How Many Short Stories Are in an Anthology
How many stories are typically included in an anthology?
Anthologies come in all shapes and sizes, but most contain between 10-20 short stories on average. This range allows for a diverse collection while keeping the overall length manageable for readers.
However, there’s no hard and fast rule. Some anthologies may include as few as 5-6 longer stories, while others pack in 30 or more very short pieces. The total number often depends on factors like story length, publisher preferences, and the anthology’s overall concept.
For example, a collection of flash fiction might include 50+ ultra-short stories of just 1,000 words each. On the other hand, an anthology of novellas may only feature 3-4 longer works. Most fall somewhere in between.
Here’s a general breakdown of typical story counts based on anthology length:
| Anthology Length | Typical Story Count |
|---|---|
| Short (under 200 pages) | 5-10 stories |
| Medium (200-300 pages) | 10-20 stories |
| Long (300+ pages) | 20-30+ stories |
Of course, these are just rough guidelines. Some notable anthologies have pushed the boundaries in both directions. For instance, Harlan Ellison’s massive “Dangerous Visions” anthology contained 33 stories across nearly 600 pages. On the other end of the spectrum, Italo Calvino’s “Invisible Cities” consists of just 55 very short vignettes.
The “sweet spot” for many anthologies tends to be in the 12-15 story range. This provides enough variety to keep readers engaged while allowing each piece room to breathe. It also aligns well with common word count targets of 60,000-80,000 words for a full-length book.
Ultimately, the ideal number comes down to the editor’s vision for the anthology. A tightly curated collection of 8-10 standout stories can be just as impactful as a more expansive survey of 25+ works. The key is finding the right balance to serve the anthology’s purpose and audience.
What factors influence the number of stories in an anthology?
Several key factors come into play when determining how many stories to include in an anthology. Understanding these elements helps editors and publishers craft collections that resonate with readers while meeting practical constraints.
Theme and Concept
The overarching theme or concept of the anthology significantly impacts story count. A broad theme like “love stories” might accommodate more diverse pieces, while a highly specific concept may limit options. Anthologies built around a particular event, time period, or literary movement often have a more focused selection pool.
For example, an anthology of stories about the American Civil War would likely include fewer pieces than a general collection of historical fiction. The more niche the theme, the harder it becomes to find a large number of high-quality, on-topic submissions.
Target Audience
Who the anthology is aimed at influences both story count and length. Young adult anthologies often feature more, shorter stories to maintain engagement. Literary collections for mature readers may opt for fewer, more complex pieces.
Consider the difference between a middle-grade anthology of spooky stories (potentially 20+ short tales) versus a collection of experimental literary fiction (perhaps 8-12 longer works).
Publisher Requirements
Publishing houses often have established guidelines for anthology length and composition. These may be based on:
- Production costs
- Pricing considerations
- Shelf space in bookstores
- Marketing strategies
A major publisher might push for 12-15 stories to hit a specific page count, while an independent press could be more flexible.
Editor’s Vision
The anthology editor plays a crucial role in shaping the collection. Their artistic vision, connections in the literary world, and personal preferences all factor into story selection. An editor aiming for a comprehensive survey of a genre might include more pieces, while one focused on showcasing a few stellar works would opt for fewer.
Submission Quality
The number and quality of submissions received directly impact the final story count. If an open call yields a wealth of excellent pieces, the editor may choose to include more. Conversely, a limited pool of strong submissions could result in a more tightly curated collection.
Budget Constraints
For anthologies paying authors, budget limitations can restrict the number of stories included. This is especially true for projects relying on crowdfunding or operating with limited resources.
Physical vs. Digital Format
Print anthologies must consider page count and physical book size, which can limit story numbers. Digital-only anthologies have more flexibility in this regard, potentially allowing for larger collections.
Series vs. Standalone
Anthologies that are part of an ongoing series may aim for consistency in story count across volumes. Standalone collections have more freedom to vary.
By carefully weighing these factors, anthology creators can determine the optimal number of stories to include. The goal is to strike a balance that serves the anthology’s purpose, satisfies readers, and meets practical publishing constraints.
How does word count affect story selection for anthologies?
Word count plays a crucial role in shaping anthology composition. It influences not only how many stories can be included but also the types of narratives that fit within the collection. Understanding the interplay between word count and story selection is essential for both editors compiling anthologies and authors submitting their work.
Total Anthology Word Count
Most anthologies aim for a total word count similar to that of a novel, typically falling between 60,000 and 100,000 words. This range allows for a substantial collection while remaining manageable for readers and aligning with standard book production practices.
Within this framework, editors must balance the number of stories against their individual lengths. Here’s a general breakdown of how total word count might be distributed:
| Total Word Count | Typical Distribution |
|---|---|
| 60,000 words | 10-12 stories of 5,000-6,000 words each |
| 80,000 words | 15-20 stories of 4,000-5,000 words each |
| 100,000 words | 20-25 stories of 4,000-5,000 words or 15-18 longer pieces |
Individual Story Lengths
Anthologies often specify word count ranges for submissions. Common categories include:
Flash Fiction: Under 1,000 words
These ultra-short pieces allow for a high story count but require exceptional concision from authors.
Short-Short Stories: 1,000-2,500 words
Slightly longer than flash fiction, these still pack a punch in limited space.
Traditional Short Stories: 2,500-7,500 words
This range encompasses the “classic” short story length, offering room for character development and plot complexity.
Novelettes: 7,500-17,500 words
Longer pieces that bridge the gap between short stories and novellas.
Novellas: 17,500-40,000 words
These substantial works might be the sole focus of a shorter anthology or serve as centerpieces in larger collections.
Editors must decide whether to stick to a narrow word count range or mix story lengths. A collection of flash fiction might include 50+ pieces, while an anthology of novellas may feature only 3-4 works.
Balancing Act
Selecting stories based on word count involves several considerations:
Pacing: Mixing shorter and longer pieces can provide variety and maintain reader engagement.
Thematic Depth: Longer stories may allow for more nuanced exploration of the anthology’s theme.
Author Representation: Including more stories means featuring more diverse voices.
Reader Expectations: Some genres have established norms for story length that readers anticipate.
Practical Constraints: Print anthologies must consider page count limitations.
Impact on Story Selection
Word count requirements can significantly influence which stories make the final cut. A brilliant 8,000-word piece might be passed over in favor of two 4,000-word stories that fit the anthology’s structure better. Conversely, an exceptional flash fiction piece could earn a spot even if it’s shorter than the typical submission.
Editors often face tough decisions when a story exceeds the stated word limit but aligns perfectly with the anthology’s theme. They may request revisions or make exceptions for standout works.
For authors, understanding an anthology’s word count guidelines is crucial. Crafting a story that fits within the specified range increases the chances of acceptance. However, it’s also important to recognize that some anthologies are more flexible than others when it comes to length.
By carefully considering word count alongside other factors like theme, quality, and diversity, anthology editors can create collections that are cohesive, engaging, and satisfying for readers.
Do genre-specific anthologies have different story count norms?
Genre plays a significant role in shaping anthology composition, including the typical number of stories included. Different literary categories often have distinct conventions and reader expectations that influence story count norms. Understanding these genre-specific tendencies can help both editors and authors navigate the anthology landscape more effectively.
Science Fiction and Fantasy
Science fiction and fantasy anthologies tend to feature a higher number of stories, often ranging from 15-25 pieces. This is partly due to the genres’ rich tradition of short fiction and the popularity of “year’s best” collections that aim to provide a comprehensive overview of the field.
Examples:
– “The Best Science Fiction of the Year” series typically includes 20-30 stories.
– “Sword and Sorceress” anthologies often feature 15-20 tales of female-led fantasy.
Horror
Horror anthologies frequently include more stories, capitalizing on the genre’s ability to deliver impactful, bite-sized frights. Collections of 20-30 short stories are common, with some anthologies pushing even higher.
Examples:
– Stephen King’s “Night Shift” contains 20 stories.
– “The Best Horror of the Year” series often includes 25-35 pieces.
Literary Fiction
Literary anthologies tend to feature fewer, often longer pieces. The focus is typically on depth and craftsmanship rather than quantity. Collections of 8-15 stories are common in this genre.
Examples:
– “The Best American Short Stories” annual anthology usually contains around 20 selections.
– “The O. Henry Prize Stories” typically feature 20 pieces.
Romance
Romance anthologies often strike a balance between story count and length. Collections of 3-5 novellas or 8-12 shorter stories are common, allowing for satisfying romantic arcs within each piece.
Examples:
– “Holidays Ever After” features 10 holiday-themed romance novellas.
– “Meet Cute” contains 14 young adult romantic short stories.
Mystery and Crime
Mystery anthologies vary widely but often fall in the middle range of 12-20 stories. This allows for a mix of complex puzzles and quicker, twist-ending tales.
Examples:
– “The Best American Mystery Stories” typically includes around 20 selections.
– “Alfred Hitchcock’s Mystery Magazine” anthologies often feature 12-15 stories.
Experimental/Avant-Garde
Anthologies of experimental fiction may have more flexibility in story count, often pushing boundaries in both directions. Some feature numerous very short pieces, while others focus on a handful of longer, unconventional works.
Examples:
– “McSweeney’s Quarterly Concern” varies widely in format and story count.
– “Conjunctions” often includes a mix of lengths and styles.
Genre Mashups and Themed Collections
Anthologies that combine genres or focus on specific themes may adjust their story counts to best serve the concept. For instance, a collection of sci-fi romance might feature fewer, longer pieces to allow for both world-building and relationship development.
Examples:
– “Zombies vs. Unicorns” contains 12 stories split evenly between the two titular concepts.
– “Wastelands: Stories of the Apocalypse” includes 22 post-apocalyptic tales spanning various genres.
It’s important to note that while these genre norms exist, many successful anthologies break from convention. Editors should consider genre expectations but ultimately make decisions based on their vision for the collection and the quality of available stories.
For authors submitting to genre anthologies, understanding these tendencies can help in crafting stories that fit well within the expected framework. However, exceptional pieces that push boundaries can still find homes in forward-thinking collections.
Ultimately, the best anthologies balance genre conventions with fresh approaches, creating collections that satisfy devoted readers while potentially attracting new audiences to the format.
What are common publisher guidelines for anthology story counts?
Publisher guidelines for anthology story counts can vary widely depending on the publishing house, target market, and specific project goals. However, some common trends and considerations emerge across the industry. Understanding these guidelines can help both editors pitching anthology concepts and authors submitting their work.
Major Publishing Houses
Large, traditional publishers often have more standardized expectations for anthologies. These guidelines typically aim to create books that align with established market norms and production efficiencies.
Common guidelines include:
Total Word Count: 70,000-90,000 words
This range allows for a substantial book while keeping production costs manageable.
Story Count: 12-20 stories
This provides variety while ensuring each piece has room to develop.
Individual Story Length: 3,000-7,000 words
This range accommodates traditional short story lengths.
Examples:
– HarperCollins’ “Ecco Anthology of Contemporary American Short Fiction” contains 47 stories across 784 pages.
– Penguin Random House’s “The Best American Short Stories” series typically includes 20 selections.
Independent and Small Presses
Smaller publishers often have more flexibility in their anthology guidelines. They may be more willing to take risks on unconventional formats or niche themes.
Typical ranges might include:
Total Word Count: 50,000-100,000 words
A wider range allows for more diverse projects.
Story Count: 8-25 stories
This flexibility accommodates both tightly curated collections and more expansive surveys.
Individual Story Length: 1,000-10,000 words
A broader range allows for mixing flash fiction with longer pieces.
Examples:
– Tin House Books’ “The Anchor Book of New American Short Stories” features 29 stories.
– Graywolf Press’ “The Art of the Story” contains 78 short stories from around the world.
Genre-Specific Publishers
Publishers focusing on particular genres may have guidelines tailored to their audience’s expectations:
Science Fiction/Fantasy:
– 15-30 stories
– 80,000-120,000 total words
Horror:
– 20-35 stories
– 70,000-100,000 total words
Romance:
– 3-5 novellas or 8-12 shorter stories
– 60,000-90,000 total words
Literary Fiction:
– 8-15 stories
– 60,000-80,000 total words
Digital-First Publishers
Publishers focusing on e-books may have more flexibility in their guidelines, as they’re not constrained by physical printing considerations:
Total Word Count: 40,000-150,000 words
A much wider range is possible without incurring additional production costs.
Story Count: 5-50+ stories
Digital formats allow for both very short collections and massive compendiums.
Individual Story Length: 500-20,000 words
Greater flexibility in mixing ultra-short pieces with longer works.
Academic and Textbook Publishers
Publishers creating anthologies for educational use often have specific requirements based on curriculum needs:
Total Word Count: 100,000-200,000 words
Longer collections provide more comprehensive coverage of a topic or time period.
Story Count: 30-50+ selections
A higher number of pieces allows for broader representation of authors and styles.
Individual Story Length: Varies widely
May include excerpts from longer works alongside complete short stories.
Considerations for Editors and Authors
When working with publisher guidelines, keep in mind:
Flexibility: Many publishers are willing to consider projects that fall outside their standard guidelines if the concept is compelling.
Market Trends: Guidelines may shift based on current reader preferences and industry trends.
Anthology Purpose: A “best of” collection might have different guidelines than a themed anthology or a showcase of new voices.
Target Audience: Young adult anthologies might aim for shorter overall length compared to adult collections.
Series Consistency: Publishers may have stricter guidelines for anthologies that are part of an ongoing series.
By understanding common publisher guidelines, editors can better position their anthology concepts for success. Authors can tailor their submissions to fit within expected parameters, increasing their chances of acceptance. However, it’s always worth remembering that exceptional work can sometimes transcend guidelines, especially if it aligns perfectly with the anthology’s vision.
How do reader expectations impact anthology composition?
Reader expectations play a crucial role in shaping anthology composition. Editors and publishers must carefully consider what their target audience anticipates and desires from a short story collection. Understanding and meeting these expectations can significantly impact an anthology’s success in the market.
Length and Pacing
Readers often approach anthologies with specific expectations about overall length and story pacing:
Overall Length: Most readers expect anthologies to be similar in length to novels, typically 200-400 pages. This allows for a substantial reading experience without feeling overwhelming.
Story Length Variety: Many readers appreciate a mix of shorter and longer pieces within an anthology. This variety helps maintain engagement and allows for different reading sessions.
Reading Time: Readers often choose anthologies for their ability toprovide bite-sized reading experiences. They expect to be able to complete individual stories in one sitting.
Genre Conventions
Different genres come with distinct reader expectations:
Science Fiction and Fantasy: Readers often anticipate a mix of established and emerging authors, with stories that push boundaries and explore new concepts.
Horror: Fans expect a range of scare tactics, from psychological suspense to graphic horror, with a focus on building tension and delivering satisfying twists.
Literary Fiction: Readers look for depth of character, nuanced prose, and often more experimental or unconventional narratives.
Romance: Expectations include satisfying emotional arcs and happily-ever-after or happy-for-now endings for each story.
Mystery: Readers anticipate clever puzzles, red herrings, and satisfying resolutions within each tale.
Thematic Cohesion
Readers expect a clear thematic thread connecting the stories in an anthology:
Concept Anthologies: When an anthology is built around a specific theme or concept, readers expect each story to offer a unique take on that idea.
“Best of” Collections: Readers anticipate a comprehensive survey of the year’s or genre’s standout works.
Author Showcases: For single-author collections, readers expect to see the range and evolution of the writer’s style.
Diversity and Representation
Modern readers increasingly expect anthologies to feature diverse voices and perspectives:
Author Backgrounds: There’s a growing demand for collections that showcase writers from varied cultural, ethnic, and socioeconomic backgrounds.
Character Representation: Readers look for stories featuring a wide range of identities and experiences.
Global Perspectives: International anthologies are expected to provide genuine insights into different cultures and worldviews.
Quality and Curation
Readers have high expectations for the overall quality of anthologies:
Editorial Standards: There’s an assumption that each story has been carefully selected and edited to a high standard.
Consistency: While variety is appreciated, readers expect a consistent level of quality across all included works.
Uniqueness: Anthology readers often seek out fresh voices and innovative storytelling approaches.
Supplementary Material
Many readers appreciate additional content that enhances their understanding and enjoyment of the anthology:
Author Introductions: Brief bios or notes about each contributor can add context and interest.
Editor’s Notes: Insights into the selection process or thematic connections can enrich the reading experience.
Story Notes: Some readers enjoy learning about the inspiration or background of individual stories.
Balancing Familiarity and Discovery
Successful anthologies often strike a balance between meeting and subverting reader expectations:
Familiar Names: Including some well-known authors can draw readers to the collection.
New Voices: Introducing emerging writers alongside established names can provide excitement and discovery.
Classic Reprints: Mixing reprints of beloved stories with new works can offer both comfort and freshness.
By carefully considering these reader expectations, anthology creators can craft collections that resonate with their target audience. However, it’s also important to remember that pushing boundaries and offering unexpected experiences can be part of what makes an anthology memorable and impactful.
What’s the ideal balance between published and unpublished works?
Finding the right balance between previously published and unpublished works is a critical consideration for anthology editors. This balance can significantly impact the collection’s appeal to readers, its marketability, and its value to contributing authors. While there’s no one-size-fits-all answer, understanding the pros and cons of each approach can help in making informed decisions.
Factors Influencing the Balance
Several factors come into play when determining the mix of published and unpublished works:
Anthology Purpose: The primary goal of the collection often dictates the balance. A “best of the year” anthology will naturally lean heavily towards previously published works, while a showcase of new voices might feature mostly unpublished stories.
Target Audience: Readers of literary journals might appreciate discovering new works, while casual readers might be drawn to familiar names and stories.
Publisher Requirements: Some publishers have specific guidelines about the ratio of reprints to original content.
Budget Considerations: Unpublished works often command higher fees, which can impact the overall composition of the anthology.
Advantages of Including Published Works
Proven Quality: These stories have already gone through an editorial process and found an audience.
Name Recognition: Including well-known stories or authors can boost the anthology’s marketability.
Easier Curation: Editors can select from a wide pool of existing, vetted content.
Lower Costs: Reprint fees are typically lower than payments for original works.
Advantages of Featuring Unpublished Works
Exclusivity: Readers get access to content they can’t find elsewhere.
Fresh Perspectives: New works can offer timely or innovative takes on the anthology’s theme.
Supporting New Voices: Unpublished stories provide opportunities for emerging authors.
Tailored Content: Writers can create pieces specifically for the anthology’s concept.
Common Approaches to Balancing Published and Unpublished Works
While the ideal balance varies, here are some common approaches:
Mostly Published (70-90% published)
– Typical for “best of” anthologies and genre retrospectives
– Examples: “The Best American Short Stories,” “The Year’s Best Science Fiction”
Balanced Mix (40-60% published)
– Often used for themed anthologies that want to combine classic takes with fresh perspectives
– Examples: Many small press genre anthologies
Mostly Unpublished (70-90% unpublished)
– Common for anthologies showcasing new voices or cutting-edge work
– Examples: Literary journal anthologies, writing contest collections
All Unpublished
– Used for special projects or when exclusivity is a key selling point
– Examples: Some Kickstarter-funded anthologies, commissioned collections
All Previously Published
– Typically seen in career retrospectives or classic author collections
– Examples: “Collected Stories” volumes for established authors
Considerations for Different Types of Anthologies
Genre Anthologies: Often benefit from a mix, using established names to draw readers while introducing new voices.
Literary Collections: May lean towards unpublished works to maintain a sense of discovery and prestige.
Themed Anthologies: Can effectively use a blend, with classic stories providing context and new works offering fresh takes.
Educational Anthologies: Often heavily favor published works to provide a comprehensive overview of a topic or period.
Strategies for Balancing Published and Unpublished Works
Anchor with Established Names: Use a few well-known, previously published stories to draw readers, then fill out the collection with new voices.
Thematic Pairing: Pair classic published stories with new works that respond to or build upon their themes.
Varied Lengths: Use shorter published pieces to complement longer unpublished works, or vice versa.
Career Stages: Mix stories from authors at different stages of their careers, from debut writers to established names.
Transparency with Readers: Clearly indicate which stories are original to the anthology and which are reprints.
By carefully considering the balance between published and unpublished works, anthology editors can create collections that offer both familiarity and discovery. This balance can help attract a wide readership while also supporting the development of new literary voices. Ultimately, the key is to align the mix with the anthology’s overall vision and goals.
How can authors create a cohesive anthology?
Creating a cohesive anthology is an art that requires careful planning, curation, and editorial skill. Whether you’re compiling works from multiple authors or crafting a single-author collection, the goal is to produce a unified reading experience that’s greater than the sum of its parts. Here’s how authors and editors can achieve this cohesion:
Develop a Strong Concept
The foundation of a cohesive anthology lies in its central concept or theme:
Clear Vision: Define the anthology’s purpose and what makes it unique.
Thematic Depth: Choose a theme that’s specific enough to provide focus but broad enough to allow for diverse interpretations.
Relevance: Ensure the concept resonates with your target audience and offers fresh perspectives.
Curate with Purpose
Thoughtful selection of stories is crucial for maintaining cohesion:
Quality Control: Maintain consistent standards for writing quality across all selections.
Thematic Fit: Each story should clearly connect to the anthology’s central theme, even if the connection is subtle or unexpected.
Variety within Unity: Seek stories that explore different facets of the theme to provide a well-rounded collection.
Balance Tone and Style
While individual voices should shine, the overall tone of the anthology should feel harmonious:
Complementary Styles: Choose stories that work well together, even if their styles differ.
Emotional Range: Include pieces that evoke various emotions while maintaining the anthology’s overall mood.
Consistent Voice: For single-author collections, ensure the selected stories showcase a cohesive authorial voice.
Structure the Collection Thoughtfully
The order and arrangement of stories significantly impact the reader’s experience:
Strong Opening: Begin with a story that exemplifies the anthology’s theme and hooks the reader.
Pacing: Alternate between longer and shorter pieces to maintain engagement.
Thematic Flow: Arrange stories so themes and ideas build upon each other, creating a sense of progression.
Satisfying Conclusion: End with a story that provides closure or leaves a lasting impression.
Create Connections Between Stories
Enhance cohesion by highlighting links between different pieces:
Recurring Motifs: Identify and emphasize common symbols or ideas that appear across multiple stories.
Character or Setting Links: In some anthologies, subtle connections between characters or settings can create a sense of a shared universe.
Contrasting Perspectives: Pair stories that offer different viewpoints on similar situations or themes.
Provide Editorial Context
Thoughtful framing can significantly enhance an anthology’s cohesion:
Introduction: Use the introduction to establish the anthology’s theme and provide context for the stories.
Section Introductions: For longer collections, consider dividing stories into thematic sections with brief introductory notes.
Author Notes: Short comments from authors about their stories can help readers see connections to the overall theme.
Maintain Consistent Formatting
Visual and structural consistency contributes to a cohesive reading experience:
Uniform Style: Use consistent formatting, typography, and layout throughout the anthology.
Story Presentations: Introduce each story in a similar manner, with consistent placement of titles, author names, and any additional information.
Consider the Visual Element
For print anthologies, visual design can enhance cohesion:
Cover Design: Ensure the cover accurately represents the anthology’s theme and tone.
Interior Art: If used, make sure any illustrations or graphics complement the stories and overall concept.
Engage in Collaborative Editing
For multi-author anthologies, involve writers in the cohesion-building process:
Clear Guidelines: Provide detailed theme descriptions and expectations to contributing authors.
Feedback and Revision: Work with authors to refine stories to better fit the anthology’s vision.
Author Involvement: Consider allowing authors to read and respond to each other’s work during the editing process.
Craft a Compelling Title and Subtitle
The anthology’s name should encapsulate its theme and create a sense of unity:
Evocative Title: Choose a title that captures the essence of the collection.
Clarifying Subtitle: Use a subtitle to provide additional context and highlight the anthology’s unique angle.
By focusing on these elements, authors and editors can create anthologies that feel purposeful and unified. A cohesive anthology not only provides a more satisfying reading experience but also leaves a lasting impression, encouraging readers to engage deeply with its themes and ideas.
What are some notable exceptions to standard anthology formats?
While many anthologies follow established formats, some notable collections have pushed boundaries and experimented with unconventional approaches. These exceptions often stand out for their innovative structures, unique concepts, or groundbreaking content. Exploring these non-traditional anthologies can inspire new ways of thinking about story collections and showcase the format’s versatility.
Interconnected Story Collections
Some anthologies blur the line between short story collections and novels:
“Cloud Atlas” by David Mitchell: While often marketed as a novel, this work consists of six interconnected stories that span different time periods and genres.
“A Visit from the Goon Squad” by Jennifer Egan: This Pulitzer Prize-winning book features 13 interconnected stories that function as both a novel and a short story collection.
Experimental Structures
Certain anthologies play with form and structure in innovative ways:
“The Weird: A Compendium of Strange and Dark Stories” edited by Ann and Jeff VanderMeer: This massive anthology spans 100 years of weird fiction, arranged chronologically to show the evolution of the genre.
**”McSweeney’s Quarterly Concern”: This literary journal often takes the form of uniquely packaged anthologies, including issues designed as boxes of mail or bundled mini-books.
Mixed Media Anthologies
Some collections incorporate visual elements or other media:
“Building Stories” by Chris Ware: This box set contains 14 printed works in various formats, including books, newspapers, and flip books, allowing readers to experience the stories in any order.
“S.” by J.J. Abrams and Doug Dorst: While primarily a novel, this book includes numerous inserts and marginalia that create a multi-layered narrative experience.
Collaborative Story Cycles
These anthologies feature stories that build on each other in unique ways:
“Thieves’ World” created by Robert Lynn Asprin: This shared-world anthology series allowed multiple authors to write stories set in the same fantasy city, with characters and events influencing subsequent tales.
“The Martian Chronicles” by Ray Bradbury: While often considered a novel, this work is a collection of loosely connected short stories that together create a narrative of Mars colonization.
Ultra-Short Collections
Some anthologies focus on extremely brief works:
“Hint Fiction: An Anthology of Stories in 25 Words or Fewer” edited by Robert Swartwood: This collection pushes the boundaries of how short a story can be while still conveying meaning.
“Six-Word Memoirs” series by SMITH Magazine: These collections feature extremely concise life stories, inspired by Ernest Hemingway’s famous six-word story.
Single-Premise Anthologies
These collections take a single concept and explore it from multiple angles:
“Machine of Death” edited by Ryan North, Matthew Bennardo, and David Malki: All stories in this anthology are based on the premise of a machine that can predict how a person will die.
“The Decameron” by Giovanni Boccaccio: This classic work features 100 tales told by ten characters over ten days, all structured around the frame narrative of escaping a plague.
Anthologies as Art Objects
Some collections are designed to be experienced as physical objects:
“Tree of Codes” by Jonathan Safran Foer: This experimental work physically cuts words out of another book to create a new story, resulting in a unique sculptural reading experience.
“The Unfortunates” by B.S. Johnson: This “book in a box” consists of unbound sections that can be read in any order, creating a different narrative experience each time.
Cross-Genre Hybrids
These anthologies combine elements from different literary traditions:
“The Bloody Chamber” by Angela Carter: While often classified as a short story collection, this work reimagines fairy tales with a feminist, Gothic twist, creating a unified thematic experience.
“If on a winter’s night a traveler” by Italo Calvino: This postmodern novel incorporates multiple story beginnings, creating an anthology-like experience within a larger narrative framework.
Crowdsourced and Interactive Anthologies
Some collections involve reader participation in unique ways:
**”A Million Penguins”: This experimental wiki-novel project allowed thousands of contributors to collaboratively write a novel over several weeks.
“Black Box” by Jennifer Egan: Originally published as a series of tweets, this story was later collected in her anthology “Visited by the Goon Squad: A Novel”.
These exceptional anthologies demonstrate the format’s potential for innovation and creativity. By breaking from traditional structures, they offer fresh reading experiences and challenge our expectations of what a story collection can be. For authors and editors looking to create unique anthologies, these examples provide inspiration for pushing boundaries and exploring new possibilities within the format.
