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What Is the Difference Between a Novella and a Short Story?

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We typically put fiction into one of two categories: It's either a short story, or it's a novel. But there is another variation that lands somewhere in between the two. Yes, the novella. What exactly separates a short story from a novella from a novel, you ask?

As with most art forms, the label is somewhat malleable. When it comes down to it, though, it's all about word count. Atonement author Ian McEwan, discussing his love of the form in The New Yorker in 2012, defined the novella as being between roughly 20,000 and 40,000 words. Writer's Digest says it can run up to 50,000 words. Around 30,000 is more typical.

Anything more than that 50,000 words is probably a full novel. Short stories, which are designed to be read in one sitting, are usually only a few thousand words long and written for publication in a magazine or as part of a collection. The highest word count many literary magazines will publish is around 10,000, but most stories are even shorter, under 7500 words or so.

This leaves the novella in a weird in-between space where it's too long to publish in a magazine or literary journal and too short to publish as a book. (Yes, there's another in-between category for those stories between 10,000 and 20,000 words: the "novelette.") For publishers, putting out a novella isn't a very attractive option. Novellas look pretty small once they're bound, and customers aren't always keen on spending hardcover prices for teeny-tiny volumes.

Some of the difference between the forms is just marketing, though. Novellas have been around since the Middle Ages, and some standard English class assignments are on the list. Even if you don't know it, you've surely read one, probably thinking that it was just an extra-long short story or a rather short book. Perhaps it was Joseph Conrad’s Heart of Darkness, or Charles Dickens's A Christmas Carol, or Franz Kafka's The Metamorphosis. Maybe it was Edith Wharton's Ethan Frome or H.G. Wells's The Time Machine. All can be classified as novellas.

Despite the fact that these novellas turned into classics, you probably don't see a lot of contemporary examples at your local bookstore. Even the most popular writers have trouble finding a publisher willing to take on their in-between length stories. Stephen King, or example, struggled to get them out into the world until he finally published Different Seasons, a collection of four of his novellas, in 1982. And that had nothing to do with the quality of those stories; one was later adapted for the screen as The Shawshank Redemption.

In the afterword to the book, he wrote of the trouble he faced getting the novellas published because they were "too long to be short and too short to be really long." When he pitched his editor on a book of novellas, King recalled, the editor was polite, but "his voice says some of the joy may have just gone out of his day." In the end, he got the book published, but even for a hugely popular author, it was an uphill battle. Even for the biggest names in publishing, it seems, the novella is a no-go.

But that doesn't mean you shouldn't seek them out; according to McEwan, they're the "perfect form of prose fiction." Even if they go on a little longer than 10,000 words.

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Are There Number 1 Pencils?
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Almost every syllabus, teacher, and standardized test points to the ubiquitous No. 2 pencil, but are there other choices out there?

Of course! Pencil makers manufacture No. 1, 2, 2.5, 3, and 4 pencils—and sometimes other intermediate numbers. The higher the number, the harder the core and lighter the markings. (No. 1 pencils produce darker markings, which are sometimes preferred by people working in publishing.)

The current style of production is profiled after pencils developed in 1794 by Nicolas-Jacques Conté. Before Conté, pencil hardness varied from location to location and maker to maker. The earliest pencils were made by filling a wood shaft with raw graphite, leading to the need for a trade-wide recognized method of production.

Conté’s method involved mixing powdered graphite with finely ground clay; that mixture was shaped into a long cylinder and then baked in an oven. The proportion of clay versus graphite added to a mixture determines the hardness of the lead. Although the method may be agreed upon, the way various companies categorize and label pencils isn't.

Today, many U.S.  companies use a numbering system for general-purpose, writing pencils that specifies how hard the lead is. For graphic and artist pencils and for companies outside the U.S., systems get a little complicated, using a combination of numbers and letters known as the HB Graphite Scale.

"H" indicates hardness and "B" indicates blackness. Lowest on the scale is 9H, indicating a pencil with extremely hard lead that produces a light mark. On the opposite end of the scale, 9B represents a pencil with extremely soft lead that produces a dark mark. ("F" also indicates a pencil that sharpens to a fine point.) The middle of the scale shows the letters and numbers that correspond to everyday writing utensils: B = No. 1 pencils, HB = No. 2, F = No. 2½, H = No. 3, and 2H = No. 4 (although exact conversions depend on the brand).

So why are testing centers such sticklers about using only No. 2 pencils? They cooperate better with technology because early machines used the electrical conductivity of the lead to read the pencil marks. Early scanning-and-scoring machines couldn't detect marks made by harder pencils, so No. 3 and No. 4 pencils usually resulted in erroneous results. Softer pencils like No. 1s smudge, so they're just impractical to use. So No. 2 pencils became the industry standard.

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What Are Curlers Yelling About?
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Curling is a sport that prides itself on civility—in fact, one of its key tenets is known as the “Spirit of Curling,” a term that illustrates the respect that the athletes have for both their own teammates and their opponents. But if you’re one of the millions of people who get absorbed by the sport once every four years, you probably noticed one quirk that is decidedly uncivilized: the yelling.

Watch any curling match and you’ll hear skips—or captains—on both sides barking and shouting as the 42-pound stone rumbles down the ice. This isn’t trash talk; it’s strategy. And, of course, curlers have their own jargon, so while their screams won’t make a whole lot of sense to the uninitiated, they could decide whether or not a team will have a spot on the podium once these Olympics are over.

For instance, when you hear a skip shouting “Whoa!” it means he or she needs their teammates to stop sweeping. Shouting “Hard!” means the others need to start sweeping faster. If that’s still not getting the job done, yelling “Hurry hard!” will likely drive the point home: pick up the intensity and sweep with downward pressure. A "Clean!" yell means put a brush on the ice but apply no pressure. This will clear the ice so the stone can glide more easily.

There's no regulation for the shouts, though—curler Erika Brown says she shouts “Right off!” and “Whoa!” to get her teammates to stop sweeping. And when it's time for the team to start sweeping, you might hear "Yes!" or "Sweep!" or "Get on it!" The actual terminology isn't as important as how the phrase is shouted. Curling is a sport predicated on feel, and it’s often the volume and urgency in the skip’s voice (and what shade of red they’re turning) that’s the most important aspect of the shouting.

If you need any more reason to make curling your favorite winter sport, once all that yelling is over and a winner is declared, it's not uncommon for both teams to go out for a round of drinks afterwards (with the winners picking up the tab, obviously). Find out how you can pick up a brush and learn the ins and outs of curling with our beginner's guide.

Have you got a Big Question you'd like us to answer? If so, let us know by emailing us at bigquestions@mentalfloss.com.

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