Tag Archives: writing

Beginning, Middle and End

Read time: 3 mins

Stories have been an integral part of human culture for centuries. From ancient myths to modern-day novels, stories have entertained, educated and inspired people across time and place. A key element of a good story is its structure, which typically includes a beginning, a middle and an end. I would argue that for a compelling narrative sotries need a beginning, a middle and an end.

Beginning

The beginning of a story sets the stage for what is to come. It introduces the main characters, establishes the setting and provides the reader with a sense of the story’s tone and mood. In many ways, the beginning of a story is like a first impression: it sets the reader’s expectations for what is to come. The first line of a novel is espcially important to spark interest and intrigue so the reader is engaged. If the beginning is slow, confusing or uninteresting, the reader may lose interest and stop reading.

To avoid this, writers often employ various techniques to hook the reader in from the very beginning. This might include starting with a dramatic event, a vivid description or an intriguing question. For example, the opening sentence of Jane Eyre by Charlotte Bronte: ‘There was no possibility of taking a walk that day.’ This seemingly mundane sentence immediately raises questions in the reader’s mind: Why couldn’t they take a walk? What’s going to happen instead? By the end of the first paragraph, the reader is fully invested in the story and eager to find out what happens next.

Another fine first line is in Ray Bradbury’s Fahrenheit 451, where he writes: ‘It was a pleasure to burn.’ This line prompts many questions!

Middle

The middle of a story is where the action happens. This is where the characters face challenges and obstacles, where the plot thickens and where the tension builds. The middle – the heart of the story is where the reader should become more emotionally invested in the characters and the outcome of the story. Here the writer has the most opportunity to show their storytelling skills, using vivid language, suspenseful pacing and well-thought out plot twists to keep the reader involved.

Care needs to be taken in the middle section to avoid getting bogged down in too much detail or losing sight of the main plot. To avoid this, writers often plan using outlines or storyboards to keep the plot on track and to make sure each scene serves a purpose. They also pay close attention to pacing, making sure that the story is moving forward and that there are enough drama and interest to keep the reader engaged.

End

The end of a story is where everything comes together. Here the main plot is resolved, loose ends are tied in and the reader should get a sense of closure. The ending is often the most memorable part of a story and is what the reader will be left with long after they’ve finished reading.

To write a satisfying ending can be challenging. It’s important to strike the right balance between resolution and ambiguity, between closure and open-endedness. A good ending should leave the reader feeling satisfied, although not necessarily comfortable. The end should seem true to the story and the characters, rather than forced or contrived.

One technique that many writers use to create a satisfying ending is a twist. This is where the reader’s expectations are subverted in some way, and the ending takes an unexpected turn. For example, in the short story The Lottery by Shirley Jackson, the reader expects a pleasant town event, but the twist ending reveals a dark and disturbing ritual. This type of ending can be very effective, but it should be used sparingly and only when it serves the story.

In conclusion, the structure of a story with a beginning, middle and end is a time-tested approach for creating a compelling narrative. The beginning sets the stage, the middle builds the tension, and the end provides closure and resolution. However, there are many options for a successful story and this structure is by no means a rigid formula. Some writers will play with the order of events or experiment with non-linear narratives. Others may use different techniques, such as multiple perspectives or stream-of-consciousness narration, to tell their stories. The key is to find the structure that best serves the story and to use it to create a narrative that is engaging, meaningful and memorable.

Ultimately, a good story is about more than just its structure. It’s about the characters, the setting, the themes and the emotions it evokes in the reader. From a basic structure with a beginning, middle and end, writers can create a solid foundation on which to build a great story. The beginning hooks the reader in, the middle keeps them engaged and the end leaves them satisfied. With these elements in place, a writer can craft a story that resonates with readers and can have them seeking out more of the author’s stories.

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Book Review: ‘The Map of Leaves’ by Yarrow Townsend

Read time: 2 mins

At the front of the YA title, A Map of Leaves by Yarrow Townsend (published by Chicken House) is a delightful map, with places like Roaring Weir and Dead Elm Strand. The inclusion of a map often promises an adventurous journey and that is the case here.

Plants matter

We soon meet twelve-year-old Orla Carson, and her horse Captain, but already we are launched into a world where the interconnectedness of humans and nature, especially plants, is clear. Orla was introduced to the magic of the plant world by her mother who passed on a deep understanding of the properties, uses and unique qualities of the plants in their garden and beyond. Orla lives alone now and magically; plants speak to her. She is using different plants to treat Captain’s hoof.

Avoiding spoilers here. Changes lead to Orla’s way of life being threatened and with fierce independence and bravery she sets out to discover what disease is damaging the plants. The problem has also led to people getting sick and dying so the stakes are high.

Adventurous journey

On her travels Orla meets Idris and Ariana, who work to help her overcome some of the difficulties, at times despite Orla’s impatience and drive to correct the wrong impression many have of her mother, who also tried to counter the threat to the plants and villagers. The map is brought into good use as the journey takes Orla far up river and into areas she does not remember ever having been before. On the journey she gets to know Haulers, who she was rightly suspicious of, and she works against the interests of the Warden. She finds more about her mother’s efforts to find solutions.

Plant knowledge

A well-paced and exciting tale, this book is a joy. Inventively told in chapters which each begin with a description of a plant that has significance within the chapter. The language choice is fresh with well-observed descriptions of plants within their settings, including gardens, fields, dark forests, fast-flowing rivers and underwater. To give you a flavour here is a quote:

‘Some had leaves that curled and twisted against the glass. Others draped strings of red berries like jewels from hidden vines. Flowers like angels’ trumpets gathered high in the rafters, while creeping roots ran down like claws into the earth.’

— Yarrow Townsend, The Map of Leaves

The themes are of friendship and courage, with a strong appreciation of the importance of valuing and nurturing the environment. The story also shows how different characters can work for a common good, even when their goals do not completely align.

A page-turner of a tale with well-crafted characters and beautiful illustrations. It is hard to believe this is Yarrow Townsend’s debut, certainly an author to follow, whether the next book has a map at the front or not.

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Should My Book Have An Epilogue?

Read time: 2 mins

An epilogue – the final section of a story – brings closure and ties in loose ends. It can be an essential part of a narrative, helping to connect different elements of a story and give the reader some sense of resolution. But is an epilogue needed? There are pros and cons of including an epilogue in your story and you’ll need to consider whether it’s right for your story.

Pros of an epilogue

  • Closure: An epilogue can provide closure, and resolution to a tale. This can be especially important in a longer story, where the reader has invested more time following the narrative and its characters.
  • Future insight: An epilogue can give the reader a glimpse into the future, showing what happens to the characters after the main events have taken place. As well as closure this can provide a deeper understanding of the characters and their experiences.
  • Aesthetic appeal: An epilogue can be a beautiful and moving way to end a story. It can provide a sense of nostalgia and evoke emotions, helping the story and its characters be remembered long into the future.

Cons of an epilogue

  • Unnecessary information: Wrongly applied an epilogue may introduce information that seems unnecessary or irrelevant to the main story. This can reduce the impact of the narrative and detract from the reader’s experience.
  • Predictable: An epilogue can be predictable and formulaic, which gives a stereotypical ending to a story. This could be disappointing for readers who expect a more original and creative conclusion.
  • Detachment from the main story: An epilogue can sometimes feel detached from the main story, as if it separate and unrelated. This can be distracting and detract from the overall flow and cohesiveness of the narrative. It could appear to be a clumsy trail for a follow-on story to come.

Good examples

Here are some examples of stories with well-crafted epilogues and what they add to the book:

Pride and Prejudice by Jane Austen – here the epilogue provides a glimpse into the future of Elizabeth and Mr Darcy showing how the author sees their relationship would develop.

To Kill a Mockingbird by Harper Lee – this epilogue gives a view of where Scout, the narrator, gets to beyond the story, this adds interest and serves as a strong conclusion.

The Lord of the Rings by J.R.R. Tolkien – this epilogue unites different elements of the story and gives the reader an idea of what the characters go on to do after their main adventure.

The Great Gatsby by F Scott Fitzgerald – here the epilogue again shows the future of the characters and allows the readers to gain a deeper understanding of the story themes, including wealth, love and decadence.

Conclusion

Whether or not you include an epilogue in your story depends on your narrative. It can provide closure, more information on the characters and evoke emotions in the reader, but it can also be unnecessary, predictable and detached from the main story – lots to consider.

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    The Joy of Stories

    Read time: 2 mins

    Stories have been a part of human culture for as long as we can remember. From ancient cave paintings to modern day novels, storytelling has how we have preserved and passed on our cultural traditions, beliefs, and values between one another and from one generation to the next. But why do we find so much joy in stories? The answer lies in the power of imagination and empathy.

    The power of imagination and empathy

    Imagination is a crucial feature of the human experience. It allows us to escape a mundane reality and enter into new worlds filled with endless possibilities. When we read a good book our minds become completely absorbed in the story. We visualize the characters, their surroundings, and the events that unfold, allowing us to experience the story in a way that feels real to us. This form of escapism is enjoyable and may also be therapeutic. It allows us to take a break from the stresses of our daily life and experience emotions and situations that we may never encounter in our own lives.

    Increased compassion

    Stories also have the power to evoke empathy. When we read or hear a story, we become emotionally invested in the characters and their experiences. We may laugh, cry or become angry along with them, allowing us to better understand and relate to the emotions they are feeling. This form of emotional connection helps us develop a deeper understanding and appreciation of the complexities of human experience, and can even lead to increased compassion and understanding for others.

    Another aspect of the joy of stories is their ability to provide comfort and solace. Many of us have memories of being read to as children, or of losing ourselves in a good book during difficult times. The familiarity of a well-loved story can bring us comfort and a sense of security. The themes of hope, perseverance and triumph over adversity that are often found in stories can provide inspiration and encouragement, reminding us that no matter how difficult life may seem, there is always the possibility of a hopeful outcome.

    Encouraging critical thinking

    Stories also have the ability to challenge us, pushing us to think critically and expand our perspectives. They can introduce us to new ideas and experiences and challenge our preconceived notions about the world. For example, a story set in a different time period or culture can help us better understand and appreciate the experiences of others, and can broaden our understanding of what it means to be human.

    In conclusion, the joy of stories lies in their ability to transport us to new worlds, evoke empathy, provide comfort, and challenge us to think more critically. Whether we are reading a book, hearing an audiobook or listening to a friend’s tale, stories have the power to captivate and inspire us – they bring us closer together as human beings. So next time you find yourself lost in a good book, whether as a reader or as a writer, you’re sharing the joy of stories and the power they have to enrich our lives.

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    Book Review: ‘A Saint in Swindon’ by Alice Jolly

    Read time: 2 mins

    How A Saint in Swindon by Alice Jolly, published by Fairlight Books, was written was most unusual and it is an unusual novella. It came from a writing exercise in which the author and the Swindon Artswords Reading Group met, before the book was written, and the book group contributed ideas and suggestions for the story. In this way the readers became the commissioners of new literature, the details are set out in the book’s foreword and afterword.

    Dystopian

    A dystopian tale set in 2035, were there remains a human need for stories and a strange man, Jack MacKafka, comes to checks into a B&B run by Janey and Phil. Ensconced in his room he reads. He asks for meals in his room and later for books to be fetched from the library, specific books. As his stay extends he becomes a local celebrity and others are influences to increase their own reading with an unusual fervour and urgency.

    The times are changed by advances with climate change and by an anarchical breakdown of current norms. There are people camping in the street of the B&B speculating on the reader’s book choices. The list of twenty-nine books requested by Jack included classics and great works such as The Great Gatsby, Pride and Prejudice, 1984, Cider with Rosie and Heart of Darkness.

    Gentle humour

    Some towns people took the event very seriously, particularly Carmen. And, to avoid spoilers, a crime is committed. Written with gentle humour and observing everyday-folk reacting to unusual events leads us to consider reading choices characters make and whether patterns can be determined within the choices.

    Read the lines

    Having stirred a great deal of intrigue the stranger eventually leaves, having prompted many more questions than he has answered. Janey and her friends now have more books they’d like to read and Janey reflect that, “We were so busy reading between the lines that we forgot to read the lines themselves.” An intriguing ending leaves the suggestion that we cannot live on facts alone and need something beyond the everyday. Near the end the question hangs, ‘… how can you build the future if you do not dream?’

    An interesting example of experimental writing and its reach this short read won’t be everyone’s cup of tea but most will find it unusual. For me an intriguing creative collaboration that could have gone in a myriad of different ways.

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    Book Review: ‘Big Magic’ by Elizabeth Gilbert

    Read time: 3 mins

    Introduction

    In Big Magic Creative Living Beyond Fear (2015) Bloomsbury, Elizabeth Gilbert details what creative living involves and encourages courage, enchantment, persistence and trust in its pursuit.

    Courage

    Gilbert starts Big Magic, by describing a great poet who wrote poetry with a life-long commitment to search for grace and transcendence but he never much cared about being known. Within the advice he gave to aspiring writers, Gilbert points to what she considers, the central question on which creative living hinges – ‘Do you have the courage to bring forth the treasures that are hidden within you?’ In the first part of Big Magic, that creative living is described as ‘…living a life that is driven more strongly by curiosity than by fear’ and the need for courage is made clear. Fears are identified and they are seen as being bound with creativity, needing to be accepted within the creative process but not permitted to take control of it.

    Enchantment

    The second part of the book considers enchantment and how ideas present themselves, with a discussion of making yourself available to ideas. It is necessary is to show up, day after day, and do your work. Sometimes inspiration will be difficult to find and at other times it may come easily. We are urged to ‘let it come and go’. Gilbert describes great mystery in the process of collaborating with the forces of inspiration.

    Keeping good physical health is acknowledged as being good for your art. There is no necessity to suffer, as the stereotypical Tormented Artist or a martyr might suffer, but instead, to dedicate yourself to your path. This will lead to ‘… a charmed, interesting, passionate existence’.

    The feeling of needing permission is described, with suggestions of how to overcome it. Gilbert recommends striving not for originality so much but for authenticity. To do what you want trumping the motive of helping others. This point is highlighted with the delightful quote from ‘… Katherine Whitehorn: “You can recognize the people who live for others by the haunted look on the faces of the others.”’ On racking up student loans to study within art schools Gilbert warns people to be careful with themselves and to ‘… push yourself deeper into the world, to explore more bravely. Or go more deeply and bravely inward.’

    Persistence

    The importance of persistence is examined and the recommendation is a sensible approach, keeping pressure for financial success off the creation of art to reduce feeling the need for continuous inspiration. This being the best way to avoid quitting entirely. Being wary of perfectionism is stated as ‘Done is better than good.’

    Trust

    Trust is the subject of the penultimate section and approaching work from a place of ‘stubborn gladness’ (rather than from suffering) is what Gilbert favours. Taking a persona of a martyr is unhelpful but trying instead to be like the trickster, is suggested, seeing life as interesting: ‘… the trickster trusts the universe.’

    When it comes to passion versus curiosity Gilbert is somewhat against passion. Rather than follow your passion she prefers, follow your curiosity. ‘Curiosity is the truth and the way of creative living … Passion can seem intimidatingly out of reach at times … But curiosity is a milder, quieter, more welcoming, and more democratic entity. The stakes of curiosity are also far lower than the stakes of passion.’

    I’d like to think this review has piqued your curiosity to find a copy and read it, as it has inspiration, compassion and signposts to creative living.

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    How Not to Procrastinate When Writing

    Read time: 2 mins

    OK here goes – I write posts for my website but what is in this post applies across all other forms of writing too.

    10 am: I am writing the blog post. It is about time wasting.  I have started this post in my head so often that I have become an expert, an addict even, of procrastination.

    10:05 am: Look up the definition in not just one dictionary but three (in case perhaps they differ).

    So what is it?

    Cambridge Dictionary online defines it as ‘the act of delaying something that must be done, often because it is unpleasant or boring’.

    Being a lifelong practitioner, I’d say what really is at the root of the delaying is fear – fear of failure. If you do get it written then it can be criticised and you can be seen to have got it wrong.

    Avoiding distraction

    10:15 am to 11:20 am: Check for famous folk who’ve said anything about the subject, collect their quotes and select the best. (Why did that take so long?)

    Lots of people have written about procrastination. Probably most people have suffered from the problem. No resist! – I shall not spend the next three hours looking up more things to confirm this.

    If I let myself, I shall fall into the disappointingly familiar place of making notes on what I shall write one day. I do have to acknowledge that this would be replacing the doing of the writing.

    Reading is another activity I often resort to instead of doing the writing. I often exceed my budget for buying books and often traipse off to the library, either in the real world or online, in search of yet one more authority on the subject.

    How to stop procrastinating

    Some things which do, I think, help to bring the shining searchlight beam of focus necessary to overcome procrastination.

    • Be clear that the standard is not to write anything perfect (write roughly for your first draft – it can be edited later).
    • Tightly reduce any media you engage with until you have done the writing.
    • Turn off the likely distractors (phone, internet).
    • Only allow yourself to make a limited couple of extra notes.
    • Plan how long you think it should take and only give yourself that time plus five minutes.
    • Plan to reward yourself when you complete the writing by the deadline. (Perhaps plan something you know you’d like perhaps a cup of coffee, a turn at the crazily addicting computer game you have on your phone or a check of your email accounts).

    In the company of Dickens?

    It seems that many famous writers can relate to the problem of time wasting, as Charles Dickens (writer of fifteen novels) mentions in David Copperfield: ‘My advice is, never do tomorrow what you can do today. Procrastination is the thief of time, collar him.’

    How do you collar him and keep on track when you are writing? And what is your go-to reward when the writing is done? Do get in touch.

    For How to Write Speech in a Story click here.

    Words and a Phrase Editing Is Very Likely to Cut

    Read time: 2 mins

    Beyond the very first draft of a manuscript (where a writer is getting down the ideas in as flowing a manner as possible) there are certain words which are almost always be better substituted out. When these are swapped for a more precise, descriptive and interesting terms the writing quality improves. Here I point out half a dozen of the ripest for replacement.

    Suddenly

    This must go because it is standing in for words which will give the reader a context for what is about to be described, whether that be events or feelings. It is not necessary because if something happens suddenly telling us this will be slowing the pace down at just the time the action is happening and the pace has sped up.

    Nice

    This term is okay in a first draft with the excuse that the writer is in their flow and will replace it later. By the second draft this term should usually be replaced by a more descriptive term, as it is vague to the point of almost meaningless.  Substitute with a more precise term which will make the writing more interesting, more rhythmical and more enjoyable to read.

    Obviously

    Anything which is really obvious does not need mentioning and even if it is mentioned it does not need signposting. If the term is left in it can come across as unnecessary telling no reader is likely to appreciate. Any sentence which is obvious can be removed and improve the writing, making it more relevant and more punchy.

    Actually

    There are so many word to choose from to convey what the writer wants the reader to know and including actually is often irrelevant and belittles the rest of the sentence it is put with. In editing a term is one I often cull.

    Thought to herself

    Thought alone says it there is no need to add the to himself/their self etc. How do you think to anyone else? No is is just thought.

    Inevitably

    Well sometimes this has something to add but more often than not it would be best left out. It often points out the obvious or the actual so it is, for the same reasons those words get smoothed out in a second draft, best removed.

    Trim this lot and editors will prefer yto see these switched for any more interesting and fresher word choice. The second draft will be livelier and tighter. Readers will find your writing more engaging – what’s not to like?

    To see how I can help with your fiction or creative nonfiction do get in touch.

    How to Write a Great Character

    Read time: 4 mins

    Writers place characters in stories to have an impression on their readers.

    “As I don’t write characters that leave no impression on me.”

    – Lauren DeStefano

    Creating characters

    When creating main characters in your writing they need to be make an impact on the reader and should be believable and engaging. Main characters are more believable and arguably more interesting if they are multifaceted and show identifiable personality with motivation to pull them through the events of the story.

    Memorable main characters

    Unlike side characters the main characters in most novels will have memorable names which clearly distinguish them from other people. The main characters will also be developed through the story and undergo some degree of change, this process is often described as the character arc. This arc is most pronounced with the main character, especially the protagonist.

    Your main character is so important that they are likely to be introduced within the opening section of the novel where they will be introduced in an active scene making them relatable for the reader who will witness the character making a decision or reacting to something rather than reflecting on events in their backstory.

    What makes a character different from everyone else, is characterization. Describing direct characterisation Janet Burroway highlights a character’s qualities as speech, action, appearance and thought and to these Matthew Salesses adds that we should think about our character’s attitude. In this we develop understanding of their actions and decisions. He suggests an exercise a writer can carry out to focus on the character’s attitude by considering as broad as possible ‘They [the character] were the kind of person who … ’  by answering this question repeatedly about the character, the writer focuses on what attitudes the character holds. The significant features will be the basis of what makes that individual different from others and it is that which will make them interesting and engaging.

    For the protagonist this attitude is likely to include some of several positive and appealing features.

    Orson Scott Card reminds us that some characters are drawn as relatively flat characters which was pointed out by E.M. Forster, who suggests that, in fiction flat characters can be just as important as rounded characters. An example of a flat character would be Mrs Micawber who never deviates from supporting her husband.

    Craft complex protagonists

    The delight in a complex character can be their unpredictability. It is this ability to surprise which intrigues and engages as Mary Kole points out the best characters are those readers either love dearly or that intensely. For igniting of this passion within the reader comes from the same passion for the character in the writer. The level of care the writer has about their character can be increased by them getting to know that character in detail perhaps by listing answers to questions about the individual to build up a clear picture of what the character looks like, what food they like, what the main events were in their life, who they mix with and where they live and are they in love. From this bank of information some detail will be used in the writing but rather like the tip of an iceberg most will just inform the writer so they can build up a more rounded personality to set in action within their story to carry out the events of the plot and interact with other characters through the story.   

    Another technique for developing character is to decide on a character and in a scene then, as an exercise, write what that character would be thinking – their internal monologue. By doing this for several different characters you begin to hone in on the differences between those characters which will help to find those you are most passionate about and most interested in writing about. Awareness of the internal monologue could also be the basis for incorporating some of that thought within the novel. This can increase how the reader relates to that character allowing them to witness internal conflict and personality closely.

    Often characters are made to stand out by having a memorable quality or quirk and this can be used to differentiate individuals, to surprise and bring both interest and uniqueness.

    Make marvellous antagonists

    To bring conflict to a story the protagonist is likely to be up against antagonistic forces and most often this will be in the form of an antagonist. This character will be interesting if they are much more than one dimensional. The stronger or more objectionable your antagonist the more powerfully they can work against your protagonist. This will lead to more extreme measures being required by to overcome the conflict the protagonist will find themselves in.

    Antagonists are more satisfying if they possess their own morality which the reader can see playing out this may be part of their backstory or a feature of their personality but it needs to make them seem rounded and believable with their own consistent objectives and motivation.

    The same questions could be used to build up a bank of information on this character or you could develop a specific set for these. Such a set could include, what their weakness is, what they secretly enjoy and what are they like most about themselves.

    Whatever the conflict and struggle between the two main characters readers do not want the protagonist to succeed easily so the villain must have skills and allies to work to mount a convincing and enduring challenge to sustain the story. The stakes of your story can increase where the two main characters are pitching against each other strong opposing forces lead to higher stakes and greater reader engagement.

    Authors seek to make their main characters lifelike but as David Morrell points out there is a paradox here as we have never known any living person in the way we can feel we know a written character. In fiction we can access someone’s innermost thoughts and emotions, an experience which he describes as ‘…totally unrealistic, however magical.’ He also cites Forster saying one of the central appeals of fiction is that novels suggest a more comprehensible and thus more manageable human race.

    Bibliography

    Morrell, D. 2008 The Successful Novelist, Sourcebooks Inc. Naperville, Illinois

    Boulter, A. 2007, Writing fiction, Palgrave, Hampshire

    Forster, E.M. 1956 Aspects of the Novel, Mariner Books,New York

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    How Long Should My Book Be?

    Read time: 3 mins

    Often writers will ask me variations of the question ‘how many words make a proper book?’ This question suggests the questioner is probably a new writer. They may not have spent long looking at the type of books they are writing or aspire to write.

    As with many questions about writing, my immediate thought is, it will depend. Although some will say that a creative should let their writing flow and produce the manuscript which tells their story and writing should not be constrained by a set wordcount, this is not going to help a new writer. In the early stage of getting a first draft written, flowing creativity is most helpful and story is paramount. The beginning, middle and the end need to be crafted. At some point in the writing process, perhaps still at first draft or when self-editing and editing, manuscript length is worth considering.

    When does it NOT matter how long a book is?

    When the words are precisely as the author wants and the intention is to self-publish, the wordcount does not matter. Some books may be made in this way, for example where a poet has invested a great deal of time crafting their lines and verses and has a group of themed poems to go into a volume. The author is the final arbiter and if this is their process the reader could be presented with any wordcount in a book. Once an author has become established and has a loyal following, they can be less concerned about the wordcount of their manuscripts.

    When DOES it matter how long a book is?

    With digital publishing typesetting constraints are not what they once were but physical books still have the same issues.

    Picture books are typically thirty-two pages long, as they need to be in page count multiples of eight. The words need to fit within this construction.

    Most books are not tied to a fixed page count, and equally most are not entirely free from an expected wordcount norm.

    At any stage in the writing and publication process the word count of a manuscript comes with implications.

    • Getting it written – if you know the wordcount you are aiming to write for a project (whether book, blog post or article) you can use it as a gauge for how far remains to completion. The wordcount can be helpful to break the writing down into chunks which are more manageable to consider as chapters, scenes or acts to help bring a balance or pace to the narrative. Grouping wordcounts within a long-form manuscript can help outline and plan.

    • Managing the project – wordcount can be used to monitor progress. Awareness of wordcount helps with scheduling dependent activities such as self-editing, copyediting, proofreading, beta readers, publication and marketing.

    • Meeting genre expectations – book genres come with standards for the number of words they require which is based on traditional publishing. Staying within the recognised wordcount appropriate to genre will prevent frustrating the expectations of others.

    • Wordcount will have a bearing on editing and proofreading costs; production costs and perceptions of value. Books which seem short may appear as poor value for money and books that are longer than readers expect may be perceived as drawn out or demanding.

    What are standard traditional publishing wordcount guidelines?

    These are benchmarks wordcounts and come from various sources including Hill (2016), and the Writers and Artists Yearbook (2020):

    Children’s Picture Books: up to 500 (absolute maximum 1,000)

    Short Stories: 1,000 to 8,000

    Children’s Chapter Books: 6,000 to 10,000

    Novellas: 20,000 to 50,000 (some recommend a maximum of 40,000)

    Novels: between 40,000 and 100,000 but typically 90,000

    Young Adult: 50,000 to 80,000

    New Adult Novel: 60,000 to 85,000

    Horror, Mystery, Suspense, Thriller: 70,000 to 90,000

    Mainstream Romance: 70,000 to 100,000

    Literary Fiction: 80,000 to 110,000

    Women’s Fiction: 80,000 to 110,000

    Crime: 90,000 to 100,000

    Science Fiction: 90,000 to 125,000

    For a new writer it is advisable to keep within wordcount guidelines as it is less likely to succeed as an exception than by conforming, although there will always be some exceptions.

    To see how I can help with your fiction or creative nonfiction do get in touch.

    Resources:

    Hill, B. (2016). The Magic of Fiction: Crafting Words into Story: The Writer’s Guide to Writing and Editing. Atlanta: Title Page Books

    Writer’s and Artist’s Yearbook (2020). Writer’s and Artist Yearbook 2020 113th ed. London Bloomsbury Yearbooks