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75 Short Short Stories

Stories to enjoy when you have five minutes to spare, grouped by category to suit your mood: Witty Stories , Introspective Stories , Morality Tales , Other-Worldly Stories , Feel-Good/Love Stories , Dramatic Stories , and Political Farce Stories

Had a rough day? Cheer up with 50 Great Feel-Good Stories and a generous helping of comforting Foodie Stories

Witty Stories

Introspective Stories

Morality Tales

Other-Worldly Stories

Feel-Good/Love Stories

Dramatic Stories

Political Farce

Looking for more? Check out our Favorite Short Stories Collection . You may also enjoy 100 Great Poems Read about the authors' own stories in American Biographies

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Take risks and tell the truth: how to write a great short story

Drawing on writers from Anton Chekhov to Kit de Waal, Donal Ryan explores the art of writing short fiction. Plus Chris Power on the best books for budding short story writers

T he first story I wrote outside of school was about Irish boxer Barry McGuigan. I was 10 and I loved Barry. He’d just lost his world featherweight title to the American Steve Cruz under the hellish Nevada sun and the only thing that could mend my broken heart was a restoration of my hero’s belt. Months passed and there was no talk of a rematch, so I wrote a story about it.

My imagined fight was in Ireland, and I was ringside. In my story I’d arranged the whole thing. I’d even given Barry some tips on countering Steve’s vicious hook. It went the distance but Barry won easily on points. He hugged Steve. His dad sang “Danny Boy”. I felt as I finished my story an intense relief. The world in that moment was restful and calm. I’d created a new reality for myself, and I was able to occupy it for a while, to feel a joy I’d created by moving a biro across paper. I think of that story now every single time I sit down to write. I strive for the feeling of rightness it gave me, that feeling of peace.

It took me a while to regain that feeling. When I left school, where I was lucky enough to be roundly encouraged and told with conviction that I was a writer, I inexplicably embarked on a career of self-sabotage, only allowing my literary ambitions to surface very sporadically, and then burning the results in fits of disgust. Nothing I wrote rang true; nothing felt worthy of being read.

Shortly after I got married my mother-in-law happened upon a file on the hard drive of a PC I’d loaned her (there’s a great and terrifying writing prompt!). It contained a ridiculous story about a young solicitor being corrupted by a gangster client. I’d forgotten about the story, and about one of its peripheral characters, a simple and pure-hearted man named Johnsey Cunliffe. My wife suggested giving Johnsey new life, and I started a rewrite with him as the hero; the story kept growing until I found myself with a draft of my first finished novel, The Thing About December . I didn’t feel embarrassed, nor did I feel an urge to burn it. I felt peace. I knew it wouldn’t last, and so I quickly wrote a handful of new stories, and the peace didn’t dissipate. Not for a while, anyway.

So a forgotten short story, written somewhere in the fog of my early 20s, turned out to be the making of my writing career. Maybe it would have happened anyway, or maybe not, but I think the impulse would always have been present, the urge to put a grammar on the ideas in my head. Mary Costello, author of The China Factory , one of the finest short story collections I’ve ever read, says: “Write only what’s essential, what must be written … an image or a story that keeps gnawing, that won’t leave you alone. And the only way to get peace is to write it.”

I know that in this straitened, rule-bound, virus-ridden present, many people find themselves with that gnawing feeling, that urge to fashion from language a new reality, or to get the idea that’s been clamouring inside them out of their imagination and into the world. So I’ve put together some ideas with the help of some of my favourite writers on how best to go about finding that peace.

Don’t worry

In a short story, the sentences have to do so much! Some of Chekhov’s stories are less than three printed pages; a few comprise a single brief paragraph. In his most famous story, “The Lady with the Dog”, we are given a detailed account of the nature, history and motivations of Gurov within the first page, but there is no feeling of stress or overload. Stephen King’s 2010 collection Full Dark, No Stars is a masterclass in compression and suspense. My colleague in creative writing at the University of Limerick, Sarah Moore Fitzgerald, is, like me, a novelist who turns occasionally to the short form. Sarah considers short stories to be “storytelling’s finest gifts. In the best ones, nothing is superfluous, their focus is sharp and vivid but they can be gloriously elliptical too, full of echoes.” The novel form, as I’ve heard Mike McCormack say, offers “a wonderful accommodation to the writer”, but the short story is a barren territory. There’s nowhere to hide, no space for excess or digression.

My wife asked me once why this worried me so much. I’d just published my first two novels and had embarked on a whole collection of short stories, A Slanting of the Sun . She’d come home from work to find me curled up in a ball of despair. “Every sentence worries me,” I whined. “None of them is doing enough .” “Don’t worry about how much they’re doing until all the work is done,” she said. “Get the story written, and then you can go back and fix all those worrisome sentences. And the chances are, once the story exists, you won’t be as worried about those sentences at all. They’ll just be. ”

Ah. I can still feel the beautiful relief I felt at her wise words. Life is filled with things to worry about. The quality of our sentences should be a challenge and a constant fruitful quest, a gradual aggregation of attainment. But creativity should always bring us at least some whisper of joy. It should be a way out of worry.

One of the concepts my colleague Sarah illuminates is that of a “draft zero” – a draft that comes before a first draft, where your story is splashed on to your screen or page, containing all or most of its desired elements. Draft zero offers complete freedom from any consideration of craft or finesse.

Kit de Waal, who recently published a wonderful collection, Supporting Cast , featuring characters from her novels, offers this wisdom on getting your story from your head on to your page or screen: “Don’t overthink but do overwrite. Sometimes you see a pair of gloves or a flower on the street or lipstick on a coffee cup and it moves you in a particular way. That’s your prompt right there. Write that feeling or set something around that idea, you don’t know what at this stage, you’re going off sheer muse, writerly energy, so just follow it. And follow it right to the end – it might be a day, a week, a year. Overwrite the thing and then sit back and ask yourself, ‘Where is the magic? What am I saying? Who is speaking?’ When you’ve worked that out, you have your story and you can start crafting and editing.”

Your draft zero is Michelangelo’s lump of rough-hacked marble, but with David’s basic shape. It is the reassuring existence of something tangible in the world outside of your mind , something raw and real, containing within its messy self the potential for greatness. And the best way to make it great is to make it truthful.

Be truthful

I don’t mean by this that you need to speak your own truth at all times or to draw only on your own lived experience, but it’s important to be true to our own impulses and ambitions as writers; to write the story we want to write, not the story we think we should write. That’s like saying things that you think people want to hear: you’ll end up tangling yourself in a knot of half-truths and constructed, co-opted beliefs. You’ll be more politician than writer, and, as good and decent as some of them are, the world definitely has enough politicians.

Your own experiences, of course, your own truth, can be parlayed into wonderful fictions, and can by virtue of their foundation in reality contain an almost automatic immediacy and intensity. Melatu Uche Okorie’s debut collection, This Hostel Life , is drawn from her experiences in the Irish direct provision system as an asylum seeker. The title story in particular has about it a feeling of absolute truthfulness, written in the demotic of the author’s Nigerian countrywomen; while another story, “Under the Awning”, feels as though it might be an oblique description of events witnessed or experienced first-hand by the author.

You might as well do exactly what you want to do, even (or especially) if it’s never been done before. You have nothing to lose by taking risks, with form, content, style, structure or any other element of your piece of fiction. Rob Doyle , a consummate literary risk-taker, exhorts writers to “try writing a story that doesn’t look how short stories are meant to look – try one in the form of an encyclopaedia entry, or a list, or an essay, or a review of an imaginary restaurant, sex toy, amusement park or film. Have people wondering if it’s even fiction. Mix it all up. Short stories can explore ideas as well as emotions – huge ideas can fit into short stories. For proof, read the work of Jorge Luis Borges . In fact, I second Roberto Bolaño’s advice to anyone writing short stories: read Borges.”

Bend the iron bar

“When the curtain falls,” said Frank O’Connor of the short story, “everything must be changed. An iron bar must have been bent and been seen to be bent.” One of the first short stories to break my heart was O’Connor’s “ Guests of the Nation ”. It has been described as one of the greatest anti-war stories ever written, and one of the finest stories from a master of the form. Its devastating denouement closes with this plaintive statement from the shattered narrator: “And anything that happened to me afterwards, I never felt the same about again.” This line contains within it an entreaty to short story writers to reach for that profound moment, that event or epiphany or reversal or triumph; to arrive within the confines of their story at a moment that will have a resonance far beyond its narrow scope.

Another great literary O’Connor, this time the novelist Joseph, who teaches creative writing at the University of Limerick, says that “to me every excellent short story centres around an instant where intense change becomes possible or, at least, imaginable for the character. Cut into the story late, leave it early, and find a moment.” Joseph quotes the closing words of one of his favourite short stories, Raymond Carver’s “Fat”: “It is August. My life is going to change. I feel it.”

The moment of course needn’t be in the ending, and the end of a story doesn’t necessarily have to be incendiary or revelatory, or to contain an unexpected twist. Mary Gaitskill ’s story “Heaven” describes a family going through change and trauma and loss, and iron bars are bent in almost every paragraph, but its ending is memorable for the moment of relief it offers, in a gently muted description of the perfect grace of a summer evening and a family gathered for a meal. “They all sat in lawn chairs and ate from the warm plates in their laps. The steak was good and rare; its juices ran into the salad and pasta when Virginia moved her knees. A light wind blew loose hairs around their faces and tickled them. The trees rustled dimly. There were nice insect noises. Jarold paused, a forkful of steak rising across his chest. ‘Like heaven,’ he said. ‘It’s like heaven.’ They were quiet for several minutes.”

Listen to your story

“Beer Trip to Llandudno”, Kevin Barry’s masterpiece of the short form, from his 2012 collection Dark Lies the Island , is another story that has remained pristine in my consciousness since I first read it. Part of the magic of that story, and of all Barry’s work, is its dialogue: the earthy, pithy, perfectly authentic exchanges between his characters. When I asked Kevin about this, he said: “If you feel like you’re coming towards the final draft of a story, print it out and read it aloud, slowly, with red pen in hand. Your ear will catch all the evasions and the false notes in the story much quicker than your eye will catch them on the screen or page. Listen to what’s not being said in the dialogue. Very often the story, and the drama, is to be found just underneath the surface of the talk.”

Such scrupulous attention to the burden carried by each unit of language and to the work done by the notes played and unplayed can make a story truly shine. Alice Kinsella is an accomplished poet who recently turned her hand to the short form in great style with her sublime account of early motherhood, “Window”. “Poetry or prose,” Alice says, “the aim is the same, to make every word earn its place on the page.”

Ignore everything

And as self-defeating as this sounds, here’s a final piece of advice: once you sit down to write your story, forget about this article. Forget all the advice you’ve ever been given. Free your hand, free your mind, cut yourself loose into the infinity of possibility, and create from those 26 little symbols what you will. We came from the hearts of stars. We are the universe, telling itself its own story.

Donal Ryan is a judge for the BBC national short story award with Cambridge University. The shortlist will be announced on 10 September and the winner on 19 October. For more information see www.bbc.co.uk/nssa .

Books for budding short story writers By Chris Power

If short story collections occupy a minority position on publishers’ lists, books about the short story are an even scarcer commodity. In the 1970s the academic Charles E May published Short Story Theories , which he followed up in 1994 with The New Short Story Theories . These volumes, out of print but easy enough to find second-hand, collect some of the key texts about short fiction, from Edgar Allan Poe’s 1842 review of Nathaniel Hawthorne’s Twice-Told Tales , to Elizabeth Bowen’s tracing of Guy de Maupassant and Anton Chekhov’s influence, and Julio Cortázar’s brilliant lecture Some Aspects of the Short Story (“the novel always wins on points, while the story must win by a knockout”).

Frank O’Connor’s The Lonely Voice (1963) studies 11 great story writers, from Ivan Turgenev to Katherine Mansfield, and argues that the quintessential short story subjects are outsiders: “There is in the short story at its most characteristic something we do not often find in the novel – an intense awareness of human loneliness.” O’Connor’s assertiveness makes disagreeing with him part of the fun. As his countryman Sean O’Faolain wrote: “He was like a man who takes a machine gun to a shooting gallery. Everybody falls flat on his face, the proprietor at once takes to the hills, and when it is all over, and you cautiously peep up, you find that he has wrecked the place but got three perfect bull’s-eyes.”

I have a similar relationship with George Saunders’s remarkable study of seven classic Russian short stories, A Swim in a Pond in the Rain , published earlier this year. I don’t buy the overarching argument about fiction generating empathy, but this is a book stuffed with arresting observations and practical tips from a master craftsman. His 50-page close reading of Chekhov’s 12-page “In the Cart” is jaw-droppingly good.

Steering the Craft by Ursula K Le Guin isn’t specifically about short stories, but she could certainly write them, and her clear, practical advice is invaluable to anyone wanting to learn about two of the form’s prerequisites: rhythm and concision.

My last recommendation isn’t a book at all, but the New Yorker: Fiction podcast . Appearing monthly since 2007, each episode features a writer reading a story from the magazine’s archives and discussing it with fiction editor Deborah Treisman. These conversations are a wonderful education in how stories work. I strongly recommend Ben Marcus on Kazuo Ishiguro (September 2011), Tessa Hadley on Nadine Gordimer (September 2012), and ZZ Packer on Lesley Nneka Arimah (October 2020), a discussion which moves between craft, fairytale and motherhood.

• Short stories
• Raymond Carver
• Stephen King
• Anton Chekhov
• Jorge Luis Borges
• Mary Gaitskill
• Kevin Barry

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Blog – Posted on Sunday, Jun 17

Best short stories and collections everyone should read.

If you are on the lookout for great storytelling but don’t want to commit to a full-length novel, then short story collections are the answer. Whether it’s just before bed, during your commute, or waiting to see your doctor, small chunks of time are perfect for reading short stories.

Here we have gathered thirty-one of the best short stories and collections , from all sorts of backgrounds and sources, to help you grow your “To Be Read” pile.

For your convenience, we've divided this post into two parts: 1. the ten best free short stories to read right now , and 2. best short story collections. Feel free to jump to the section that you prefer!

If you're feeling overwhelmed by the number of great short stories out there, you can also take our 30-second quiz below to narrow it down quickly and get a personalized short story recommendation 😉

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Free Short Stories to Read Right Now

These individual short stories are the best of the best — and the even better news is that they're available for free online for you to peruse. From classics published in the 1900s to a short story that exploded in late 2017, here are ten of the greatest free short stories for you to read.

1. “Lamb to the Slaughter” by Roald Dahl

While not exactly a philosophical or political tale like our first two examples, this twisty short story from Dahl does delve into some shady moral territory. We are introduced to Mary Maloney: a loving wife and dedicated homemaker. In just a few short paragraphs describing how she welcomes her husband home, Dahl makes us sympathize with Mary — before a rash act turns her life upside down and takes the reader with her on a dark journey.

For those who haven’t read it, we won’t spoil the rest. However, it’s safe to say that Dahl serves up a fiendish twist on a platter.

2. “The Lottery” by Shirley Jackson

A perennial feature in many a high school syllabus, Shirley Jackson’s best-known short story clinically details an unusual ritual that takes place in a small town. There’s not exactly a lot of plot to spoil in The Lottery — but within a few short pages, Jackson manages to represent the mob mentality that can drive reasonable people to commit heinous acts.

3. “How to Become a Writer” by Lorrie Moore

Told in the second person point of view , this story from Moore’s debut anthology Self-Help takes an honest look at the inner life of a struggling artist. Through the use of an unusual POV, the author manages to turn her reader into a confidante — making it abundantly clear that the ‘you’ the narrator is speaking about is actually herself.

This story is a standout, but the entire collection is well worth a read for its insight, humor, and disregard for literary norms.

4. “Cat Person” by Kristen Roupenian

In the Social Media Age, no short story has gone viral the way this New Yorker contribution from Roupenian has. Arriving at the height of #MeToo, it begins with 20-year-old Margot embarking on the early stages of flirtation with an older man, Robert. As she gets to know more about this man (as well as filling in the gaps with her imagination), the power dynamic in their relationship starts to fluctuate.

Lauded for its portrayal of Margot’s inner life and the fears many modern women face when it comes to dating, it also has its fair share of detractors — many are critical of the central character, some are downright outraged by the story’s success. Still, this story undeniably struck a chord with the reading public, and will likely remain relevant for some time.

5. “Cathedral” by Raymond Carver

First published in The Atlantic Monthly in 1981, “Cathedral” is today known as one of Raymond Carver’s finest works. When it opens, we meet a narrator whose wife is expecting a visit from an old friend, a blind man. Dissatisfied and distrusting of people not like him, our narrator struggles to connect until the blind man asks him to describe a cathedral to him. 

 “Cathedral” is one of Carver’s own personal favorites, and deservedly so. His characteristic minimalist style is devastating as the story builds up to a shattering moment of emotional truth — an ultimate reminder that no-one else can capture the quiet sadness of working-class people like him. 

6. “A Good Man Is Hard to Find” by Flannery O’Connor

Innocuously titled, “A Good Man Is Hard to Find” is nevertheless Flannery O’Connor’s bleakest — and most famous — work. It begins unassumingly with a Southern family who’s planning to go on a road trip. Yet the journey is rudely interrupted when their car overturns on an abandoned dirt road — and they are met by an enigmatic group of three men, coming up over the far hill. 

This short story inspired some strong reactions from the public upon publication — and the conversation continues today as to its frank depiction of the nature of good and evil. Again, we won’t spoil anything for you, except to say that “A Good Man Is Hard to Find” is well worth your time. 

7. “Symbols and Signs” by Vladimir Nabokov

The famous author of Lolita wrote “Signs and Symbols” in 1948. Its premise is seemingly simple: an elderly couple visits their mentally ill son in the sanatorium in America. Yet their background and trials come into sharp focus as the story develops, until an explosive ending disrupts everyone’s peace of mind. 

As you might expect, the somber “Symbols and Signs” diverges sharply from Lolita in terms of both tone and subject — but its ending will keep you awake at night thinking about its implications.  

8. “Sticks” by George Saunders

Not so much a short story as it is flash fiction, “Sticks” is written from the perspective of a young man whose father has an unusual habit: dressing up a crucifix that’s built of out a metal pole in the yard. One of America’s greatest living short story writers, George Saunders explained: "For two years I'd been driving past a house like the one in the story, imagining the owner as a man more joyful and self-possessed and less self-conscious than myself. Then one day I got sick of him and invented his opposite, and there was the story." 

The result is a masterful piece of fiction that builds something out of seemingly nothing — all in the space of only two paragraphs. 

9. “The Veldt” by Ray Bradbury

If there’s anyone who you can trust to deliver thought-provoking, terrifying science fiction on the regular, it’s Ray Bradbury. In “The Veldt,” George and Lydia Hadley have bought an automated house that comes with a “nursey,” or a virtual reality room. Worried about the nursery’s effect on the kids, George and Lydia think about turning off the nursey — but the problem is that their children are obsessed with it. 

As an ominously prescient prediction of the downside of technology, “The Veldt” is a short and shining example of how Ray Bradbury was an author before his time. 

10. “Flowers for Algernon” by Daniel Keyes

In this classic short story, we are privy to the journals of Charlie Gordon, a cleaner with an IQ of 68. ("I reely wantd to lern I wantid it more even then pepul who are smarter even then me. All my life I wantid to be smart and not dumb.”) Charlie’s luck changes when he is selected for an experiment that purports to turn him into a genius — but everything that goes up must come down in the end. 

“Flowers for Algernon” won the Hugo Award in 1960 for its groundbreaking presentation. Heartbreaking and rich with subtle poignance, it is likely to remain a staple for centuries to come.  

Best Short Story Collections to Devour

If you'd like many short stories at your fingertips all at once, short story collections are where you should look. Here, we've collected 21 of the best short story collections — along with the standout story in each volume.

11. A Manual for Cleaning Women by Lucia Berlin

Standout Story: “A Manual for Cleaning Women”

12. Blow-up and Other Stories by Julio Cortázar

Standout Story: “House Taken Over”

13. Drifting House by Krys Lee

Standout Story: “Drifting House”

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14. Dubliners by James Joyce

Standout Story: “The Dead”

15. Everything’s Eventual: 14 Dark Tales by Stephen King

Standout Story: “Riding the Bullet”

16. Ficciones by Jorge Luis Borges

Standout Story: “The Garden of Forking Paths”

17. Florida by Lauren Groff

Standout Story: “Above and Below”

18. Fragile Things: Short Fictions and Wonders by Neil Gaiman

Standout Story: “The Flints of Memory Lane”

19. Kiss Kiss by Roald Dahl

Standout Story: “The Pig”

20. Men Without Women by Haruki Murakami

Standout Story: “Samsa in Love”

21. Nine Stories by J.D. Salinger

Standout Story: “For Esme - With Love and Squalor”

22. Rashōmon and Seventeen Other Stories by Ryūnosuke Akutagawa

Standout Story: “In a Bamboo Grove”

23. Runaway by Alice Munro

Standout Story: “Runaway”

24. Strange Pilgrims by Gabriel García Márquez

Standout Story: “The Trail of Your Blood in the Snow”

25. The Collected Stories by Grace Paley

Standout Story: “A Man Told Me the Story of His Life”

26. The Complete Short Stories of Ernest Hemingway by Ernest Hemingway

Standout Story: “Hills Like White Elephants”

27. The Complete Stories by Flannery O’Connor

Standout Story: “A Good Man is Hard to Find”

28. The Essential Tales of Chekhov by Anton Chekhov

Standout Story: “The Lady with the Dog”

29. The Refugees by Viet Thanh Nguyen

Standout Story: “I’d Love You to Want Me”

30. The Thing Around Your Neck by Chimamanda Ngozi Adichie

Standout Story: “The Thing Around Your Neck”

31. The Youngest Doll by Rosario Ferré

Standout Story: “When Women Love Men”

Ready to write your own short story? Check out these short story ideas for all your inspiration needs.

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