Friday, 24 October 2014

A Novelist’s View of the Emerging Characteristics of the Novella

 All  novelists have their own vision of the nature of the novel,

Me? As a novelist I come from a lifetime of reading hundreds, probably thousands of novels and writing a couple of dozen , I guess I have taken
Reading, writing, research -
all part of embarking on a novella
the novel form for granted. 

On reflection, in addressing the task of writing a novel I have seen it as a long piece of work: a story of between eighty and a hundred and twenty thousand words - with a distinctive range of characters; set in an authentic time in history up to the present day;  in a recognisable place or moving between recognisable places in the world.

I would see the novel  as having a core group of varied and characters with one or more probably two characters at the centre of this group, one of whom may be the narrator. In the action of the novel the spotlight might fall on different members of the core group at different times, often to illuminate the life journey, the transformation and the quest of the central character.

Of course this is a lot of stuff , but the length of the novel allows elbow-room to explore and illuminate all these aspects of a narrative. I like the form because in many ways it fits the size and hyperactive nature of my imagination. A novel can be leisurely, exploratory, urgent and illuminative in part and in turn. It can explore different points of view and leave space for the reader to join the narrative with her or his imagination and link it all together into a shared fictive world.

Tension has greater or lesser a part to play in the long novel – it informs the strong forward movement of the narrative and the character development. Tension can be evident more strongly in the thriller, adventure or crime genre – sending the reader hurtling through the novel alongside the hero or villain figures. Other novels allow themselves a more leisurely approach to their heroes’ journeys, allowing psychological exploration and thematic speculation more space for the reader to enter the action.

So what might the novella – sometimes called the ‘short novel’ - lose of all this in a form that only runs to a length of – arguably - thirty to fifty thousand words?

One might argue that it should lose nothing  - except perhaps bodies. As one studies this form with its long history in European literature and its hidden history (for reasons worth exploring) in English language literature –one begins to realise that where the novella is concerned, anything goes. Having recently read novellas in some numbers it seems to me thar the only common denominator between novellas is that they are short.

Brainstorming my new novella 

Read some of my  initial thoughts in relation to JL Carr's Month in the Country. HERE 

And  log in for  further thoughts on the Novella on this page after our exploratory Workshop at the Lafkaido Centre in Durham City tomorrow. Look HERE for Avril's take on our event.

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