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Novel Word Counts by the Genre

We're coming up to competition season. As such, there seems to be an increase in the number of questions and discussions online about the accepted word count range for novels.

In a previous post, I discussed the limitations that word counts can have on short stories. In a recent post, I briefly outlined what the differences were between a short story, novella and a novel. Today, we're going to compile into one list what the current accepted ranges are for debut writers heading down traditional publication roads.

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The Top-and-Tail Edit

The idea behind a top-and-tail edit is that you examine the transitions between chapter and sections, looking at the last paragraph(s) of one chapter and reading the first paragraph(s) of the next. Everything in the middle is ignored. This is only looking at the transitions.

This particular idea is highly effective with the development of the cliff-hanger endings.

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Breaking the Fourth Wall: A Literary Term Defined

Sometimes, a term gets thrown in our direction and we are forced to take a step back and blink. "What exactly does that mean?" It happens to the best of us—even me.

This week's literary term is no exception. We're talking about breaking the fourth wall.

To put it simply, breaking the fourth wall is when the characters acknowledge the audience's presence, eluding to the fact that the characters know that they are in a book or a play.

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Woman reading on a tablet

A Classic Story with a Classic Writing Flaw

Dialogue forms a fundamental part of fiction writing. It's how the characters talk to one another—or how they don't talk—that provides insight into what is going on within a scene and what the characters might think about it. It's through dialogue that we can get the actual thoughts of other characters, not just the POV character. So much story often revolves around the dialogue.

However, when writing dialogue, many writers still new to the craft will fall back into an excessive use of dialogue tags. I have written about this some years ago, in the post Billy said... Diana said... In that post, I spoke about how it's not just the use of the word said that causes the issue. It's the over-excessive use of dialogue tags in general that can disrupt the flow of a story.

There are many writers and editors out there who will argue that using the word said isn't a problem. Even Stephen King says this. They rightly argue that our brains are trained to overlook the word said and move on. If you shift to the other dialogue tags (e.g., cried, shouted, bellowed, hissed, growled), our eyes are drawn to them, and we notice them.

This is all true, but the publishing industry as a whole is shifting away from the printed form (and I'm including eBooks as a printed form for this discussion). Audio books are taking a hold, giving people the ability to check out the latest book from their favorite author while they're out walking the dog. Whatever is on that printed page is directly translated to audio form, and the two ARE NOT the same.

Punctuation has a direct impact on this, bringing into question within editors' circles about how rigid we need to be with the punctuation rules. Whereas issues like the he-said-she-said fest become so obvious when read aloud.

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Is my story too short?

Normally, when I have a conversation with someone about story length, it's because the writer has written an opus that needs to be trimmed down. This is often the result of too much backstory or unnecessary word building and character description that only distracts from the story as a whole. Trimming a story down is where I'm the queen. (Okay, I'll admit it... I overwrite my own stories in early drafts. I've developed the skills and techniques needed to trim word counts quickly, bringing a story back in line with where it should be.)

However, occasionally, I find myself having a conversation about how a story is actually too short based on the elements presented. There might be too many named characters. Or the setting plays too big of a role for the word real estate available. Or perhaps, there were too many twists and turns and not all the threads were adequately explored.

This is more often seen in shorter story forms, like short stories and novellas, and trying to explain the minimum word count needed to do a story justice is not an easy concept to fathom.

In episode 12.27 of the podcast Writing Excuses, Mary Robinette Kowal introduced an equation that she uses to work out how long a story should be based on the number of characters, number of locations and the number of MICE elements (and NO, I'm not talking about those little things that go squeak, squeak, or those devices that we click repeatedly when the computer refuses to respond). So, let's get to it and break the mathematics down.

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