Yes, I know, novellas aren’t really a genre, but when I started this sub-series I couldn’t find one word to cover all the types of literary works I thought I might end up covering, so we are all going to have to live with “genres”. OK? Many of you will know why I’ve chosen novellas as my next in the series: it’s because one of the several blogger memes running this month is Novellas in November.
Regular readers here will know that I love a novella – and it’s not because they are short, per se, but what the shortness implies. You know that I love short stories, so you will probably know what it is that I love about novellas – it is the ability to condense a story to its essence, while still engaging my heart and mind. In an interview post on my blog, author Nigel Featherstone who has a few novellas under his belt said this:
If short stories are about brevity, novels are about complexity. So that’s what I might love about working with the novella: they offer the best of both worlds: succinctness and sophistication. Thomas Mann’s Death in Venice and George Orwell’s Animal Farm are cases in point.
Of course, as he goes on to say, definitions like this “are ultimately meaningless: some short stories are about complexity, while some novels use up 200,000 words by saying not much about anything. A story must find its natural length, that’s the beginning and end of it”. True, but I do like the idea that novellas offer “succinctness and sophistication”. Kate Jennings’ Snake, on which I posted last week, is a perfect example.
I should, I suppose, discuss definition. The problem is that novella definitions tend to be based on word count, but we readers have no idea of the number of words in the books we buy. Consequently, we tend to go by number of pages, which has to be rough because the number of words per page can vary significantly from book to book. However, my rule of thumb is the same as that offered by the Novellas in November crew, which is “150 pages or under, with a firm upper limit of 200 pages”.
However, I do want to make the point that for me – and for all serious definitions I’ve read – a novella must be fiction (despite Griffith Review’s including creative nonfiction in its criteria!)
There is a sense that publishers are loath to publish novellas because they believe readers equate length with value and feel cheated paying a book price for something that’s 150 pages versus, say, 300 pages. However, some publishers do actively support novellas. They are often the smaller independent publishers. Most of the Australian-published novellas that I’ve reviewed on this blog have come from, in no particular order, Spinifex, Wakefield, Hybrid, Xoum, Scribe, Text, UQP, Blemish (no longer in existence), and Inkerman and Blunt (which published Nick Earls’ acclaimed Wisdom Tree series). Classic novellas, and novellas by “big” names are, of course, published by the big publishers like Penguin.
One publisher which has been actively promoting and supporting novellas is Griffith Review. Primarily a literary journal, Griffith Review has, since issue 38 in 2012, devoted one issue a year to novellas, which they call The Novella Project. Introducing the project, then editor Julianne Schultz discussed the changes that were happening in publishing, and said,
In this context we believe that the time is right for the revival of the novella – of those stories that are longer and more complex than a short story, shorter than a novel, with fewer plot twists, but strong characters. Condensed tales that are intense, detailed, often grounded in the times, and perfectly designed for busy people to read in one sitting.
They have a page on their website titled Notes on the novella. It comprises a collection of “notes” from contemporary Australian novella writers, including those published in the Novella Project editions. If you are interested in what writers think about the form, here is a good place to start. Holden Sheppard, for example, sees it as a “very pure form of storytelling”:
Novellas promise readers a direct flight to their destination – no layovers in Singapore or Dubai.
Love it …
Who would have thought there’d be a prize for novellas but, it seems, where there’s a form or genre, there’s likely to be a prize. Here are three for novellas:
- Griffith Review Novella Project is a competition that commenced in 2012, and sees winning entries being published in an edition of the journal. Entries can be fiction or creative non-fiction, ranging between 15,000–25,000 words. Winners have included established writers like Nick Earls, Cate Kennedy, John Kinsella and Stephen Orr. Catherine McKinnon worked her Novella Project III winner, “Will Martin”, into a novel, Storyland (my review).
- Viva La Novella Prize was also established in 2012 – by Seizure – with the first winner announced in 2013. It’s an annual prize awarded for works of 20,000-50,000 words. Seizure is “a social endeavour which runs under the auspices of Xoum Publishing“. Since the award’s inception, Brio/Xoum has published 20 short novels, meaning there’s been more than one winner per year. I’ve read two, and have a couple more on my TBR. It’s another wonderful initiative.
- Storyfest National Novella Writing Competition is an annual competition for high school students, that seems to have been running since 2018. The entries have to be between 8,000 and 20,000 words. You can see and read the overall and state winners on the Somerset Storyfest website. Lovely to see such encouragement for student writers.
Just search “novellas” in your browser and you will find a multitude of lists, but for a useful list of Australian novellas, check out Brona’s blog.
Are you a novella fan? If so, would you care to share some favourites?