Quarterly and was reprinted in the collections Nine Tomorrows (1959), The Best of Isaac Asimov (1973) and Robot Dreams (1986). It is one of a loosely connected series of stories concerning a fictional computer called Multivac. In conceiving Multivac, Asimov was extrapolating the trend towards centralisation that characterised computation technology planning in the 1950s to an ultimate centrally managed global computer. Asimov considered this story to be the best he wrote, placing it just higher than "The Ugly Little Boy" and "The Bicentennial Man." After seeing a planetarium adaptation, Asimov "privately" concluded that this story was the best science fiction yet written. "The Last Question" ranks with the other stories and "Nightfall" as one of Asimov's best-known and most acclaimed short stories. The story was adapted for the Strasenburgh Planetarium in Rochester, New York in 1969, under the direction of Ian C. McLennan, although it was first adapted for the Abrams Planetarium at Michigan State University in 1966, as Issac Asimov wrote in his autobiography. The Abrams Planetarium show is voiced by Leonard Nimoy.
This particular story deals with the development of a computer called Multivac and its relationship with humanity through the course of seven historic settings. The first is set in the year 2061. In each of the first six scenes a character presents the computer with a question, namely as to how the threat to worthwhile continued human existence posed by heat death can be averted. As the characters in the story recognize, the question is equivalent to: "Can the second law of thermodynamics be reversed?" In each case the computer finds itself unable to reply due to "insufficient data for a meaningful answer".
In the last scenes, the god-like descendants of humanity watch the universe finally approach the state of heat death and ask the Cosmic AC, Multivac's descendant, the question one last time before it merges with "Man." Cosmic AC is still unable to answer, but continues to ponder the question after space and time cease to exist. Eventually the Cosmic AC discovers the answer, but has nobody to report it to; the universe is already dead. It therefore decides to show the answer by demonstrating the reversal of entropy, creating the universe anew; the story ends with AC's pronouncement, "'LET THERE BE LIGHT!' And there was light—"