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.
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.”
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.
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.
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.
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.
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!
Love how tumblr has its own folk stories. Yeah the God of Arepo we’ve all heard the story and we all still cry about it. Yeah that one about the woman locked up for centuries finally getting free. That one about the witch who would marry anyone who could get her house key from her cat and it’s revealed she IS the cat after the narrator befriends the cat.
learning from the reblogs of that post that there's a lot of people out there under the impression that "kill your darlings" means "kill your characters" and that's the funniest possible interpretation of that phrase
Avoid focusing solely on how she looks, what she wears, or how attractive she is to others.
Don’t make her dependent on male characters for rescue or decision-making.
Avoid giving her unrealistic abilities without any training or explanation.
Avoid portraying her as constantly crying, screaming, or overly dramatic without depth.
Don’t make her entire character arc revolve around finding love or getting married.
Avoid creating her as the only female in a predominantly male cast just for diversity points.
Avoid having her dialogue filled with stereotypical phrases and overused expressions.
Ensure she has realistic imperfections and challenges to overcome.
my dad–also a writer–came to visit, and i mentioned that the best thing to come out of the layoff is that i’m writing again. he asked what i was writing about, and i said what i always do: “oh, just fanfic,” which is code for “let’s not look at this too deeply because i’m basically just making action figures kiss in text form” and “this awkward follow-up question is exactly why i don’t call myself a writer in public.”
he said, “you have to stop doing that.”
“i know, i know,” because it’s even more embarrassing to be embarrassed about writing fanfic, considering how many posts i’ve reblogged in its defense.
but i misunderstood his original question: “fanfic is just the genre. i asked what you’re writing about.”
i did the conversational equivalent of a spinning wheel cursor for at least a minute. i started peeling back the setting and the characters, the fic challenge and the specific episode the story jumps off from, and it was one of those slow-dawning light bulb moments. “i’m writing about loneliness, and who we are in the absence of purpose.”
as, i imagine, are a lot of people right now, who probably also don’t realize they’re writing an existential diary in the guise of getting television characters to fuck.
“that’s what you’re writing. the rest is just how you get there, and how you get it out into the world. was richard iii really about richard the third? would shakespeare have gotten as many people to see it if it wasn’t a story they knew?”
so, my friends: what are you writing about?
I took a few months off from writing. Not voluntarily. I just couldn’t seem to write a single word. Whenever I would open up a new document, I would simply shut down and freeze up.
I’m a writer who hasn’t written anything in months.
Even writing in my journal became difficult. If someone were to unbury my journal after the apocalypse, they might think I took a four-month hibernation. I was shut off from the world, adding nothing to the world. Not even a single word.
For the past couple of weeks, however, it feels like I’ve gotten a little bit of that writing bug back. Nothing like Stephen King’s two thousand words a day. About five to seven hundred words on a good day.
Even though I’m writing, it feels more like a slow crawl. I look at these low word counts and put myself down for not doing more. I know I’m not the only writer who focuses too much on their word counts and feels bad when we can’t reach the professional levels.
So to you out there who are in the same position, telling yourself you’re not a real writer because you’re not writing a full novel each month. I have a message for you that I need to do a better job of remembering myself.
This holds back a lot of writers. I write mainly short stories, but the fact that none of them have been chosen for a publication journal does weigh heavily on my head.
Still, just because they haven’t been published doesn’t mean they haven’t been written. I wrote those stories, and I am still a writer because of it.
If you’ve finished a story or a whole novel but it hasn’t been published, don’t beat yourself up! You are a writer! Write another one and another one till the world finally acknowledges you!
I struggle with this a lot. The idea that if my writer’s block lasts more than a few days, I have somehow failed as a writer and the title should be stripped from me.
Just because I had a few bad months doesn’t mean I’m no longer a writer. And if you’ve had a few bad months too, or even a few bad years of writing, that doesn’t mean you’re not a writer anymore either!
When a pitcher strains his wrist and has to take a hiatus while it heals, is he no longer a pitcher?
Don’t feel bad if you’re coming out of a writing slump and it feels like you’re coming out of it very slowly. The pitcher who returns from his injury won’t be throwing shutouts the minute he steps onto the mound. He eases into it.
And so should you!
If you’re only writing a few words a day and you’re feeling disappointed that it’s not at the high word count standard that most professionals hold themselves to, just remind yourself that progress is progress! Whether you’ve written one, two, or a thousand words. It is still more than the absolute zero you wrote during your slump.
Feel proud of your progress!
And remember, no matter what, you are still a writer.
Sometimes it feels like the writers of Bee and PuppyCat saw one of those unhinged Tumblr posts that are like "autistic people always say exactly what they mean, so if everyone everywhere was autistic we'd all communicate perfectly and there would be no misunderstandings", and they were like "okay, let's unpack that".
I think in the same way there's a 90/10 rule with horror and comedy (horror works best when it's 90% horror and 10% comedy and vice versa) there's a 90/10 rule for some relationships in fiction that's like. Wholesome and fucked up. A good friendship is at its most compelling when it's also 10% a bit fucked up. Fucked up relationship is at its most compelling when there's at least 10% of something actually sweet and substantive within. Do you get me