Reminder Not To Edit While You Write. You Want To Finish That Story Someday? Then Stop Editing While

Learn the Differences Between Novelettes, Novellas, and Novels

Since I am currently in the process of writing a story, but I'm not sure what I want it to be... I'd figure I'd go ahead and share the differences!

So let's get to it!

Writing the first draft of a novel can be a daunting, arduous task. That’s why the novelette format can be so appealing. In many ways, a novelette is like a short novel. It allows writers to hone their craft by learning how to tell stories under a strict word count restriction.

What Is a Novelette?

The definition of “novelette” is any short, fictional work of prose narrative. Novelettes have a lower number of words than a novel or novella, but a higher word count than other forms of prose fiction like short stories or microfiction. Despite lacking the page count of a full-length novel, novelettes generally tell a complete story. Some people refer to novelettes as “long short stories” or “short novellas.”

How Long Is a Novelette?

Any work of fiction with a word count between 7,500 and 19,000 is generally considered a novelette. A novelette is longer than a short story, which usually has a word range of between 1,000 and 7,500 words, and flash fiction, which is usually under 1,000 words. Any piece of creative writing that is longer than a novelette but shorter than a novel is considered a novella.

Three Differences Between Novelettes and Novellas

A novella is a standalone piece of fiction that is shorter than a full-length novel but longer than a short story or novelette. Novellas incorporate many narrative and structural elements of novel-length stories—but like novelettes, they often focus on single points of view, focusing on a single central conflict, and rely on fast pacing. Here are the differences between novelettes and novellas:

Word count: The primary difference between a novelette and a novella, then, is word count (novelettes are shorter than novellas).

Subject matter: Traditionally, novelettes tended to focus on whimsical, sentimental themes. The modern-day novelette, though, is more like the novella in that it can encompass different genres like sci-fi, drama, or historical short fiction.

Complexity: In terms of storytelling ambition, novelettes tend to split the difference between novellas and shorter forms like short stories. Novelettes tend to have a greater focus on character development, worldbuilding, and plotting than short stories. However, the stories are generally more concise and focused than a novella-length work, as the word count is often too restrictive to tell a long story.

Three Differences Between Novellas and Novels

The most obvious difference between novels and novellas is page length and number of words. However, beyond this superficial difference, many structural and thematic hallmarks of novellas make them their own standalone genre of writing. Some of these include:

 A single central conflict: Most novellas explore a single, compelling central conflict. Because of their shorter length, novellas have less time to explore subplots and tend to focus on the main plot. Novellas generally have one main character and a handful of secondary characters. Because of length constraints, most of the character development will be focused on the protagonist.

 Fast pacing: Novellas usually move at a quick pace. Whereas novels can spend time diverging from the central conflict to delve into backstory and explore multiple points of view, novellas generally offer a quick compelling story with a singular point of view.

Unity of time and place: When writing novellas, writers should root the action in continuous time within a limited space, ideally one location.

Benefits of Writing a Novelette

For short story writers or people who generally write shorter works, novelettes can be an opportunity to tell a longer-form, standalone story. For writers who are used to writing, say, full-length science fiction or fantasy novels, the word count restriction of a novelette offers a chance to tell a good story with a simple cast of characters and few subplots.

Seven Examples of Novelettes

Novelette writers know how to tell a complete story in a relatively short amount of time. Here are some famous examples of novelettes, many of which were originally published in literary magazines:

The Fall of the House of Usher by Edgar Allan Poe (1839)

The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886)

The Metamorphosis by Franz Kafka (1915)

The Call Of Cthulhu by H. P. Lovecraft (1928)

The Little Prince by Antoine de Saint-Exupéry (1943)

Bloodchild by Octavia E. Butler (1995)

Hell Is the Absence of God by Ted Chiang (2001)

I hope this helps! Thank you for still being my followers and patiently waiting for a post!

And a disaster for the discussion of non-anime TV shows in fandom.

"Cool-down episodes" aren't filler.

the fact that none of the night at the museum movies were rated over 50% by critics is a reminder that some ppl don’t know how to have fun. the first two movies were flawless. a night watch guard has to babysit museum displays that come to life, complete w old school villains and endless historical crossovers? incredible concept, incredible execution

one of my worst writing sins is abusing my power to create compound words. i cannot write the sentence "The sun shone as bright as honey that afternoon." no. that's boring. "The sun was honey-bright that afternoon" however? yes. that sentence is dope as fuck. i do not care if "honey-bright" is a word in the english dictionary. i do not care if the sentence is grammatically correct. i will not change. i will not correct my erred ways. the laws of the english language are mine.

Yes

If you want to write something for November, but you don’t want it to be fifty thousand words long, I have a suggestion:

Step 1: Read a bunch of 200 word RPGs until your brain turns to soup – https://200wordrpg.github.io/

Step 2: Once your brain-meats have been appropriately primed (see above), write your own 200 word RPG.

Step 3: Reblog this post and append your 200 word RPG.

(Please restrict non-200-word-RPG commentary to replies and tags; anybody who creeps the reblogs should see a solid wall of nothing but 200 word RPGs.)

New Banner Feature:  Iberian Tribes: pre-Roman Iberia was awash  with tribes of varying heritages, many of which gained Celtic layers, as the focus here on individual tribes often reveals.

i've gotten asks a few times on like 'how to do ''fantasy races'' without. like. just making race science true in the world'. and i think there's three approaches. the first is harkening back to tolkein and making it clear through framing device or format/tonal cues that you are writing in a mythic register--that you are writing about a world where the basic premises of positivism and empiricism simply aren't true. a world where 'biology' is like, not necessarily a salient premise--where there are things that just cannot be understood. (that's not to say that tolkein's orcs werent v. racialised in v. nasty ways--but it wasn't race science in the way a lot of more modern fantasy is.)

the second way i think is to go and actually understand the history of 'race' as a concept. 'race' has not always existed--it was an ideological invention birthed from / alongisde the enlightmenent and imposed onto populations through military force. in real life, it's less helpful to conceive of 'race' as an attribute someone has and and more as a relationship they have to society. so if you want to actually include scientific racism in your story as an element of your worldbuilding and not something decalred epistemologically true you should be thinking about why these people have been racialized and under what hegemonic paradigm--who, in-universe, invented & enforces the racial classification system that distinguishes between 'human' and 'orc' as taxonomic characters?

the third and final way is to simply think of the traits you understand as belonging to ''fantasy races'' (say, pointy ears and exceptional nimbleness and hundred-year lifespans for elves) as instead just being... more variations in the way people can be. like, in the real world, we do not consider 'tall people' or 'blonde people' or 'myopic people' a different species. in a world where sometimes people have wings or pointed ears or green skin, why should that be different? you've just introduced new types of variation within the population of people--you've just expanded the meaning of human. and of course, right, you can still roughly group these features, or note that some of them are more frequent in some ethnic groups--in much the same way as saying 'on average, people in sweden are taller, paler, and more likely to be blonde and blue-eyed', you can say 'people in these forests tend to be shorter and live longer and have pointed ears'--without having a hard taxonomy that classifies all these attributes as metaphysically different Types Of Person

obviously these are all very different approaches--and there are probably other ways to handle this too! i just get this question a lot whenever i do Orc Discourse and finally felt like getting these thoughts out. there are so so so many places we can take fantasy--let's move the horizon beyond 'magical race science' and imagine genuinely new worlds

Clark Kent is a mild mannered reporter. Kal-El is the hero Superman who saves the world every other week. These are 2 separate people, but everybody thinks they are the same person because Clark looks like Kal-El with glasses.

You know, even apart from the intricate worldbuilding about the talking rodents and what their deal is, the part of The Secret of NIMH that's like "working single mom trying to obtain medical treatment for her sick child discovers that her late husband was basically a high-level Dungeons & Dragons character and never told her about any of it, and she keeps tripping over elements of his unreasonably complicated backstory whose context and significance are never fully explained to the audience because the particulars aren't relevant to her journey" is a really fun premise all on its own.