Little by Little… Novel Word Counts

I’ve been a bit quiet on the blogging front for the last couple of weeks, but there’s a good reason. I’ve been working on a short story; a tale that began life as One Night In England back in October of 2014. Today I finished it. I call it a short story but in actual fact it’s the longest thing I’ve ever written, at 27,000 words. I also say I finished it, but I feel the ending is a little truncated and that a redraft is in order before I even let some willing volunteers take a peek at it. Nevertheless, I’m chuffed. I’ve completed a coherent piece of writing that has exceeded the length of anything I’ve written before. Because novel word counts are important.

Size matters

At 27,000 words, I feel that my story is in embedded in a no-man’s land of categorisation. It’s not a novel, but I feel like it’s a little more than a short story. A novella, then? Where does one class end and another begin?

A quick scan through the top Google results on the subject shows varying results, but it seems for typical adult novels word counts are somewhere between 70,000 and 100,000 words: huge in comparison to my miniature tale. But heartening, in a way – writing my novella has taught me a few things, and one of them is how many words go into describing an event or period of time. The whole story is housed within a twenty four hour day with room to spare; the events of a single afternoon and the following evening in this case adding up to somewhere between a quarter and a third of an adult novel’s length.

Of course, this isn’t a rule of word counts – it just so happens that there was enough going on in my story that it added up to what it does. Some of it may not even make the final cut.

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Upside-Disney: Subverting the Fairy Tale

I watched Maleficent this week. It’s Disney’s live action revision of the studio’s own Sleeping Beauty, told from the point of view of the eponymous villain. I enjoyed it; Angelina Jolie pulls it out the bag with a great performance that forms the central pillar of the film. It got me thinking about the style of modern Disney films, and about the modern approach to adapting or reimagining fairy tales. Subverting fairy tales, to be exact.

The Wolf in Sheep’s Clothes

I’m conscious that putting a new spin on a fairy tale is nothing new to cinema. The Company of Wolves, Neil Jordan’s 1984 adaptation from Angela Carter’s The Bloody Chamber, springs to mind as an early and particularly well-realised twisting of a classic tale.

The Company of Wolves is a loose mutation of Little Red Riding Hood. But the film isn’t so much a subversion of a fairy tale as a stripping of it; a skinning away of lupine flesh and fur to reveal the skeleton of the story. Beneath the surface it’s a cautionary tale that warns of the dangers of stepping off the woodland path, of meeting strange men in the forest. There’s the wolf of horror nestled inside the approachable fairy tale sheep.

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