Technical Definition

Novella

Basic Definition of Novella 

A novella is a work of fiction typically between 20,000 to 50,000 words, or roughly 100 pages. Word count is a distinguishing variable, but hardly the most important. A novella is longer than a short story and shorter than a novel, this can be seen in Merriam-Webster's Dictionary definition of a novella as “a work of fiction intermediate in length and complexity between a short story and a novel” (“Novella”). A novella is unlike both a short story and novel, it is its own distinct form of writing.

The structure of a novella is its most important feature. Novellas have their own way of being written, with a unique structure and different way of utilizing characters, plots, and setting. The tone in many novellas is often satirical (using humor, irony, ridicule, etc. to point out stupidity or downfall). An example of a novella would be the popular Of Mice and Men by John Steinbeck.

History of the Novella

First seen in Italy during the Middle Ages, the novella was used as a collection of works based on occurrences in the towns that were humorous, political, or another topic of the writer’s choice. Oftentimes these works would be included with legends or romantic tales.

As time progressed, writers in Italy such as Giovanni Boccaccio began to craft a new form of the novella, one that was a “psychologically subtle and highly structured short tale, often using a frame story to unify the tales around a common theme” (Encyclopedia Britannica, “Novella”). A frame story is when a story or stories happen within one overarching story. Florian Fuchs explains in his essay “Novella” that Boccaccio also moved the novella from a piece of fiction told often through a poem-like structure to prose (narrative in an ordinary story form, like that of a novel).

Geoffrey Chaucer brought this new type of novella to England in the well-known Canterbury Tales, at approximately the same time Germany was adopting this form of fictitious writing with an emphasis on the division of classes.

Today, the novella has developed to be something quite different. The structure shifted as “the importance of frame [stories] was diminished” (Encyclopedia Britannica, “Novella”) and the single-story novella with unifying mood and style became popular.

Characteristics of a Novella 

As a distinct form of writing, the novella has characteristics all its own, as stated by Judith Leibowitz “...I consider the novella, in its formal continuity, a distinct narrative genre” (212). Due to the shorter length of novellas there is typically no space for an author to go into excess on any part of the work.

Complex subplots don’t have a place in novellas, therefore “... their subplots need subordinating to their main storyline” (Whedon 566). It is important that novellas stick to one main story with only a few variances in plot and setting. The plot is simple yet defined, with “The three most recurrent and most stressed characteristics- an unheard-of event, a striking turning point, and characters subordinate to a pattern of fate-demand categorization...” (Leibowitz 15).

Lebowitz discusses how novellas generally begin with a shocking event that starts the story in the intended direction. This is followed by a turning point that shifts the story. Lastly, the characters are normally following a story that is “fate” and seemingly predetermined. In the visual to the right the plot of a novella can be seen. It begins with an event and followed by activity that brings the reader to the turning point, or “reversal.” The climax succeeds the reversal after which the falling action or “denouement” occurs. Then the audience is at the end, where at times they may be back towards where the story began.

Paraphrased from Tony Whendon’s “Notes on the Novella,” the protagonist is oftentimes the main character and hardly ever the narrator, so any other characters have small roles that serve to further plot or protagonist development (566). The goal of novellas is often to show development of a character or theme; therefore multiple characters, settings, or narrators don’t lend to that purpose.

The last common characteristic of a novella is their way of commenting on issues of the times. Themes, morals, and even the settings or characters themselves are used to bring attention to dilemmas that were important at the time of each respective author.

Differences Between Short Stories, Novellas, and Novels

Short stories have a word count that ranges from 1,500 words to 20,000, novellas from 20,000 to 50,000 and novels count from 50,000 and up. Although they are all works of fiction, distinguishing between the three allows for not only a deeper understanding of the novella, but of all the works.

A short story is the shortest of the three works; due to this there is often a single chain of events tied to one plot. The main character is often one of a few, with all the others having hardly any impact. In order to develop the protagonist (most often the main character), they are generally the narrator since it allows the reader to understand them quickly. Most importantly, “Language in short stories is often symbolic and rich in subtext as authors strive to make every word count” (Swanson).

Novellas, as described in the preceding paragraph but provided here in summary, are of medium length. They tend to have a straightforward plot with a distinct turning point and a small cast of characters. The protagonist tends to be the main character, but not the narrator, and often the goal of a novella is to develop the character in a way that teachers the reader a lesson. Since the length of novellas are not short or long, it is essential that they are kept succinct with not too much or too little detail.

Novels, on the other hand, can “...be called formless” (Fuchs). That is not to say novels are written with no regard for structure, but it means that there is a lot more freedom. There is more room and time for multiple characters, not just the main character, to develop and transform. Complexity is often more of an option as well; multiple narrators or subplots can be used to create a more rounded and in-depth story.

In short, all three types of writing vary in length and complexity but are rich in text and can provide well written narratives, it depends on what the author wishes to emphasize and the level of detail they feel is necessary.

Purpose of Writing a Novella

Why would an author choose to write a novella? According to Judith Leibowitz, “Whereas the short story limits material and the novel extends it, the novella does both in such a way that a special kind of narrative structure results, one which produces a generally distinct effect: the double effect of intensity and expansion” (16).

Due to the medium length of a novella, it allows an author to have the directness that a short story has, it can be “intense” and focus solely on what is important. However, novellas are also able to have a broad scope that a longer novel would contain, the important aspects can be broadened and looked at in depth to the point where they take up a large portion of the story. While the novella is “immersed in rich language, [it] still acknowledges the importance of plot and multi-character development” (Whendon 571). Novellas have the ability to explore certain aspects in depth such as a character or setting while still having the overall broadness of a novel.

Therefore, novellas are an easy way for authors to convey a message or ideal through symbolism and character development that can be applied anywhere and anytime (Fuchs). This is why they were historically, and presently, used to comment on social issues.

Impact of the Novella in the Everyday

Novellas used to be unfavorable in the publishing world, they were considered too short to be published alone and therefore were often sold in a book with other novellas and stories. However, they have gained popularity as a short yet interesting read.

As previously mentioned, novellas are meant to convey messages that are important in daily lives. This, along with the length and degree of depth, make novellas perfect for silver-screen adaptation. The plot isn’t exceedingly in-depth nor painfully basic, so the amount of detail and length lend perfectly to creating a play or movie.

However, novellas aren’t out of the clear with publishers and are constantly on the brink of being forgotten by many. “The survival of the form into this century depends to some extent on the willingness of literary magazines and mainstream publishers to print novellas” (Whendon 571).

Works Cited

Fuchs, Florian. “Novella.” Project Muse, https://muse-jhu-edu.bsuproxy.mnpals.net/article/740072. Accessed 9 Oct. 2020.

Leibowitz, Judith. “Narrative Purpose in the Novella.” vol. 10, Walter de Grutyer, 5 Nov. 2013. Google Books, https://books.google.com/books?hl=en&lr=&id=a1LoBQAAQBAJ&oi=fnd&pg=PA5&dq=novella&ots=pHJ-Qv0vV5&sig=jQYe7VDMZZcfhHSSV5X7iM9hrPw#v=onepage&q=novella&f=false.

Richey-Swanson, Tina. “What is the Difference Between Novels, Novellas, and Short Stories?” The Pen and the Pad, 21 July 2017, https://penandthepad.com/difference-novels-novellas-short-stories-7942025.html. Accessed 9 Oct. 2020.

Whendon, Tony. “Notes on the Novella.” Southwest Review, vol. 96, no. 4, 2011, pp. 565-571. JSTOR, https://www-jstor-org.bsuproxy.mnpals.net/stable/43473196?seq=7#metadata_info_tab_contents.

“Novella.” Encyclopedia Britannica, 17 Sept. 1999 (Copyright 2020), https://www.britannica.com/art/novella. Accessed 9 Oct. 2020.

“Novella” Merriam-Webster Dictionary, https://www.merriam-webster.com/dictionary/novella. Accessed 12 Oct. 2020.

“Here’s the thing about Novellas...” Modesty is for Suckers, 2 Fed. 2016, https://modestyisforsuckers.com/2016/02/02/heres-the-thing-about-novellas/.

“Of Mice and Men.” Barnes and Noble, https://www.barnesandnoble.com/w/of-mice-and-men-john-steinbeck/1100154558. Accessed 12 Oct. 2020.