Traditional stories, or stories about traditions, differ from both fiction and nonfiction in that the importance of transmitting the story's worldview is generally understood to transcend an immediate need to establish its categorization as imaginary or factual. In the academic circles of literature, religion, history, and anthropology, categories of traditional story are important terminology to identify and interpret stories more precisely. Some stories belong in multiple categories and some stories do not fit into any category.

An anecdote is a short and amusing or interesting story about a biographical incident. It may be as brief as the setting and provocation of a bon mot. An anecdote is always presented as based on a real incident involving actual persons, whether famous or not, usually in an identifiable place; whether authentic or not, it has verisimilitude or truthiness. Over time, modification in reuse may convert a particular anecdote to a fictional piece, one that is retold but is "too good to be true". Sometimes humorous, anecdotes are not jokes, because their primary purpose is not simply to evoke laughter, but to reveal a truth more general than the brief tale itself, or to delineate an institutional or character trait in such a light that it strikes in a flash of insight to the very essence. Novalis observed, "An anecdote is a historical element — a historical molecule or epigram." A brief monologue beginning "A man pops in a bar ..." will be a joke. A brief monologue beginning "Once J. Edgar Hoover popped in a bar ..." will be an anecdote. An anecdote thus is closer to the tradition of the parable than the patently invented fable with its animal characters and generic human figures — but it is distinct from the parable in the historical specificity which it claims.

Anecdotes are often of satirical nature. Under the totalitarian regime in the Soviet Union numerous political anecdotes circulating in society were the only way to reveal and denounce vices of the political system and its leaders. They made fun of such personalities as Lenin, Khrushchev, Brezhnev, and other Soviet leaders. In contemporary Russia there are many anecdotes about Vladimir Putin.

The word 'anecdote' (in Greek: "unpublished", literally "not given out") comes from Procopius of Caesarea, the biographer of Justinian I, who produced a work entitled Ἀνέκδοτα (Anekdota, variously translated as Unpublished Memoirs or Secret History), which is primarily a collection of short incidents from the private life of the Byzantine court. Gradually, the term anecdote came to be applied to any short tale utilized to emphasize or illustrate whatever point the author wished to make.

An apologue or apolog (from the Greek ἀπόλογος, a "statement" or "account") is a brief fable or allegorical story with pointed or exaggerated details, meant to serve as a pleasant vehicle for a moral doctrine or to convey a useful lesson without stating it explicitly. It is like a parable, except that it contains supernatural elements like a fable, often the personification of animals or plants. Unlike a fable, the moral is more important than the narrative details. As with the parable, the apologue is a tool of rhetorical argument used to convince or persuade.

Among the best known ancient and classical examples are that of Jotham in the Book of Judges (9:7-15); "The Belly and its Members", by the patrician Agrippa Menenius Lanatus in the second book of Livy; and perhaps most famous of all, those of Aesop. Well-known modern examples of this literary form include George Orwell's Animal Farm and the Br'er Rabbit stories derived from African and Cherokee cultures and recorded and synthesized by Joel Chandler Harris. The term is applied more particularly to a story in which the actors or speakers are either various kinds of animals or are inanimate objects. An apologue is distinguished from a fable in that there is always some moral sense present in the former, which there need not be in the latter. An apologue is generally dramatic, and has been defined as "a satire in action."

An apologue differs from a parable in several respects. A parable is equally an ingenious tale intended to correct manners, but it can be true in the sense that "when this kind of actual event happens among men, this is what it means and this is how we should think about it", while an apologue, with its introduction of animals and plants, to which it lends ideas, language and emotions, contains only metaphoric truth: "when this kind of situation exists anywhere in the world, here is an interesting truth about it." The parable reaches heights to which the apologue cannot aspire, for the points in which animals and nature present analogies to man are principally those of his lower nature (hunger, desire, pain, fear, etc.), and the lessons taught by the apologue seldom therefore reach beyond prudential morality (keep yourself safe, find ease where you can, plan for the future, do not misbehave or you'll eventually be caught and punished), whereas the parable aims at representing the relations between man and existence or higher powers (know your role in the universe, behave well towards all you encounter, kindness and respect are of higher value than cruelty and slander). It finds its framework in the world of nature as it actually is, and not in any parody of it, and it exhibits real and not fanciful analogies. The apologue seizes on that which humans have in common with other creatures, and the parable on that which we have in common with a greater existence. Still, in spite of the difference of moral level, Martin Luther thought so highly of apologues as counselors of virtue that he edited and revised Aesop and wrote a characteristic preface to the volume. The parable is always blunt and devoid of subtlety, and requires no interpretation; the apologue by nature necessitates at least some degree of reflection and thought to achieve understanding, and in this sense it demands more of the listener than the parable does.

The origin of the apologue is extremely ancient and comes from the Middle East and its surrounding area (Persia, Asia Minor, Egypt, etc.), which is the Classical fatherland of everything connected with allegory, metaphor and imagination. Veiled truth was often necessary in the Middle East, particularly among the slaves, who dared not reveal their minds too openly. It is noteworthy that the two fathers of apologue in the West were slaves, namely Aesop and Phaedrus. La Fontaine in France; Gay and Dodsley in England; Gellert, Lessing and Hagedorn in Germany; Tomas de Iriarte in Spain, and Krylov in Russia, are leading modern writers of apologues.