A relatively short time ago, writers were able to support themselves by selling short stories. I don’t know if any writer can still do that, (let me know if you or someone you know do 🙂 but it seems not as feasible anymore.
This article, The State of the Short Story, argues for television and changed habits being part of the influence in the lack of interest in the short story. It also poses longer narratives, such as novels, as occasions for losing oneself in another world/time/character, whereas the short story requires a stringent attention by its readers, and delivers a punch which makes for a less relaxing reading experience.
I’m not arguing with that. I want to point out how happy I am when I travel on the bus and the tube (in the UK) and realize how many fellow travelers are reading: a book, an ebook, doesn’t matter. They’re still reading.
Short stories don’t have the market they could have, not mainstream. But there are plenty of magazines seeking short stories submissions, and plenty of writers skilled in the genre. What I think is missing, and it resonates with my post on Ian McEwan’s preference for the Novella vs. the Novel, is a certain fluidity of the literary/genre market.
The short story is mostly seen, these days, as a trampoline for writers to get noticed, and then move on the more remunerative novel form. Instead, all forms of writing, no matter their word count, should be considered at the same level.
Just because a short story has a smaller word count, doesn’t mean it’s easier to write. Nothing is easy to write, in a way. All forms present their challenges, their flaws, their advantages.
If you’re interested in the short story, you may appreciate Object Lessons, The Paris Review’s collection of short stories and essays on the Art of the Short Story.