Novellas vs Novels

An extra 3 Day Novel post - or for anyone interested in fiction

photo: Lena Derevianko for Unsplash

I’m feeling a need to have something of an “extra” with the looming 3 Day Novel, and some of you have let me know you’re planning on either registering for it—making it official—or simply using the weekend to write.

Also, I’m hoping this is just useful for all—as in “good to know.”

(You may notice I have not posted my usual grammar/punctuation piece or a book review this month. Instead, I’m posting pieces for the contest. In September, all will return to the usual.)

I have set up a discussion thread, and will post it soon. (Note that the final day for registration is Sept. 3!)

You can use The Unschool thread for any pre-writing questions you have, and then post any you have once the 72 hours is underway.

Note that the discussion thread will be for paid members only.

The “Primer” post, and “then there are exceptions”

This is something I say often. And it’s true (especially in writing for children, in which the audience has less expectations than the adult readers… which means all kinds of magic can happen!)

But I’ve been thinking a lot about this since posting my “novel primer” piece.

The primer piece is filled with useful info, true… but the writing of a novella—which is what the 3 day novel is, in truth—can be a time to experiment, a time to grow, to reach out.

What is the difference between a novella and a novel?

There’s a quote in the “primer,” about the “expansive” quality of novels. Novels are multiple hundreds of pages—they have sub- and sub-plots. They can be tangential. A first draft of a novel can wander. If you had time to view the Michael Ondaatje interview this week, you’ll know he spoke about how his first drafts can take two years, just to figure out what the thing is about. This rings so true for me, having written a number of novels, with each taking longer than the last.

The 3 Day Novel contest has no such time!

A novella is about 20-50,000 words. And most novels are about 80,000. That “expansiveness” gives way to a quicker pace for the novella. Which also means a tighter focus on what is at hand. Note that the “quicker pace” does not mean it is simply a summarizing of what should have been a novel! This is KEY.

If you are trying to put together an outline before the contest (as you are allowed to do, given the rules), do think about this. If you find your plot becoming too thready—too many threads!—and said threads are feeling as if they are all coming undone, start striking some out. (Or leave it as your “novel” idea, and find a new “novella” idea. Ideas lend their selves to different forms and genres.)

Check out the post I wrote last week on the 3 Day Novel: note Amy Whitmore’s words in the comment section, about an “event” to kickstart your idea. This is an excellent way to think about a “novella”: what event do you want to explore? What “single thing”?

One is enough for this length of work. One means you will not be summarizing and surface-skimming. One means that you can explore, and find depth. Because novellas do have depth.

I’m not saying “no sub-plots,” but any subplot will be closer to the plot than you might find in a novel of length. Tightness, closeness to topic. Or event. Or situation. (What works for you.)

Distillation. In a word.

And this is where I’ve ended up mulling over my “primer” post.

Because I think “tone” is another KEY piece of a successful novella. Along with exploring your story/focus, tone is key, and with this, you can have some genuine fun… which works well when you are devoting 72 hours to this task.

Working in such a quick turnaround allows you a unique opportunity to explore TONE. Tone is something that becomes a struggle when it takes months and years to create a first draft. Let alone trying to hold to it when the whole process takes longer.

But in 72 hours, you can stick with a tone, be it wordy first person stream-of-consciousness; Hemingway-esque brevity; Elizabeth Smart-worthy prose-poetry; hard-boiled noir; something completely undone and unique… Your 72 hours can be a dive into something you’ve wanted to do, but not allowed yourself because of expectations of self or others, or the Thing of Time… or whatever. This 72 hours can be a gift of wonder.

We still have a couple weeks to go. You may not want to outline or plan. But if you do want to do such experiment, or work with TONE, I’ll suggest you “work/read around” whatever it is you want to do, or are feeling your way toward.

What is “working/reading AROUND?”

I liken it to buying a large piece of property on which to build a home. Imagine such a rural place—something treed, maybe a creek running through. Rises of land here and there. Dips.

In order to know this land, you might spend time walking the perimeter, more than once. You’ll need to envision the driveway or path. Maybe you’ll set up a tent, one night facing west, and another east. Where is a natural break in the trees? What side might you want protection from the wind? Imagine this process.

Finding the story in your novel/la is not different. You are going to ponder and read and walk and explore it all.

To read in these two weeks:

Nonfiction and poetry—for “facts” and for language rhythm and vocabulary and evocation of the setting and emotions with which you imagine your novella. You might read fiction, too, if there's a voice you want to hear. (Don’t go in fear of “taking on” someon else’s voice; it’s how we learn. Your story will be yours.)

Read what your gut leads you to, in this preparatory work. Do not over-analyze. This is really a matter of artistic trust in the universe. Yes, I know that sounds to be whatever-word-you-want-to-attach-to-it—new agey—but honestly, you wouldn't be here if you didn’t have some subconscious understanding of what I’m talking about.

It’s borne of what you believe about the statement, “Nobody needs art.”

Don’t ponder that for too long.

Get back to reading around your project, your characters, how you are envisioning their lives and beliefs. You are not reading towards the project in any straight-head way. You are walking the perimeter, determining what window of your home the sunrise will come through…

When something moves you, note it. Leave it at that.

To sum

—novellas are more focused than a novel — less sub-plots, few tangents, fewer conflicts and complications

—often, they focus tightly on one character

—they may not be broken into chapters, and might be read in one sitting; think what this does to pacing

—you can be more experimental with tone

—consider working from one situation or event

*remember: a novella is not a compressed novel! It is its own form.