虽然选集在20世纪之前就已存在，但现代出版业却把这部选集作为一种文学形式。选集作为营销手段的优势非常丰富：新作家可以与更有市场的名称联系起来。可以收集更短的作品并更容易货币化发现具有相似风格或主题的作者会吸引读者寻找新的阅读材料。同时，由于即使是基本概述所需的大量文学作品也大量增加，因此在教育中使用选集也获得了很大的吸引力。 “诺顿选集”是一本庞大的书籍，收集各种作者的故事，散文，诗歌和其他着作（有许多版本涵盖特定地区[例如，“诺顿美国文学选集”]），于1962年推出并迅速成为世界各地教室的主食。该选集以相对简洁的格式提供了广泛但有点浅薄的文献概述。选集在小说世界中保持着强大的存在感。最佳美国系列（于1915年推出）使用来自特定领域的名人编辑（例如，由Dave Eggers和Viggo Mortensen编辑的“The Best American Nonrequired Reading 2004”）以吸引读者阅读他们可能不熟悉的短篇作品。在诸如科幻小说或神秘之类的许多类型中，选集是推广新声音的有力工具，但它也是编辑赚钱的一种方式。编辑可以向出版商提出一个选集的想法，也可能是一位高知名度作者的坚定承诺。他们接受了他们给予的预付款并收集了该领域其他作家的故事，为他们提供了一笔前期的一次性付款（或者偶尔也没有预付款，但是一部分版税）。当他们汇集这些故事时剩下的是他们自己编辑这本书的费用。人文学在现代文学史上最具影响力的一些书籍中占有一席之地：Harlan Ellison编辑的“Dangerous Visions”。该选集于1967年出版，推出了现在被称为科幻小说的“新浪潮”，并有助于将科幻作为一项严肃的文学事业，而不是针对儿童的愚蠢故事。通过从当时一些最有才华的作家收集的故事和对性，毒品或其他成人主题的描述采取无拘无束的方法，该选集在许多方面具有开创性。这些故事具有实验性和挑战性，并且永远改变了科幻小说的视角。爱德华·马什编辑的“格鲁吉亚诗歌”。这一系列的五本原着出版于1912年至1922年间，收集了英国诗人的作品，他们是乔治五世统治时期（1910年开始）的一代人。这本选集开始于1912年的一个派对上的一个笑话;对于诗歌的小章节有一种狂热，派对参与者（包括未来的编辑马什）嘲笑这个想法，暗示他们做了类似的事情。他们很快就认定这个想法具有实际价值，而选集则是一个转折点。它表明，通过将一个群体收集到一个“品牌”（虽然当时没有以这种方式使用该术语），可以获得比单独出版更大的商业成功。
While anthologies existed prior to the 20th century, it was the modern-day publishing industry that brought the anthology into its own as a literary form. The advantages of the anthology as a marketing device were plentiful: New writers could be linked to a more marketable name. Shorter works could be collected and monetized more easily Discovery of authors with similar styles or themes attracted readers looking for new reading material. Simultaneously, the use of anthologies in education gained traction as the sheer volume of literary works required for even a basic overview grew to huge proportions. The “Norton Anthology,” a mammoth book collecting stories, essays, poetry, and other writings from a wide range of authors (coming in many editions covering specific regions [e.g., “The Norton Anthology of American Literature”]), launched in 1962 and quickly became a staple of classrooms around the world. The anthology offers a wide if somewhat shallow overview of literature in a relatively concise format. Anthologies maintain a strong presence in the world of fiction. The Best American series (launched in 1915) uses celebrity editors from particular fields (for example, “The Best American Nonrequired Reading 2004”, edited by Dave Eggers and Viggo Mortensen) to attract readers to short works they may be unfamiliar with. In many genres, such as science fiction or mystery, the anthology is a powerful tool for promoting new voices, but it’s also a way for editors to earn money. An editor can pitch a publisher with an idea for an anthology and possibly a firm commitment from a high-profile author to contribute. They take the advance they’re given and round up stories from other writers in the field, offering them an up-front, one-time payment (or, occasionally, no up-front payment but a portion of the royalties). Whatever’s left when they have assembled the stories is their own fee for editing the book. Anthologies count amongst some of the most influential books in modern literary history: “Dangerous Visions,” edited by Harlan Ellison. Published in 1967, this anthology launched what’s now called the “New Wave” of science fiction, and was instrumental in establishing sci-fi as a serious literary undertaking and not silly stories aimed at kids. With stories collected from some of the most talented writers of the time and a no-holds-barred approach to depictions of sex, drugs, or other adult themes, the anthology was groundbreaking in many ways. The stories were experimental and challenging, and changed forever how science fiction was regarded. “Georgian Poetry”, edited by Edward Marsh. The five original books in this series were published between 1912 and 1922, and collected the works of English poets who were part of the generation established during the reign of King George V (beginning in 1910). The anthology began as a joke at a party in 1912; there had been a craze for small chapbooks of poetry, and the party attendees (including future editor Marsh) mocked the idea, suggesting they do something similar. They quickly decided the idea had actual merit, and the anthology was a turning point. It showed that by collecting a group into a ‛brand’ (although the term wasn’t used in that manner at the time) greater commercial success could be attained than by publishing singly. “Literature of Crime,” edited by Ellery Queen. Queen, the pseudonym of cousins Daniel Nathan and Emanuel Benjamin Lepofsky, put together this remarkable anthology in 1952. Not only did it elevate crime fiction from the cheap paperbacks into the realm of “literature” (if only by aspiration), it made its point by self-consciously including stories by famous authors not normally thought of as crime writers, including Ernest Hemingway, Aldous Huxley, Charles Dickens, John Steinbeck, and Mark Twain.