what is a thesis in a short story

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Developing a Thesis

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Once you've read the story or novel closely, look back over your notes for patterns of questions or ideas that interest you. Have most of your questions been about the characters, how they develop or change?

For example: If you are reading Conrad's The Secret Agent , do you seem to be most interested in what the author has to say about society? Choose a pattern of ideas and express it in the form of a question and an answer such as the following: Question: What does Conrad seem to be suggesting about early twentieth-century London society in his novel The Secret Agent ? Answer: Conrad suggests that all classes of society are corrupt. Pitfalls: Choosing too many ideas. Choosing an idea without any support.

Once you have some general points to focus on, write your possible ideas and answer the questions that they suggest.

For example: Question: How does Conrad develop the idea that all classes of society are corrupt? Answer: He uses images of beasts and cannibalism whether he's describing socialites, policemen or secret agents.

To write your thesis statement, all you have to do is turn the question and answer around. You've already given the answer, now just put it in a sentence (or a couple of sentences) so that the thesis of your paper is clear.

For example: In his novel, The Secret Agent , Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth-century London society.

Now that you're familiar with the story or novel and have developed a thesis statement, you're ready to choose the evidence you'll use to support your thesis. There are a lot of good ways to do this, but all of them depend on a strong thesis for their direction.

For example: Here's a student's thesis about Joseph Conrad's The Secret Agent . In his novel, The Secret Agent , Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth-century London society. This thesis focuses on the idea of social corruption and the device of imagery. To support this thesis, you would need to find images of beasts and cannibalism within the text.

The Classroom | Empowering Students in Their College Journey

What Should a Thesis Statement on an Essay About a Short Story Look Like?

How to Start a Good Book Report

A literary analysis of short stories allows writers to explain the basic elements of the story and make a deeper statement about the plot, characters, symbolism or theme. Writing such an analysis allows students to learn more about the story and gain an appreciation of literature in general. One of the most significant elements of the literary analysis is the thesis statement.

In any essay, the thesis statement establishes the purpose of the essay for the reader. A good thesis fits the assignment length, makes a statement about your overall point and includes the specific points you will give to support that idea about the story. The thesis must relate to a specific point about the short story such as the argumentative point you want to explain or defend. Place the thesis at the end of the introductory paragraph of the analysis.

When writing your thesis statement, make sure to clearly state the purpose of your essay to the reader. Narrow your focus to aspects of the story that fits the scope of the assignment, both in terms of the depth of your discussion as well as the minimum word count. For instance, saying a character is "interesting" or that many symbols appear in the story does not give your reader a clear idea of what you will discuss. Instead, choose words that emphasize your point, such as how a character's flaw causes his downfall or how a particular set of symbols illustrate the theme of the story.

The thesis for a literary analysis will determine the organization you will use in the body of the paper. Consider comparing or contrasting characters or situations, explaining a causal relationship between events in the plot, relating how a character fulfills a certain role or discussing how elements, such as the setting, illustrate the theme. Write your thesis with language like "differences," "similar," "cause," "effects" and the element or elements you will cover such as "theme," "character" and "setting."

Add subpoints to your thesis to preview the specifics you will provide in support of your thesis. These may list the characters, symbols, plot elements, similarities, differences, causes or effects you will discuss. Write these subpoints in the same order in your thesis that you will present them in the body of the paper and list them after your main idea in your thesis. For example, a good thesis might be, "The man in Jack London's 'To Build a Fire' fails in his mission due to his overconfidence in himself, his disdain toward nature’s power and his inability to retain his composure."

Tips on Writing an Explication Paper on a Short Story

How to Write a College Character Analysis Essay

How to Write an Essay Explaining a Concept

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How to Write a Motif Paper

How to Write an Introduction to a Reflective Essay

How to Write a Review of a Poetry Book

How to write a definition essay.

Gwynedd-Mercy College: How to Write a Literary Analysis Essay
Purdue Online Writing Lab: Tips and Examples for Writing Thesis Statements
Purdue Online Writing Lab: Writing in Literature: Overview
Purdue Online Writing Lab: Developing a Thesis

Kristie Sweet has been writing professionally since 1982, most recently publishing for various websites on topics like health and wellness, and education. She holds a Master of Arts in English from the University of Northern Colorado.

Literary Criticism

Introduction
Literary Theories
Steps to Literary Criticism
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thesis examples

SAMPLE THESIS STATEMENTS

These sample thesis statements are provided as guides, not as required forms or prescriptions.

______________________________________________________________________________________________________________

The thesis may focus on an analysis of one of the elements of fiction, drama, poetry or nonfiction as expressed in the work: character, plot, structure, idea, theme, symbol, style, imagery, tone, etc.

In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

Note that the work, author, and character to be analyzed are identified in this thesis statement. The thesis relies on a strong verb (creates). It also identifies the element of fiction that the writer will explore (character) and the characteristics the writer will analyze and discuss (determination, faith, cunning).

Further Examples:

The character of the Nurse in Romeo and Juliet serves as a foil to young Juliet, delights us with her warmth and earthy wit, and helps realize the tragic catastrophe.

The works of ecstatic love poets Rumi, Hafiz, and Kabir use symbols such as a lover’s longing and the Tavern of Ruin to illustrate the human soul’s desire to connect with God.

The thesis may focus on illustrating how a work reflects the particular genre’s forms, the characteristics of a philosophy of literature, or the ideas of a particular school of thought.

“The Third and Final Continent” exhibits characteristics recurrent in writings by immigrants: tradition, adaptation, and identity.

Note how the thesis statement classifies the form of the work (writings by immigrants) and identifies the characteristics of that form of writing (tradition, adaptation, and identity) that the essay will discuss.

Further examples:

Samuel Beckett’s Endgame reflects characteristics of Theatre of the Absurd in its minimalist stage setting, its seemingly meaningless dialogue, and its apocalyptic or nihilist vision.

A close look at many details in “The Story of an Hour” reveals how language, institutions, and expected demeanor suppress the natural desires and aspirations of women.

The thesis may draw parallels between some element in the work and real-life situations or subject matter: historical events, the author’s life, medical diagnoses, etc.

In Willa Cather’s short story, “Paul’s Case,” Paul exhibits suicidal behavior that a caring adult might have recognized and remedied had that adult had the scientific knowledge we have today.

This thesis suggests that the essay will identify characteristics of suicide that Paul exhibits in the story. The writer will have to research medical and psychology texts to determine the typical characteristics of suicidal behavior and to illustrate how Paul’s behavior mirrors those characteristics.

Through the experience of one man, the Narrative of the Life of Frederick Douglass, An American Slave, accurately depicts the historical record of slave life in its descriptions of the often brutal and quixotic relationship between master and slave and of the fragmentation of slave families.

In “I Stand Here Ironing,” one can draw parallels between the narrator’s situation and the author’s life experiences as a mother, writer, and feminist.

SAMPLE PATTERNS FOR THESES ON LITERARY WORKS

1. In (title of work), (author) (illustrates, shows) (aspect) (adjective).

Example: In “Barn Burning,” William Faulkner shows the characters Sardie and Abner Snopes struggling for their identity.

2. In (title of work), (author) uses (one aspect) to (define, strengthen, illustrate) the (element of work).

Example: In “Youth,” Joseph Conrad uses foreshadowing to strengthen the plot.

3. In (title of work), (author) uses (an important part of work) as a unifying device for (one element), (another element), and (another element). The number of elements can vary from one to four.

Example: In “Youth,” Joseph Conrad uses the sea as a unifying device for setting, structure and theme.

4. (Author) develops the character of (character’s name) in (literary work) through what he/she does, what he/she says, what other people say to or about him/her.

Example: Langston Hughes develops the character of Semple in “Ways and Means”…

5. In (title of work), (author) uses (literary device) to (accomplish, develop, illustrate, strengthen) (element of work).

Example: In “The Masque of the Red Death,” Poe uses the symbolism of the stranger, the clock, and the seventh room to develop the theme of death.

6. (Author) (shows, develops, illustrates) the theme of __________ in the (play, poem, story).

Example: Flannery O’Connor illustrates the theme of the effect of the selfishness of the grandmother upon the family in “A Good Man is Hard to Find.”

7. (Author) develops his character(s) in (title of work) through his/her use of language.

Example: John Updike develops his characters in “A & P” through his use of figurative language.

Perimeter College, Georgia State University, http://depts.gpc.edu/~gpcltc/handouts/communications/literarythesis.pdf

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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.

The Writing Center • University of North Carolina at Chapel Hill

Thesis Statements

What this handout is about.

This handout describes what a thesis statement is, how thesis statements work in your writing, and how you can craft or refine one for your draft.

Introduction

Writing in college often takes the form of persuasion—convincing others that you have an interesting, logical point of view on the subject you are studying. Persuasion is a skill you practice regularly in your daily life. You persuade your roommate to clean up, your parents to let you borrow the car, your friend to vote for your favorite candidate or policy. In college, course assignments often ask you to make a persuasive case in writing. You are asked to convince your reader of your point of view. This form of persuasion, often called academic argument, follows a predictable pattern in writing. After a brief introduction of your topic, you state your point of view on the topic directly and often in one sentence. This sentence is the thesis statement, and it serves as a summary of the argument you’ll make in the rest of your paper.

What is a thesis statement?

A thesis statement:

tells the reader how you will interpret the significance of the subject matter under discussion.
is a road map for the paper; in other words, it tells the reader what to expect from the rest of the paper.
directly answers the question asked of you. A thesis is an interpretation of a question or subject, not the subject itself. The subject, or topic, of an essay might be World War II or Moby Dick; a thesis must then offer a way to understand the war or the novel.
makes a claim that others might dispute.
is usually a single sentence near the beginning of your paper (most often, at the end of the first paragraph) that presents your argument to the reader. The rest of the paper, the body of the essay, gathers and organizes evidence that will persuade the reader of the logic of your interpretation.

If your assignment asks you to take a position or develop a claim about a subject, you may need to convey that position or claim in a thesis statement near the beginning of your draft. The assignment may not explicitly state that you need a thesis statement because your instructor may assume you will include one. When in doubt, ask your instructor if the assignment requires a thesis statement. When an assignment asks you to analyze, to interpret, to compare and contrast, to demonstrate cause and effect, or to take a stand on an issue, it is likely that you are being asked to develop a thesis and to support it persuasively. (Check out our handout on understanding assignments for more information.)

How do I create a thesis?

A thesis is the result of a lengthy thinking process. Formulating a thesis is not the first thing you do after reading an essay assignment. Before you develop an argument on any topic, you have to collect and organize evidence, look for possible relationships between known facts (such as surprising contrasts or similarities), and think about the significance of these relationships. Once you do this thinking, you will probably have a “working thesis” that presents a basic or main idea and an argument that you think you can support with evidence. Both the argument and your thesis are likely to need adjustment along the way.

Writers use all kinds of techniques to stimulate their thinking and to help them clarify relationships or comprehend the broader significance of a topic and arrive at a thesis statement. For more ideas on how to get started, see our handout on brainstorming .

How do I know if my thesis is strong?

If there’s time, run it by your instructor or make an appointment at the Writing Center to get some feedback. Even if you do not have time to get advice elsewhere, you can do some thesis evaluation of your own. When reviewing your first draft and its working thesis, ask yourself the following :

Do I answer the question? Re-reading the question prompt after constructing a working thesis can help you fix an argument that misses the focus of the question. If the prompt isn’t phrased as a question, try to rephrase it. For example, “Discuss the effect of X on Y” can be rephrased as “What is the effect of X on Y?”
Have I taken a position that others might challenge or oppose? If your thesis simply states facts that no one would, or even could, disagree with, it’s possible that you are simply providing a summary, rather than making an argument.
Is my thesis statement specific enough? Thesis statements that are too vague often do not have a strong argument. If your thesis contains words like “good” or “successful,” see if you could be more specific: why is something “good”; what specifically makes something “successful”?
Does my thesis pass the “So what?” test? If a reader’s first response is likely to be “So what?” then you need to clarify, to forge a relationship, or to connect to a larger issue.
Does my essay support my thesis specifically and without wandering? If your thesis and the body of your essay do not seem to go together, one of them has to change. It’s okay to change your working thesis to reflect things you have figured out in the course of writing your paper. Remember, always reassess and revise your writing as necessary.
Does my thesis pass the “how and why?” test? If a reader’s first response is “how?” or “why?” your thesis may be too open-ended and lack guidance for the reader. See what you can add to give the reader a better take on your position right from the beginning.

Suppose you are taking a course on contemporary communication, and the instructor hands out the following essay assignment: “Discuss the impact of social media on public awareness.” Looking back at your notes, you might start with this working thesis:

Social media impacts public awareness in both positive and negative ways.

You can use the questions above to help you revise this general statement into a stronger thesis.

Do I answer the question? You can analyze this if you rephrase “discuss the impact” as “what is the impact?” This way, you can see that you’ve answered the question only very generally with the vague “positive and negative ways.”
Have I taken a position that others might challenge or oppose? Not likely. Only people who maintain that social media has a solely positive or solely negative impact could disagree.
Is my thesis statement specific enough? No. What are the positive effects? What are the negative effects?
Does my thesis pass the “how and why?” test? No. Why are they positive? How are they positive? What are their causes? Why are they negative? How are they negative? What are their causes?
Does my thesis pass the “So what?” test? No. Why should anyone care about the positive and/or negative impact of social media?

After thinking about your answers to these questions, you decide to focus on the one impact you feel strongly about and have strong evidence for:

Because not every voice on social media is reliable, people have become much more critical consumers of information, and thus, more informed voters.

This version is a much stronger thesis! It answers the question, takes a specific position that others can challenge, and it gives a sense of why it matters.

Let’s try another. Suppose your literature professor hands out the following assignment in a class on the American novel: Write an analysis of some aspect of Mark Twain’s novel Huckleberry Finn. “This will be easy,” you think. “I loved Huckleberry Finn!” You grab a pad of paper and write:

Mark Twain’s Huckleberry Finn is a great American novel.

You begin to analyze your thesis:

Do I answer the question? No. The prompt asks you to analyze some aspect of the novel. Your working thesis is a statement of general appreciation for the entire novel.

Think about aspects of the novel that are important to its structure or meaning—for example, the role of storytelling, the contrasting scenes between the shore and the river, or the relationships between adults and children. Now you write:

In Huckleberry Finn, Mark Twain develops a contrast between life on the river and life on the shore.

Do I answer the question? Yes!
Have I taken a position that others might challenge or oppose? Not really. This contrast is well-known and accepted.
Is my thesis statement specific enough? It’s getting there–you have highlighted an important aspect of the novel for investigation. However, it’s still not clear what your analysis will reveal.
Does my thesis pass the “how and why?” test? Not yet. Compare scenes from the book and see what you discover. Free write, make lists, jot down Huck’s actions and reactions and anything else that seems interesting.
Does my thesis pass the “So what?” test? What’s the point of this contrast? What does it signify?”

After examining the evidence and considering your own insights, you write:

Through its contrasting river and shore scenes, Twain’s Huckleberry Finn suggests that to find the true expression of American democratic ideals, one must leave “civilized” society and go back to nature.

This final thesis statement presents an interpretation of a literary work based on an analysis of its content. Of course, for the essay itself to be successful, you must now present evidence from the novel that will convince the reader of your interpretation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Anson, Chris M., and Robert A. Schwegler. 2010. The Longman Handbook for Writers and Readers , 6th ed. New York: Longman.

Lunsford, Andrea A. 2015. The St. Martin’s Handbook , 8th ed. Boston: Bedford/St Martin’s.

Ramage, John D., John C. Bean, and June Johnson. 2018. The Allyn & Bacon Guide to Writing , 8th ed. New York: Pearson.

Ruszkiewicz, John J., Christy Friend, Daniel Seward, and Maxine Hairston. 2010. The Scott, Foresman Handbook for Writers , 9th ed. Boston: Pearson Education.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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While Sandel argues that pursuing perfection through genetic engineering would decrease our sense of humility, he claims that the sense of solidarity we would lose is also important.

This thesis summarizes several points in Sandel’s argument, but it does not make a claim about how we should understand his argument. A reader who read Sandel’s argument would not also need to read an essay based on this descriptive thesis.

Broad thesis (arguable, but difficult to support with evidence)

Michael Sandel’s arguments about genetic engineering do not take into consideration all the relevant issues.

This is an arguable claim because it would be possible to argue against it by saying that Michael Sandel’s arguments do take all of the relevant issues into consideration. But the claim is too broad. Because the thesis does not specify which “issues” it is focused on—or why it matters if they are considered—readers won’t know what the rest of the essay will argue, and the writer won’t know what to focus on. If there is a particular issue that Sandel does not address, then a more specific version of the thesis would include that issue—hand an explanation of why it is important.

Arguable thesis with analytical claim

While Sandel argues persuasively that our instinct to “remake” (54) ourselves into something ever more perfect is a problem, his belief that we can always draw a line between what is medically necessary and what makes us simply “better than well” (51) is less convincing.

This is an arguable analytical claim. To argue for this claim, the essay writer will need to show how evidence from the article itself points to this interpretation. It’s also a reasonable scope for a thesis because it can be supported with evidence available in the text and is neither too broad nor too narrow.

Arguable thesis with normative claim

Given Sandel’s argument against genetic enhancement, we should not allow parents to decide on using Human Growth Hormone for their children.

This thesis tells us what we should do about a particular issue discussed in Sandel’s article, but it does not tell us how we should understand Sandel’s argument.

Questions to ask about your thesis

Is the thesis truly arguable? Does it speak to a genuine dilemma in the source, or would most readers automatically agree with it?
Is the thesis too obvious? Again, would most or all readers agree with it without needing to see your argument?
Is the thesis complex enough to require a whole essay's worth of argument?
Is the thesis supportable with evidence from the text rather than with generalizations or outside research?
Would anyone want to read a paper in which this thesis was developed? That is, can you explain what this paper is adding to our understanding of a problem, question, or topic?
picture_as_pdf Thesis

When You Write

Do Short Stories Have A Thesis? The Answer May Surprise You

Did you know that short stories can have a thesis? It’s true! Many people assume that only longer works like novels and academic papers have central ideas, but short stories can pack a powerful punch with a clear message as well.

In fact, the brevity of a short story can make its thesis even more impactful. So, whether you’re a writer or a reader, it’s important to understand the potential for meaning and depth in short fiction.

As you dive into the world of short stories, you’ll discover that they come in many different forms and styles. Some are plot-driven, while others are character-driven. Some are lighthearted and humorous, while others are dark and brooding.

But no matter the genre or tone, a well-crafted short story will often have a central idea or theme that ties everything together. This might be a moral lesson, a commentary on society, or a personal reflection on the human experience.

So, get ready to explore the power of short stories and uncover the surprising world of thesis in bite-sized literature.

Key Takeaways

Short stories have a central idea or theme that acts as a thesis for the story.
The structure of a short story follows a simple pattern with an introduction, rising action, climax, falling action, and conclusion.
Short stories are different from longer works in their conciseness, focused themes, and reliance on reader interpretation.
Short stories can be incredibly powerful and impactful, conveying deep meaning and leaving a lasting impression on readers.

Understanding the Structure of Short Stories

You might be wondering how short stories are structured, but don’t worry, it’s not as complicated as you may think!

Understanding the structure of a short story can help you better appreciate the narrative elements that make it a compelling read.

At its core, a short story typically follows a simple structure that includes an introduction, rising action, climax, falling action, and conclusion.

The introduction sets the scene and introduces the characters, while the rising action builds tension and conflict.

The climax is the turning point of the story, where the conflict reaches its peak.

The falling action follows the climax and leads to the conclusion, where the conflict is resolved, and the story ends.

By understanding this structure, you can better appreciate the narrative elements of the story, such as the characters, setting, conflict, and resolution.

Examples of Short Stories with Central Ideas

So, you wanna explore some examples of short stories with central ideas? Well, let’s dive into Edgar Allan Poe’s haunting tale ‘The Tell-Tale Heart’. The narrator’s guilt over a murder drives him to confess.

Or perhaps you’re interested in Kate Chopin’s ‘The Story of an Hour’. It explores the complex emotions of a woman who learns of her husband’s death.

And let’s not forget Ernest Hemingway’s ‘Hills Like White Elephants’. It’s a powerful story about a couple’s struggle with a difficult decision.

These stories all have central ideas that drive the plot and leave a lasting impact on the reader.

Edgar Allan Poe’s “The Tell-Tale Heart”

Contrary to popular belief, Edgar Allan Poe’s short story ‘The Tell-Tale Heart’ does indeed have a clear and thought-provoking thesis statement. The story is not just a random collection of events, but a carefully crafted piece of literature that explores the psychological tension within the main character and the symbolism surrounding the old man’s eye.

To understand the thesis of ‘The Tell-Tale Heart’, it is essential to analyze the symbolism and characterization in the story. The narrator’s obsession with the old man’s vulture-like eye represents his own inner turmoil and guilt. The eye is a metaphor for the narrator’s conscience, which he ultimately destroys by murdering the old man.

Additionally, the characterization of the narrator as an unreliable and mentally unstable individual highlights the destructive power of guilt and obsession. These elements work together to convey Poe’s thesis that guilt and obsession can lead to madness and self-destruction.

Kate Chopin’s “The Story of an Hour”

If you’re looking for a compelling short story that delves into the complexities of human emotion, Kate Chopin’s ‘The Story of an Hour’ is a must-read, even if you may initially dismiss it as just another piece of feminist literature.

The story, written in 1894, follows the life of Mrs. Mallard, a woman who just received the news of her husband’s death. However, as the plot unfolds, we see that Mrs. Mallard’s reaction to her husband’s death is not what we would expect. Instead of being consumed by grief, she experiences a sense of liberation, freedom, and joy.

Chopin’s use of symbolism is evident throughout the story. For instance, the open window in Mrs. Mallard’s room represents the possibility of new beginnings and the chance to escape from the social constraints that were imposed on women during that time. Also, the heart disease that Mrs. Mallard suffers from is a metaphor for the emotional and psychological burden that society imposed on her.

The story provides a feminist perspective, as it highlights the limitations that were imposed on women in the 19th century and the possibility of freedom that they could experience when their husbands were no longer around.

Ernest Hemingway’s “Hills Like White Elephants”

You’ll feel like you’re eavesdropping on a couple’s conversation as you read Ernest Hemingway’s ‘Hills Like White Elephants’, set in a train station in Spain. The story revolves around a man and a woman who are discussing whether or not to undergo an abortion.

The author doesn’t explicitly state the topic of their conversation but rather uses symbolism to convey the message. The hills, the white elephant, and the train tracks all have a deeper meaning that adds to the complexity of the story.

A symbolism analysis reveals that the hills represent the woman’s pregnancy, the white elephant symbolizes the unwanted burden of having a child, and the train tracks symbolize the irreversible decision they are about to make.

As you read, you’ll notice that the woman’s motivation for wanting to keep the child stems from her desire to have a meaningful relationship with the man. However, the man’s motivation for wanting her to have an abortion is rooted in his fear of losing his freedom and his desire to continue living a carefree life.

The story ends abruptly, leaving the reader to draw their own conclusion about what decision the couple ultimately made. Hemingway’s use of symbolism and character motivation examination makes ‘Hills Like White Elephants’ a thought-provoking and memorable short story.

How Short Stories Differ from Longer Works

As you dive into a short story, you’ll find that it’s like a small gemstone, with all the facets of a larger work condensed and shining brilliantly in a compact space. Unlike longer works, short stories have to be concise in their storytelling techniques. They have to grab your attention quickly and keep it throughout the entire story.

Here are three ways that short stories differ from longer works:

Short stories have a limited amount of time and space to convey their themes. This means that every sentence, every word, has to count. The author has to choose their words carefully to make sure that the story has impact.
Short stories often have a more focused theme than longer works. While a novel may have multiple themes, a short story will usually have one central idea that it’s exploring. This means that the author can delve deep into that theme and explore it thoroughly.
Short stories often leave more up to the reader’s interpretation than longer works. Because there isn’t as much room for exposition, the author has to rely on the reader to fill in some of the gaps. This can make the story more engaging, as the reader becomes an active participant in the story.

Overall, short stories are a unique and challenging form of storytelling. They require precision and focus, but when done well, they can be incredibly powerful. As you read more short stories, keep these differences in mind and see if you can spot them in action.

The Potential for Power and Impact in Short Stories

Short stories possess a unique potential for wielding powerful and impactful storytelling that can leave a lasting impression on readers. The power of brevity is a key aspect of short stories that allows authors to explore themes in a concise and effective manner.

Through carefully crafted characters, settings, and plotlines, short stories can pack a punch and leave readers with a sense of fulfillment that longer works may not achieve.

In addition, short stories allow for experimentation and innovation in storytelling. Authors can take risks and push boundaries, using their limited word count to their advantage. This leaves readers with a sense of excitement and anticipation as they never know what to expect from a short story.

Overall, the potential for power and impact in short stories should not be underestimated, as they have the ability to convey deep meaning and leave a lasting impression on their readers in a way that longer works may not.

Tips for Writing Short Stories with a Central Idea

If you want to craft a short story with a powerful central idea, consider using symbolism and imagery to allude to deeper meaning throughout your narrative. This can create tension and intrigue for your readers as they try to decipher the underlying message of your story.

For example, you could use a recurring object or color throughout the story that represents a certain theme or idea.

In addition to using symbolism, developing strong and dynamic characters is essential for a short story with a central idea. Your characters should be complex and multi-dimensional, with flaws and motivations that drive the plot forward.

By creating characters that readers can relate to, you can further emphasize the central idea of your story and make it more impactful. So, when crafting your short story, be intentional about the symbols and characters you use to convey your central idea.

You may have been skeptical at first, but hopefully you now understand how even the shortest of stories can pack a powerful punch with a clear message or theme.

With careful crafting and attention to detail, a writer can use the limited space of a short story to convey a complex idea or emotion. Imagine each word as a brushstroke on a canvas, creating a vivid image in the reader’s mind.

So, whether you’re a writer looking to hone your craft or a reader seeking thought-provoking stories, don’t overlook the potential of short fiction.

Within those few pages, you may just find a world of ideas waiting to be explored.

16.4: The Three-Story Thesis

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You have no doubt been drilled on the need for a thesis statement and its proper location at the end of the introduction. And you also know that all of the key points of the paper should clearly support the central driving thesis. Indeed, the whole model of the five-paragraph theme hinges on a clearly stated and consistent thesis. However, some students are surprised—and dismayed—when some of their early college papers are criticized for not having a good thesis. Their professor might even claim that the paper doesn’t have a thesis when, in the author’s view it clearly does. So, what makes a good thesis in college?

A good thesis is non-obvious . High school teachers needed to make sure that you and all your classmates mastered the basic form of the academic essay. Thus, they were mostly concerned that you had a clear and consistent thesis, even if it was something obvious like “sustainability is important.” A thesis statement like that has a wide-enough scope to incorporate several supporting points and concurring evidence, enabling the writer to demonstrate his or her mastery of the five-paragraph form. Good enough! When they can, high school teachers nudge students to develop arguments that are less obvious and more engaging. College instructors, though, fully expect you to produce something more developed.
A good thesis is arguable . In everyday life, “arguable” is often used as a synonym for “doubtful.” For a thesis, though, “arguable” means that it’s worth arguing: it’s something with which a reasonable person might disagree. This arguability criterion dovetails with the non-obvious one: it shows that the author has deeply explored a problem and arrived at an argument that legitimately needs 3, 5, 10, or 20 pages to explain and justify. In that way, a good thesis sets an ambitious agenda for a paper. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little intrinsic motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will inevitably fail if they do not incorporate social justice,” brings up some healthy skepticism. Thus, the arguable thesis makes the reader want to keep reading.
A good thesis is well specified . Some student writers fear that they’re giving away the game if they specify their thesis up front; they think that a purposefully vague thesis might be more intriguing to the reader. However, consider movie trailers: they always include the most exciting and poignant moments from the film to attract an audience. In academic papers, too, a well specified thesis indicates that the author has thought rigorously about an issue and done thorough research, which makes the reader want to keep reading. Don’t just say that a particular policy is effective or fair; say what makes it is so. If you want to argue that a particular claim is dubious or incomplete, say why in your thesis.
A good thesis includes implications . Suppose your assignment is to write a paper about some aspect of the history of linen production and trade, a topic that may seem exceedingly arcane. And suppose you have constructed a well supported and creative argument that linen was so widely traded in the ancient Mediterranean that it actually served as a kind of currency. [1] That’s a strong, insightful, arguable, well specified thesis. But which of these thesis statements do you find more engaging?

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade.

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. The economic role of linen raises important questions about how shifting environmental conditions can influence economic relationships and, by extension, political conflicts.

Putting your claims in their broader context makes them more interesting to your reader and more impressive to your professors who, after all, assign topics that they think have enduring significance. Finding that significance for yourself makes the most of both your paper and your learning.

How do you produce a good, strong thesis? And how do you know when you’ve gotten there? Many instructors and writers find useful a metaphor based on this passage by Oliver Wendell Holmes, Sr. [2] :

There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight.

Looking up from below the corner of a Japanese temple, so that three levels of red eaves, capped by black gutters, are arranged in a strong vertical point

The biggest benefit of the three-story metaphor is that it describes a process for building a thesis. To build the first story, you first have to get familiar with the complex, relevant facts surrounding the problem or question. You have to be able to describe the situation thoroughly and accurately. Then, with that first story built, you can layer on the second story by formulating the insightful, arguable point that animates the analysis. That’s often the most effortful part: brainstorming, elaborating and comparing alternative ideas, finalizing your point. With that specified, you can frame up the third story by articulating why the point you make matters beyond its particular topic or case.

For example, imagine you have been assigned a paper about the impact of online learning in higher education. You would first construct an account of the origins and multiple forms of online learning and assess research findings about its use and effectiveness. If you’ve done that well, you’ll probably come up with a well considered opinion that wouldn’t be obvious to readers who haven’t looked at the issue in depth. Maybe you’ll want to argue that online learning is a threat to the academic community. Or perhaps you’ll want to make the case that online learning opens up pathways to college degrees that traditional campus-based learning does not. In the course of developing your central, argumentative point, you’ll come to recognize its larger context; in this example, you may claim that online learning can serve to better integrate higher education with the rest of society, as online learners bring their educational and career experiences together.

To outline this example:

First story : Online learning is becoming more prevalent and takes many different forms.
Second story : While most observers see it as a transformation of higher education, online learning is better thought of an extension of higher education in that it reaches learners who aren’t disposed to participate in traditional campus-based education.
Third story : Online learning appears to be a promising way to better integrate higher education with other institutions in society, as online learners integrate their educational experiences with the other realms of their life, promoting the freer flow of ideas between the academy and the rest of society.

Here’s another example of a three-story thesis: [4]

First story : Edith Wharton did not consider herself a modernist writer, and she didn’t write like her modernist contemporaries.
Second story : However, in her work we can see her grappling with both the questions and literary forms that fascinated modernist writers of her era. While not an avowed modernist, she did engage with modernist themes and questions.
Third story : Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.

Here’s one more example:

First story : Scientists disagree about the likely impact in the U.S. of the light brown apple moth (LBAM) , an agricultural pest native to Australia.
Second story : Research findings to date suggest that the decision to spray pheromones over the skies of several southern Californian counties to combat the LBAM was poorly thought out.
Third story : Together, the scientific ambiguities and the controversial response strengthen the claim that industrial-style approaches to pest management are inherently unsustainable.

A thesis statement that stops at the first story isn’t usually considered a thesis. A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper.

For more see Fabio Lopez-Lazaro “Linen.” In Encyclopedia of World Trade from Ancient Times to the Present . Armonk: M.E. Sharpe, 2005. ↵
Oliver Wendell Holmes Sr., The Poet at the Breakfast Table (New York: Houghton & Mifflin, 1892) ↵
The metaphor is extraordinarily useful even though the passage is annoying. Beyond the sexist language of the time, it displays condescension toward “fact-collectors” which reflects a general modernist tendency to elevate the abstract and denigrate the concrete. In reality, data-collection is a creative and demanding craft, arguably more important than theorizing. ↵
Drawn from Jennifer Haytock, Edith Wharton and the Conversations of Literary Modernism (New York: Palgrave-MacMillan, 2008). ↵
Revision and Adaptation. Provided by : Lumen Learning. License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
The three-story thesis: from the ground up. Authored by : Amy Guptill. Provided by : The College at Brockport, SUNY. Located at : http://textbooks.opensuny.org/writing-in-college-from-competence-to-excellence/ . Project : Writing in College: From Competence to Excellence. License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
Image of pagoda corner. Authored by : Takashi Hososhima. Located at : https://flic.kr/p/gGhtya . License : CC BY-SA: Attribution-ShareAlike

Chapter 5: Thesis Statements, Introductions, and Conclusions

The three-story thesis.

A good thesis is non-obvious . High school teachers needed to make sure that you and all your classmates mastered the basic form of the academic essay. Thus, they were mostly concerned that you had a clear and consistent thesis, even if it was something obvious like “sustainability is important.” A thesis statement like that has a wide-enough scope to incorporate several supporting points and concurring evidence, enabling the writer to demonstrate his or her mastery of the five-paragraph form. Good enough! When they can, high school teachers nudge students to develop arguments that are less obvious and more engaging. College instructors, though, fully expect you to produce something more developed.
A good thesis is arguable or relevant . In everyday life, “arguable” or is often used as a synonym for “doubtful.” For a thesis, though, “arguable” means that it’s worth arguing: it’s something with which a reasonable person might disagree. This arguability criterion dovetails with the non-obvious one: it shows that the author has deeply explored a problem and arrived at an argument that legitimately needs 3, 5, 10, or 20 pages to explain and justify. In that way, a good thesis sets an ambitious agenda for a paper. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little intrinsic motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will inevitably fail if they do not incorporate social justice,” brings up some healthy skepticism. Thus, the arguable thesis makes the reader want to keep reading. If the thesis aims to inform or analyze without taking a stance, the most important part of the thesis is actually not the thesis statement itself; it is the preview of main points of development (more on that to follow).
A good thesis is well specified . Some student writers fear that they’re giving away the game if they specify their thesis up front; they think that a purposefully vague thesis might be more intriguing to the reader. However, consider movie trailers: they always include the most exciting and poignant moments from the film to attract an audience. In academic papers, too, a well specified thesis indicates that the author has thought rigorously about an issue and done thorough research, which makes the reader want to keep reading. Don’t just say that a particular policy is effective or fair; say what makes it is so. If you want to argue that a particular claim is dubious or incomplete, say why in your thesis.
A good thesis includes implications . Suppose your assignment is to write a paper about some aspect of the history of linen production and trade, a topic that may seem exceedingly arcane. And suppose you have constructed a well supported and creative argument that linen was so widely traded in the ancient Mediterranean that it actually served as a kind of currency. [1] That’s a strong, insightful, potentially arguable, well specified thesis. But which of these thesis statements do you find more engaging?

Version A: Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. Version B: Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. The economic role of linen raises important questions about how shifting environmental conditions can influence economic relationships and, by extension, political conflicts.

How do you produce a good, strong thesis? And how do you know when you’ve gotten there? Many instructors and writers find useful a metaphor based on this passage by Oliver Wendell Holmes, Sr. [2] :

There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight.

To outline this example:

First story : Online learning is becoming more prevalent and takes many different forms.
Second story : While most observers see it as a transformation of higher education, online learning is better thought of an extension of higher education in that it reaches learners who aren’t disposed to participate in traditional campus-based education.
Third story : Online learning appears to be a promising way to better integrate higher education with other institutions in society, as online learners integrate their educational experiences with the other realms of their life, promoting the freer flow of ideas between the academy and the rest of society.

Here’s another example of a three-story thesis: [4]

First story : Edith Wharton did not consider herself a modernist writer, and she didn’t write like her modernist contemporaries.
Second story : However, in her work we can see her grappling with both the questions and literary forms that fascinated modernist writers of her era. While not an avowed modernist, she did engage with modernist themes and questions.
Third story : Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.

Here’s one more example:

First story : Scientists disagree about the likely impact in the U.S. of the light brown apple moth (LBAM) , an agricultural pest native to Australia.
Second story : Research findings to date suggest that the decision to spray pheromones over the skies of several southern Californian counties to combat the LBAM was poorly thought out.
Third story : Together, the scientific ambiguities and the controversial response strengthen the claim that industrial-style approaches to pest management are inherently unsustainable.

The three-story thesis is a beautiful thing. For one, it gives a paper authentic momentum. The first paragraph doesn’t just start with some broad, vague statement; every sentence is crucial for setting up the thesis. The body paragraphs build on one another, moving through each step of the logical chain. Each paragraph leads inevitably to the next, making the transitions from paragraph to paragraph feel wholly natural. The conclusion, instead of being a mirror-image paraphrase of the introduction, builds out the third story by explaining the broader implications of the argument. It offers new insight without departing from the flow of the analysis.

A paper with this kind of momentum often reads like it was knocked out in one inspired sitting. But in reality, just like accomplished athletes and artists, masterful writers make the difficult thing look easy. As writer Anne Lamott notes, reading a well written piece feels like its author sat down and typed it out, “bounding along like huskies across the snow.” However, she continues,

This is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. [1]

Experienced writers don’t figure out what they want to say and then write it. They write in order to figure out what they want to say.

Experienced writers develop theses in dialog with the body of the essay. An initial characterization of the problem leads to a tentative thesis, and then drafting the body of the paper reveals thorny contradictions or critical areas of ambiguity, prompting the writer to revisit or expand the body of evidence and then refine the thesis based on that fresh look. The revised thesis may require that body paragraphs be reordered and reshaped to fit the emerging three-story thesis. Throughout the process, the thesis serves as an anchor point while the author wades through the morass of facts and ideas. The dialogue between thesis and body continues until the author is satisfied or the due date arrives, whatever comes first.

Another benefit of the three-story thesis framework is that it demystifies what a “strong” argument is in academic culture. In an era of political polarization, many students may think that a strong argument is based on a simple, bold, combative statement that is promoted it in the most forceful way possible. “Gun control is a travesty!” “Shakespeare is the best writer who ever lived!” When students are encouraged to consider contrasting perspectives in their papers, they fear that doing so will make their own thesis seem mushy and weak. However, in academics a “strong” argument is comprehensive and nuanced, not simple and polemical. The purpose of the argument is to explain to readers why the author—through the course of his or her in-depth study—has arrived at a somewhat surprising point. On that basis, it has to consider plausible counter-arguments and contradictory information. Academic argumentation exemplifies the popular adage about all writing: show, don’t tell. In crafting and carrying out the three-story thesis, you are showing your reader the work you have done.

For more see Fabio Lopez-Lazaro “Linen.” In Encyclopedia of World Trade from Ancient Times to the Present . Armonk: M.E. Sharpe, 2005. ↵
Oliver Wendell Holmes Sr., The Poet at the Breakfast Table (New York: Houghton & Mifflin, 1892) ↵
The metaphor is extraordinarily useful even though the passage is annoying. Beyond the sexist language of the time, it displays condescension toward “fact-collectors” which reflects a general modernist tendency to elevate the abstract and denigrate the concrete. In reality, data-collection is a creative and demanding craft, arguably more important than theorizing. ↵
Drawn from Jennifer Haytock, Edith Wharton and the Conversations of Literary Modernism (New York: Palgrave-MacMillan, 2008). ↵
Revision and Adaptation. Provided by : Lumen Learning. License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
The three-story thesis: from the ground up. Authored by : Amy Guptill. Provided by : The College at Brockport, SUNY. Located at : http://textbooks.opensuny.org/writing-in-college-from-competence-to-excellence/ . Project : Writing in College: From Competence to Excellence. License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
Image of pagoda corner. Authored by : Takashi Hososhima. Located at : https://flic.kr/p/gGhtya . License : CC BY-SA: Attribution-ShareAlike

4.4 COMPOSITION: The Three-Story Thesis

Another way to improve your academic writing is to write a better thesis statement. You already know that a strong thesis statement is more than just naming the topic. It includes some sort of claim, or what the author (in this case, you!) wants to say about the topic. If you can do that, then you are ready to take it a step further by exploring the ideas below.

What makes a good thesis in college?

A good thesis is arguable. This means that it’s worth questioning or debating: it’s something with which a reasonable person might disagree. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will fail if they do not include social justice,” brings up some interesting questions. Thus, the arguable thesis makes the reader want to keep reading.
A good thesis is specific. Don’t just say that a particular policy is effective or fair; say what makes it so.
A good thesis includes implications. In other words, why does it matter? What are the consequences? Why do you care? And why should the reader care?

There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight. — Oliver Wendell Holmes, Sr. One way to strengthen your thesis statement is to write it as a three-story thesis. Here, when we talk about “story,” we mean “level” or “floor” (like a three-story building). Each “story” builds upon the previous one to make a strong structure. You can think of it this way:

One-story theses state inarguable facts. What’s the background?
Two-story theses bring in an arguable (interpretive or analytical) point. What’s your main idea?
Three-story theses place that point within its larger, compelling implications. Why does it matter?

For example, imagine you have been assigned a paper about the impact of online learning in higher education. To outline this example:

First story: Online learning is becoming more common and takes many different forms.
Second story: While most people see it as a transformation of higher education, it is better to think of online learning as an extension of higher education because it reaches learners who do not want to participate — or cannot participate — in traditional campus-based education.
Third story: Online learning appears to be one way to better integrate higher education with other institutions in society since online learners integrate their educational experiences with other parts of their life, promoting a better flow of ideas between college and the rest of society.
Final thesis (all three stories combined): Online learning is becoming more common and takes many different forms. While most people see it as a transformation of higher education, it is better to think of online learning as an extension of higher education because it reaches learners who do not want to participate — or cannot participate — in traditional campus-based education. Online learning appears to be one way to better integrate higher education with other institutions in society since online learners integrate their educational experiences with other parts of their life, promoting a better flow of ideas between college and the rest of society.

Here’s another example of a three-story thesis:

First story: Edith Wharton did not consider herself a modernist writer, and she did not write like her peers.
Second story: However, in her work we can see her thinking about both the questions and forms that fascinated modernist writers of her time. While not a modernist herself, she did engage with modernist themes and questions.
Third story: Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.
Final thesis (all three stories combined): Edith Wharton did not consider herself a modernist writer, and she did not write like her peers. However, in her work we can see her thinking about both the questions and forms that fascinated modernist writers of her time. While not a modernist herself, she did engage with modernist themes and questions. Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.

Use the following exercise to review what you’ve learned. You can complete this exercise as many times as you want; it is not graded.

Let’s try writing a three-story thesis. Here is a list of one-story theses. Choose one to rewrite. Make it a full three-story thesis (in other words, it should have three sentences).

Television programming includes content that some find objectionable.
The percent of children and youth who are overweight or obese has risen in recent decades.
First-year college students must learn how to independently manage their time.
The things we surround ourselves with symbolize who we are.

Text adapted from: Guptill, Amy. Writing in College: From Competence to Excellence . 2022. Open SUNY Textbooks, 2016, milneopentextbooks.org/writing-in-college-from-competence-to-excellence/ . Accessed 16 Jan. 2022. CC BY-NC-SA

Image adapted from Tampa, Florida Code of Ordinances .

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Ricardo Piglia

Theses on the Short Story

I n one of his notebooks, Chekhov recorded the following anecdote: ‘A man in Monte Carlo goes to the casino, wins a million, returns home, commits suicide.’ The classic form of the short story is condensed within the nucleus of that future, unwritten story. Contrary to the predictable and conventional (gamble–lose–commit suicide), the intrigue is presented as a paradox. The anecdote disconnects the story of the gambling and the story of the suicide. That rupture is the key to defining the double character of the story’s form. First thesis: a short story always tells two stories.

The classic short story—Poe, Quiroga footnote 1 —narrates Story One (the tale of the gambling) in the foreground, and constructs Story Two (the tale of the suicide) in secret. The art of the short story writer consists in knowing how to encode Story Two in the interstices of Story One. A visible story hides a secret tale, narrated in an elliptical and fragmentary manner. The effect of surprise is produced when the end of the secret story appears on the surface.

Each of the two stories is told in a different manner. Working with two stories means working with two different systems of causality. The same events enter simultaneously into two antagonistic narrative logics. The essential elements of the story have a dual function, and are employed in different ways in each of the two stories. The points where they intersect are the foundations of the story’s construction.

Near the beginning of Borges’s ‘Death and the Compass’, a shopkeeper decides to publish a book. This book is there because it is indispensable to the framework of the secret story. How to arrange things so that a gangster like Red Scharlach is well informed about complex Jewish traditions, and capable of laying a mystical and philosophical trap for Lönnrot? The author, Borges, gets hold of this book for him so that he can educate himself. At the same time he uses Story One in order to dissimulate that function: the book seems to be there in connection with the assassination of Yarmolinsky, the reflection of an ironic causality. ‘One of those shopkeepers who have found out that there are buyers for every book came out with a popular edition of the History of the Sect of the Hasidim .’ footnote 2 What is superfluous in one story is fundamental in the other. The shopkeeper’s book is an example (like the volume of The 1001 Nights in ‘The South’, or the scar in ‘The Form of the Sword’) of the ambiguous substance that makes the microscopic narrative machinery of the story work.

The short story is a tale that encloses a secret tale. This is not a matter of a hidden meaning which depends on interpretation: the enigma is nothing other than a story which is told in an enigmatic way. The strategy of the tale is placed at the service of that coded narration. How to tell a story while another is being told? This question synthesizes the technical problems of the short story. Second thesis: the secret story is the key to the form of the short story.

The modern version of the short story that descends from Chekhov, Katherine Mansfield, Sherwood Anderson, the Joyce of Dubliners , abandons the surprise ending and the closed structure; it works the tension between the two stories without ever resolving it. The secret story is told in ever more elusive fashion. The classic short story à la Poe told a story while announcing that there was another; the modern short story tells two stories as if they were one. Hemingway’s ‘iceberg theory’ is the first synthesis of that process of transformation: the most important thing is never recounted. The secret story is constructed out of what is not said, out of implication and allusion.

‘Big Two-Hearted River’, one of Hemingway’s foundational tales, encodes Story Two (the effects of the war on Nick Adams) to such an extent that the short story seems to be a trivial description of a fishing trip. Hemingway puts all his skill into the hermetic narration of the secret story. He employs the art of ellipsis with such mastery that he succeeds in making us notice the absence of the other story. What would Hemingway have done with Chekhov’s anecdote? Recount with precise details the game and the atmosphere in which the gambling takes place, and the technique the gambler uses to place his bets, and the kind of drink he has. Never saying that the man is going to commit suicide, but writing the story as if the reader already knew this.

Kafka tells the secret story clearly and simply, and narrates the visible story stealthily, to the point of turning it into something enigmatic and dark. This inversion is the basis of the ‘Kafkaesque’. Kafka would place the story of the suicide from Chekhov’s anecdote in the foreground, recounting it as if it were entirely natural. The terrible part of the story would be centred around the gambling, which would be narrated in an elliptical, menacing way.

For Borges, Story One is a genre and Story Two is always the same. In order to attenuate or conceal the monotony of this secret story, Borges resorts to the narrative variants that genres offer him. All of Borges’s short stories are constructed through this procedure. Borges would tell the visible story, the short story, in Chekhov’s anecdote in accordance with the stereotypes (lightly parodied) of a tradition or a genre. A game of knucklebones between some gauchos on the run (say) at the back of a storeroom, in the prairies of Entre Ríos, told by an old cavalryman who served under Urquiza, a friend of Hilario Ascasubi. footnote 3 The tale of the suicide would be a story constructed out of duplicity and the condensation of a man’s life into a single scene or act that would define his destiny.

The basic variation that Borges introduced into the history of the short story consisted in making the coded construction of Story Two the theme of the tale. Borges recounts the manoeuvres of someone who is perversely building a secret plot with the materials of a visible story. In ‘Death and the Compass’, Story Two is a deliberate construction of Scharlach’s. The same is true of Azevedo Bandeira in ‘The Dead Man’ and Nolan in ‘Theme of the Traitor and the Hero’. Borges (like Poe, like Kafka) knew how to transform into an anecdote the problems of the form of narration.

The short story is constructed so as to make appear artificially something that had been hidden. It reproduces the constantly renewed search for a unique experience that would allow us to see, beneath the opaque surface of life, a secret truth. ‘The instantaneous vision which makes us discover the unknown, not in a faraway terra incognita, but rather in the very heart of the immediate’, said Rimbaud. This profane illumination has become the form of the short story.

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Alain Supiot, ‘An Artist of the Law’

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Gsas students shine in 2024 three minute thesis competition.

Victoria Khaghani, Manning Zhang, Pranav Ojha, and William Dahl stand onstage holding their Three Minute Thesis prize certificates.

April 30, 2024

Ayla Cordell | Graduate School of Arts and Sciences

The 2024 Three Minute Thesis Competition (3MT) at Brandeis Graduate School of Arts & Sciences was not Will Dahl’s first rodeo. “It took me two tries,” the Molecular and Cell Biology PhD student said. “On my first attempt last year, I missed a line and stood silent for what felt like ages. To be honest, I was terrified!” This year, Will took home the first place prize for the Sciences of $1,000 and the overall win. He credits his success to careful planning, refinement, and lots of practice. He focused on formatting his talk as a story that would resonate with a wide audience: “Every sentence must be calibrated to communicate, and there is no room for asides. The talk converges from broader impacts to the actual thesis.”

Explaining your research in just three minutes is a tall order, but on April 5, the third annual 3MT Competition, founded by the University of Queensland , saw ten GSAS students meet that very task. Marika McCann, Associate Director of Professional Development at GSAS and member of the 3MT team, alongside Associate Professor of Anthropology and Faculty Director of Professional Development Jon Anjaria; Anahita Zare of MRSEC ; and Becky Prigge, Assistant Dean of Student Affairs at GSAS, said this about the 2024 competitors: “Our team was very impressed with how hard our students worked and the overall enthusiasm they brought to their talks. The audience learned so much from our students in this short time, including the possibility of early detection of Parkinson’s Disease, the importance of examining circadian rhythms, patterns in Honduran ceramics, and Tamil transfeminine performance in post-war Sri Lanka.”

Under the bright white stage lights and looking out upon an audience of friends, family, members of the Brandeis community, and a panel of five judges, finalists took to the Spingold Theatre stage. While it was certainly nerve-wracking, contestants noted the benefits of presenting in this format.

Manning Zhang, who won first place in the Humanities/Creative Arts/Social Sciences category, said the best moment of the competition was standing on the stage for the final round with rushing adrenaline. Acknowledging that few friends and family know about what she researches in Sociology and Health Policy, she began sharing more with them to understand how different people would react to her research. While this helped her prepare for the competition, it ended up holding deeper meaning for Zhang: “It took me a really long time to pursue my research and say, ‘This is meaningful.’ Getting feedback from people and hearing that they understand what I’m doing is really important to me.”

Victoria Khaghani, a Master’s student in Anthropology who was Runner Up in the Humanities/Creative Arts/Social Sciences category, echoed this sentiment. “You have to push yourself pretty hard to be able to condense your research down. But being able to then present my research to my family and have them say, ‘We finally understand what you’re doing,’ where they can understand the importance of it…that was huge.”

While contestants hoped to teach their audience something about their research, some finished the competition having learned new things about themselves. “I really like speaking in front of people,” Pranav Ojha, a Molecular and Cell Biology PhD student, discovered. “Figuring out what words to say, how to communicate them to inspire care - I enjoyed that process, and I’m coming out of it with different career ideas.” His passion for public speaking was evident - Ojha finished the competition with a total $1,250, after winning both Runner Up in the Sciences and the People’s Choice Award, which is determined through audience vote.

The final round may have showcased three minutes of individual presentation, but 3MT thrives as a collective and collaborative effort. “This is one of the only opportunities GSAS students at Brandeis have to share their research with the overall Brandeis community, outside of their departments,” McCann noted. Zhang (Sociology and Health Policy) even reached out to 2022 winner Emiliano Gutierrez-Popoca (PhD English ‘23), whose talk on Master-Servant Relations in Early Modern Drama led him to the National 3MT competition. Though they come from different disciplines, 3MT provided a platform for shared experience, and Popoca helped Zhang revise her draft for the final round. “I’ve gained a lot of rapport with people I didn’t think I could have rapport with…networking is very precious,” Zhang said. The 3MT community at Brandeis continues to strengthen and grow, and we cannot wait for next year!

Special thanks to 3MT sponsors: Graduate School of Arts and Sciences, Materials Research Science and Engineering Center, Mandel Center for the Humanities, Office of the Vice Provost for Research, and the Division of Sciences

This year’s winners include:

First Place - William Dahl (overall winner), Molecular and Cell Biology, Stressed Cells' Secret Weapon for Survival

Runner Up - Pranav Ojha, Molecular and Cell Biology, What Makes our Clock Tick: A Look at Where It All Starts

Humanities/Social Sciences/Creative Arts

First Place - Manning Zhang, Sociology and Health Policy, Move It or Lose It

Runner Up - Victoria Khaghani, Anthropology, The Devil’s in the Details: Neglected Patterns of Honduras

People’s Choice

Pranav Ojha

IMAGES

PPT
How to Write a Good Thesis Statement
💋 What to include in a thesis. Thesis Statements: Definition and
What the thesis in a story?
Short thesis statement
45 Perfect Thesis Statement Templates (+ Examples) ᐅ TemplateLab

VIDEO

Looking For Something [Thesis Film]
What is a thesis Statement
What Is a master's Thesis (5 Characteristics of an A Plus Thesis)
CGI Animated Shorts : "The Frank Job" -by Zac Cavaliero + Ringling
🎓 bachelor thesis: my experience, tips and regrets 📓 ✨ ~ part 1
How to Write Powerful Thesis Statements in 4 Simple Steps

COMMENTS

Developing a Thesis
This thesis focuses on the idea of social corruption and the device of imagery. To support this thesis, you would need to find images of beasts and cannibalism within the text. This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
How to Write a Thesis Statement
A thesis statement summarizes the central points of your essay. It is a signpost telling the reader what the essay will argue and why. The best thesis statements are: Concise: A good thesis statement is short and sweet—don't use more words than necessary. State your point clearly and directly in one or two sentences.
What Should a Thesis Statement on an Essay About a Short Story Look
A good thesis fits the assignment length, makes a statement about your overall point and includes the specific points you will give to support that idea about the story. The thesis must relate to a specific point about the short story such as the argumentative point you want to explain or defend. Place the thesis at the end of the introductory ...
How do you identify and support a thesis in a short story?
Theme - the central and dominating idea in a literary work. Using "thesis" to describe a theme, idea, or message in a story is not entirely accurate as it positions the text as an argument ...
How to Write a Literary Analysis Essay
Table of contents. Step 1: Reading the text and identifying literary devices. Step 2: Coming up with a thesis. Step 3: Writing a title and introduction. Step 4: Writing the body of the essay. Step 5: Writing a conclusion. Other interesting articles.
thesis examples
The thesis may focus on an analysis of one of the elements of fiction, drama, poetry or nonfiction as expressed in the work: character, plot, structure, idea, theme, symbol, style, imagery, tone, etc. ... In Willa Cather's short story, "Paul's Case," Paul exhibits suicidal behavior that a caring adult might have recognized and remedied ...
3.7-Sample Analysis of a Short Story
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 ...
12.6: Literary Thesis Statements
One way I find helpful to explain literary thesis statements is through a "formula": Thesis statement = Observation + Analysis + Significance. Observation: usually regarding the form or structure of the literature. This can be a pattern, like recurring literary devices. For example, "I noticed the poems of Rumi, Hafiz, and Kabir all use symbols ...
Thesis Statements
A thesis statement: tells the reader how you will interpret the significance of the subject matter under discussion. is a road map for the paper; in other words, it tells the reader what to expect from the rest of the paper. directly answers the question asked of you. A thesis is an interpretation of a question or subject, not the subject itself.
Thesis
Thesis. Your thesis is the central claim in your essay—your main insight or idea about your source or topic. Your thesis should appear early in an academic essay, followed by a logically constructed argument that supports this central claim. A strong thesis is arguable, which means a thoughtful reader could disagree with it and therefore ...
Writing about Literature
Thesis. A thesis is to an essay what a theme is to a short story, play, or poem: it's the governing idea, proposition, claim, or point. Good theses come in many shapes and sizes. A thesis cannot always be conveyed in one sentence, nor will it always appear in the same place in every essay. But you will risk both appearing confused and confusing ...
PDF Literary Analysis Thesis Statements
In Willa Cather's short story, "Paul's Case," Paul exhibits suicidal behavior that a caring adult might have recognized and remedied had that adult had the scientific knowledge we have today. This thesis suggests that the essay will identify characteristics of suicide that Paul exhibits in the story.
Do Short Stories Have A Thesis? The Answer May Surprise You
Short stories have a central idea or theme that acts as a thesis for the story. The structure of a short story follows a simple pattern with an introduction, rising action, climax, falling action, and conclusion. Short stories are different from longer works in their conciseness, focused themes, and reliance on reader interpretation.
16.4: The Three-Story Thesis
A thesis statement that stops at the first story isn't usually considered a thesis. A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper.
What Is a Thesis?
Revised on April 16, 2024. A thesis is a type of research paper based on your original research. It is usually submitted as the final step of a master's program or a capstone to a bachelor's degree. Writing a thesis can be a daunting experience. Other than a dissertation, it is one of the longest pieces of writing students typically complete.
The Three-Story Thesis
A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper. The three-story thesis is a beautiful thing. For one, it gives a paper authentic momentum.
4.4 COMPOSITION: The Three-Story Thesis
Let's try writing a three-story thesis. Here is a list of one-story theses. Choose one to rewrite. Make it a full three-story thesis (in other words, it should have three sentences). Television programming includes content that some find objectionable. The percent of children and youth who are overweight or obese has risen in recent decades.
Short story
short story, brief fictional prose narrative that is shorter than a novel and that usually deals with only a few characters.. The short story is usually concerned with a single effect conveyed in only one or a few significant episodes or scenes. The form encourages economy of setting, concise narrative, and the omission of a complex plot; character is disclosed in action and dramatic encounter ...
Theses on the Short Story
First thesis: a short story always tells two stories. II. The classic short story—Poe, Quiroga footnote 1 —narrates Story One (the tale of the gambling) in the foreground, and constructs Story Two (the tale of the suicide) in secret. The art of the short story writer consists in knowing how to encode Story Two in the interstices of Story One.
GSAS Students Shine in 2024 Three Minute Thesis Competition
The 2024 Three Minute Thesis Competition (3MT) at Brandeis Graduate School of Arts & Sciences was not Will Dahl's first rodeo. "It took me two tries," the Molecular and Cell Biology PhD student said. "On my first attempt last year, I missed a line and stood silent for what felt like ages. To be honest, I was terrified!"
How to Cite a Short Story in MLA
To cite a short story from an edited collection, after giving the author and title of the story, list the title of the book, the editor (s), the publisher, the year, and the page range on which the story appears. MLA format. Author last name, First name. " Story Title .".