How Long Should Your Book Be (Really)? A Genre Guide to Novel & Novella Lengths

Writers love to overcomplicate things. We argue over word counts, obsess over whether a book is “long enough” to be taken seriously, and panic when we realize we’ve spent six months writing something that might be a novel but could be a novella (or worse—an overgrown short story that needs to be put out of its misery).

And then there’s the screenplay dilemma. Some stories feel too visual, too fast-moving to be a novel. Some ideas scream “cinematic”—but then you remember that writing a screenplay means cutting out all the inner monologues and beautiful descriptions you slaved over, and suddenly you’re back to pretending your book is fine as-is.

It’s almost a rite of passage—obsessing over numbers as though there’s some secret formula that guarantees success. Too short, and you worry nobody will take you seriously. Too long, and you’re terrified no one will have the patience. The truth? Word count matters, but it’s not a one-size-fits-all situation. Different genres, different audiences, and different storytelling goals all affect how “long” your book should be.

Below is a practical guide to typical word counts and why they matter. Keep in mind, these are ranges, not rigid rules. One author’s breezy 60,000-word masterpiece might do just fine, while someone else’s 140,000-word epic might keep readers enthralled. Ultimately, the question is: Does your story warrant the space you’re giving it?

General Word Count Ranges: The Quick Reference

• Flash Fiction: 100–1,500 words
• Short Stories: 1,500–7,500 words
• Novellas: 20,000–50,000 words
• Novels: ~70,000–120,000 words (broadly speaking)
• Epic Fantasy & Historical Fiction: 100,000–200,000+ words (for the truly ambitious)
• Middle Grade & Young Adult: 30,000–90,000 words

But let’s dig deeper by genre—because an 80,000-word sci-fi may still feel incomplete, while a 50,000-word thriller might be exactly enough.

1. Fantasy & Science Fiction: 90,000–150,000 Words

If you’re writing about distant galaxies, complex magic systems, or otherworldly creatures, you’ll probably need more space. Why? Because worldbuilding eats up word count. You’re not just introducing new characters—you’re explaining technology or magic, establishing cultures, setting up political intrigue, and making it all feel real.

Key Questions to Ask Yourself

• Am I overexplaining the setting? (Readers can fill in some gaps on their own.)
• Do I really need three separate prologues? (Hint: Probably not.)
• Is every subplot essential, or am I indulging in random side quests?

Fresh Examples

• Uprooted by Naomi Novik hovers around 140,000 words—plenty of room to establish a lush forest and an ancient wizard.
• A Psalm for the Wild-Built by Becky Chambers, a shorter sci-fi/fantasy blend, lands closer to novella range (~40,000 words) yet still paints a vibrant world.

When to Pull Back
If you’re clocking over 200k words for a debut novel, consider splitting it or cutting ruthlessly. Readers will forgive a lot if the story’s gripping, but agents and publishers may balk at super-sized manuscripts unless your name is already well-known.

For additional guidance on building immersive worlds, check out: Worldbuilding 101: Building Immersive Worlds (Without Getting Lost Forever).

2. Thrillers & Mysteries: 70,000–100,000 Words

Thrillers and mysteries rely on tension. You want readers on the edge of their seats, not slogging through endless exposition. A leaner word count often suits the fast pacing these genres demand.

Things to Keep in Mind

• Red herrings are fun, but don’t add so many that the plot becomes bloated.
• Pacing is crucial. If you’re inching past 110k words, see if some scenes can be condensed or if certain subplots aren’t pulling their weight.

Fresh Examples

• The Silent Patient by Alex Michaelides is around 85,000 words, striking a balance between swift pacing and psychological depth.
• One by One by Ruth Ware sits around 90,000 words—enough room for claustrophobic suspense without over-staying its welcome.

When to Add More
If your thriller is barely hitting 50,000 words and feels rushed, consider whether you’ve fully developed the stakes. Maybe the protagonist’s backstory needs more time, or the mystery’s resolution needs another twist.

3. Horror: 70,000–90,000 Words (Sometimes Less)

Horror thrives on atmosphere. You might think you need hundreds of pages to build dread, but sometimes a brisk, 70k-word novel can punch readers right in the gut. The key is balancing the slow-burn tension with the payoff.

Pitfalls to Avoid

• Inflated descriptions of every gory detail. Less can be more—especially if your readers’ imaginations do the heavy lifting.
• Over-long “middle slump” that deflates the sense of danger. Keep that creeping dread front and center.

Fresh Examples

• Mexican Gothic by Silvia Moreno-Garcia is around 90,000 words, blending psychological horror with a decaying mansion’s secrets.
• Bird Box by Josh Malerman lands near 70,000 words, delivering relentless tension in a relatively short span.

Going Short
Some horror novellas are legendary—think The Strange Case of Dr. Jekyll and Mr. Hyde (~25,000 words). If your story is purely about one horrific situation or concept, a compact form can heighten the impact.

4. Romance: 50,000–90,000 Words

Romance readers often devour multiple books a month, which is one reason shorter lengths do well in this genre. The main ingredient is the emotional connection—if that’s solid, you don’t need 120k words of angst unless your story truly calls for it.

Key Points

• Category Romance (those short, addictive titles found in grocery stores) often sits around 50k–60k.
• Longer Historical Romance can stretch to 90k or beyond due to elaborate settings or social contexts.

Fresh Examples

• Beach Read by Emily Henry is about 100,000 words—fleshing out a deeper connection and real-life baggage between the leads.
• Get a Life, Chloe Brown by Talia Hibbert is close to 90,000 words, balancing humor, steam, and emotional arcs.

When to Edit Down
If your romance is sliding past 100k words, ask if you’re repeating drama or artificially prolonging the central conflict. Sometimes that tension sweet spot hits around 75k–85k, giving enough room for a satisfying slow burn without wearing readers out.

5. Literary Fiction: 80,000–120,000 Words (But Varies Wildly)

Literary fiction is hard to pin down. It can be minimalistic and short, or sprawling and layered. You’re often focusing on language, character psychology, and thematic depth rather than plot alone.

What to Watch

• Does your poetic style justify the length? If you’re meandering without purpose, even your most beautiful sentences might lose impact.
• Does each chapter shift the emotional or thematic direction? Literary readers might be patient, but they still want forward momentum.

Fresh Examples

• Normal People by Sally Rooney sits around 70,000 words—a tight exploration of two characters’ relationship over time.
• A Little Life by Hanya Yanagihara is a hefty 200,000+ words, but it’s deeply character-focused, with each segment revealing more wounds and complexities.

Are You Overdoing It?
If you’re pushing 150k words, be sure every chapter or perspective truly adds to the themes. Literary readers can handle slow pacing, but they still appreciate a novel that knows where it’s going.

For additional insights on balancing narrative depth and word count, consider exploring: The Cost of Words: Write.

6. Young Adult (YA): 50,000–100,000 Words

YA covers a broad range—from contemporary high school dramas to sprawling fantasy realms. Younger teens might expect shorter reads (50k–70k), while older or more complex YA can push up to 100k.

Things to Remember

• Teens are discerning, and they often read quickly. A bloated 120k-word YA might intimidate, unless the hook is extraordinary.
• Maintain pacing. Even emotional stories about identity or coming-of-age should keep readers engaged, not weighed down by filler.

Fresh Examples

• Love, Hate & Other Filters by Samira Ahmed is about 56,000 words, focusing on a single protagonist dealing with cultural expectations and personal fears.
• Legendborn by Tracy Deonn edges around 120,000 words, thanks to an intricate fantasy system woven into modern-day college life.

Check Your Length
If your YA is short (under 50k), make sure you haven’t glossed over crucial character development. If it’s over 100k, confirm that the complexity truly warrants the extra words.

Book Pages vs. Manuscript (A4) Pages: What Authors Should Know

When you're planning or preparing your manuscript, be aware that there's a significant difference between a published book page and a typed manuscript page.

A typical published book (usually 6x9 inches, formatted with generous margins and spacing) usually holds about 250 to 300 words per page after final formatting.

A typed, double-spaced manuscript page on A4 or US Letter size (the common standard for manuscript submissions to editors, agents, or publishers) generally contains about 250 to 300 words as well—but remember, manuscript pages are usually typed double-spaced in 12-point Times New Roman font with generous margins. Even though the word count per page is similar, manuscript pages are larger, and text is less dense, making them look quite different visually from their published counterparts.

For authors, this means your manuscript submission might run significantly longer in page count compared to the published edition. For example, a 300-page published novel might first exist as a 350–400-page manuscript during submission and revision. Keep this in mind to avoid confusion when comparing your manuscript’s page count to published books—word count will always be your most reliable metric.

How Many Words in a Page?

If you’re trying to visualize your novel or short story, understanding page-to-word ratios can help. Typically, a single page with standard formatting (12-point Times New Roman, double-spaced) is about 250 to 300 words. But this number can vary depending on your font size, line spacing, margins, and paragraph breaks.

How Many Words is 5 Pages?

Using the standard guideline of roughly 250–300 words per page, five pages usually equals around 1,250 to 1,500 words. If you're writing single-spaced, you can nearly double that figure (closer to 2,500 words). Keep this in mind when mapping out chapters, pacing your novel, or planning your writing sessions.

What If Your Book Feels “Too Long”?

Sometimes you check your word count and realize you’re 50k words past typical guidelines. Panic sets in. Relax—this might still be fine, or it might be time for a trim.

Ask Yourself

1. Does every subplot drive the main story forward or reveal deeper character layers?
2. Have I repeated the same emotional beat multiple times? (Readers usually don’t need five examples to grasp a single point.)
3. Am I detailing every meal, outfit, or passing scenery just because I can?

Trimming Tips

• Merge or remove minor characters who don’t affect the plot or protagonist’s growth.
• Cut redundant dialogue or internal monologue.
• Delete entire scenes that don’t change the status quo.

Reassess the Big Picture
If you’re writing epic fantasy with multiple kingdoms and rotating POVs, maybe your 160k-word count is warranted. But if you’re writing a cozy mystery set in one small town, do you really need 140k words? Probably not.

What if Your Book “Too Short”?

On the other hand, maybe you’re sitting at a lean 45k and wondering if that’s enough for a full novel. It could be fine—The Great Gatsby is roughly 47,000 words—but it’s also a famously concise novel that doesn’t waste a breath.

Where You Might Expand

1. Depth of Character: Are you giving your protagonist enough time to struggle with decisions, or does everything happen too easily?
2. Context & Setting: Would more detail help readers see this world or community more vividly?
3. Subplots That Support Theme: A side story can add resonance, as long as it feeds the central arc.

Beware of Padding
Don’t add random fluff or tangents that don’t serve the story. Readers can tell when you’re stalling just to up your word count. If you’re satisfied that your core narrative is solid, maybe it’s actually a novella—or maybe it’s simply a short novel that does its job efficiently.

The Longest and Shortest Novels Ever Published

When authors think about novel length, it’s helpful (and a bit comforting) to put your own word count into perspective.

On the epic side, the title of one of the longest novels ever written goes to Marcel Proust's In Search of Lost Time (À la recherche du temps perdu), clocking in at approximately 1.2 million words across seven volumes. Another heavyweight is Leo Tolstoy's War and Peace, which typically hits around 587,000 words, famously known for its sprawling narrative and enormous cast of characters.

On the other extreme, some celebrated novels achieve literary greatness with astonishing brevity. Ernest Hemingway's The Old Man and the Sea sits at around 27,000 words, often debated as a short novel or novella. Even shorter is John Steinbeck's Of Mice and Men, typically published at about 29,000 words, yet universally recognized as a powerful classic.

These extremes highlight an essential point: what truly matters isn't merely word count, but how well those words tell the story. Great novels can captivate readers whether they span thousands of pages or just a precious few.

The “Safe” Ranges vs. Creative Freedom

If you’re aiming for traditional publishing, especially as a debut author, it pays to respect typical word counts. Agents and editors usually prefer manuscripts that fit the established range for each genre. That’s because they know what sells—and bookstores know where to shelve those books.

However, self-publishing grants more freedom to experiment. If you’ve written a 35k-word romance novella, there’s nothing stopping you from releasing it yourself and finding an audience hungry for short, satisfying reads. Just be clear with marketing: readers expect a shorter read if you label it as a novella.

Five Quick Word Count Checks

1. Read Comparisons
   Look at word counts of similar published books. Does your manuscript align reasonably, or is it wildly off?
2. Brutal Beta Readers
   Ask a friend or critique partner to flag any scene that feels slow or unnecessary. This helps cut bloat.
3. Chapter End Motions
   Do you end each chapter with a minor cliffhanger or question? If not, you might be padding your story. Tighter chapters maintain momentum.
4. Focus on Purpose
   If you can’t articulate a chapter’s purpose in one sentence, it might not belong in the novel.
5. Revise in Passes
   First pass: fix structural issues. Second pass: tighten language. Third pass: kill darlings if they don’t serve a function. Each pass might reduce word count or reveal spots to expand.

Make Every Word Earn Its Place

In the end, word count is just a number. The real question is whether your story uses those words wisely. A 150,000-word epic can feel shorter than a 70,000-word novel if every scene crackles with tension, growth, or revelation. Meanwhile, a 45,000-word piece might feel bloated if half the content is fluff.

Guideline, Not Dictator
If you’re slightly over or under these “standard” ranges, don’t panic. But if you’re drastically outside them, be ready to defend why—and ensure your writing genuinely requires that extra length (or brevity).

Honor the Story
Some stories flourish in a sprawling format; others shine in a tight frame. Trust your instincts, but also remember that readers come with expectations. If you decide to break them, do it because the story demands it, not because you got carried away or didn’t know when to stop.

No matter the genre, the real magic is in telling a tale that hooks readers from page one and doesn’t let go until the last word—be that 50,000 words in or 150,000. If you can pull that off, the exact number on the final page might not matter nearly as much as you think.

What’s the Difference Between a Novel, Novella, and Screenplay? And Which One Should You be Writing?

This could probably have been another article. A separate article. But you're already here so let's continue, shall we? The thing is, you might have skimmed all the information above and gotten a simple answer to your precise question... but that won't help.

It won't help because writing a good book isn't about getting the right number of words. Sure you should be aware of the constraints and boundaries, especially if you plan to publish traditionally. You have to play by the rules of literature and commerce. So I really hope you read through this entire (free) series, because the really important stuff is the drama, conflict, suspense, and most authors focus on the wrong things: they are sharing information dumps and worldbuilding without actually getting into the story.

When you first write the book, you might be just figuring things about and you may feel the need to support everything; but once you find the story a lot of that needs to be cut or reorganized.

Once you have the story you need to decide on the best format to share your story with the world, and there are typically three big ones. So we'll wrap up with a quick-fire summary of notes to make sure this info sinks in.

What’s the difference between a novel, a novella, and a screenplay—not just in word count, but in storytelling mechanics? More importantly, how do you know which one you should be writing? Let's find out!

Novels: The Deep-Dive Format

A novel is the heavyweight champion of storytelling. It’s where you get to live inside a world, inside a character’s head, and drown in all the little details that make a story immersive.

Word Count & Structure

• Typically 70,000–120,000 words (though epic fantasy, as we all know, has thrown that rulebook into the fire).
• Flexible structure—usually follows three-act or four-act frameworks, but with more breathing room for slower, quieter moments.
• Pacing: Can be fast or slow, depending on the genre. Some novels are relentless page-turners (Gone Girl), others luxuriate in their own prose (The Goldfinch).
• Character depth: A novel allows for internal monologue, backstory, and layered relationships.

Why Write One?

If your story is driven by a deep character arc, a rich setting, or a complex plot, it’s probably a novel.

Take The Catcher in the Rye. Not much happens in the traditional sense—no big action sequences, no shocking plot twists. But because we’re inside Holden’s head, unraveling his disillusionment in real time, it works. A novel doesn’t just show action—it immerses the reader in experience.

What Novels Get Wrong

Some writers mistake “depth” for indulgence. Just because a novel can spend five pages describing a sunset doesn’t mean it should.

If your book is feeling sluggish, ask yourself: Does this scene change anything? If the answer is no, cut it.

Novels can handle some meandering, but not too much—there has to be movement. Nobody wants to read 300,000 words of navel-gazing (unless your name is David Foster Wallace, in which case, go off, I guess).

Novellas: The Tight, Focused Shot

A novella is a novel that went on a diet. It keeps the emotional depth and immersive worldbuilding, but trims the fat—no excessive subplots, no wandering through backstory for the sake of it.

Word Count & Structure

• Typically 20,000–50,000 words.
• Structure is simplified—leaner arcs, fewer twists, and one strong emotional throughline.
• Pacing is tight. There’s no room for indulgence.
• Character depth: Still intimate, but focused on one arc.

Why Write One?

If your story is too big for a short story but doesn’t have enough layers for a full novel, it’s a novella.

A perfect example? The Metamorphosis by Kafka. A man wakes up as a giant insect, and within that bizarre, contained premise, the entire emotional weight of the story unfolds. No subplots. No detours. Just pure, concentrated storytelling.

Or The Old Man and the Sea. There’s no sprawling adventure, no “let’s introduce six new characters for fun” side plots. It’s just an old man, a fish, and everything that battle represents.

Why Novellas Work

• They force you to cut the fluff.
• They focus on one strong idea—one relationship, one journey, one defining conflict.
• They’re perfect for self-publishing (shorter books = easier to write, publish, and market).

What Novellas Get Wrong

Novellas are not just short novels. A novella that reads like a novel someone abandoned halfway through feels unfinished, not intentional.

And just because it’s shorter doesn’t mean it should be slow. The first page has to matter. No room for a slow-burn first act—by page one, something has to be happening.

Novellas are perfect for stories that hinge on one central idea—one relationship, one journey, one defining conflict. They’re also great for indie authors who want to experiment, since shorter books can be easier to write, publish, and market.

But beware: writing a novella isn’t just about cutting words. You have to build tension fast. There’s no time for a slow-burn beginning—by page one, something has to be happening.

Screenplays: The Skeleton of Storytelling

If novels are immersive and novellas are compact, screenplays are bare-bones storytelling.

• No internal monologue.
• No long descriptions.
• No meandering conversations that don’t push the plot forward.

A screenplay is what’s seen and heard—nothing else.

Word Count & Structure

• Typically 7,500–20,000 words (90–120 pages, one page per minute of screen time).
• Extremely rigid structure—three acts, with major turning points at precise intervals.
• Pacing is relentless—every scene serves a purpose, every line of dialogue earns its place.

Why Write One?

If your story is visual—if it relies on movement, action, and dialogue—it’s probably a screenplay.

A novel lets you sit inside a character’s head.
A screenplay forces you to show everything through action.

Compare This:

Novel:
"He clenched his fists, trying to ignore the rage boiling up inside him. Every muscle in his body screamed at him to fight back, but he forced himself to stay silent."

Screenplay:
BOB stares at the ground. His hands tighten into fists. His jaw twitches—he’s holding back.

See the difference? A novel lets you sit inside a character’s head. A screenplay forces you to show everything through action, and strips away everything but what can be seen and heard.

That’s why adapting books into films is so tricky—books can live in the internal, but movies rely on the external.

A great screenplay example? Mad Max: Fury Road.
The entire movie is practically one long chase scene, but it still manages to tell a compelling story.

Why? Because the character arcs are embedded in the action. Max doesn’t say he learns to trust Furiosa—he shows it by giving her the last of their water.

Which One Should You Write?

• A novel if your story is character-driven and you want to explore the world in depth.
• A novella if your story has one strong arc and you want to keep things tight and focused.
• A screenplay if your story is visual and action-driven and you want it to move fast.

But that's not very helpful, because there are bigger considerations: do you have a million bucks to produce a screenplay or industry contacts? Will readers or publishers be willing to pay for a short novella or are they vestiges of a classic age when words were priceless?

All I'm saying is, novels (and audiobooks) tend to be the best length for popular genre fiction. Or you can write poetry, if you want.

Still Unsure? Try This Trick:

Write the first scene in all three formats.

• Try it as a novel—immerse the reader in thoughts, emotions, setting.
• Try it as a novella—keep it focused, cut the excess.
• Try it as a screenplay—strip it down to pure movement and dialogue.

See which one feels right. Some ideas naturally expand, others work best when they stay lean, and some beg to be seen on screen rather than read on a page.

The Key Isn’t Length—It’s How the Story Breathes

Some ideas need space. Others thrive under constraint.

Figure that out, and you’ll know exactly what kind of story you’re telling.

For more on structuring your narrative across formats, check out: Plotting Your Novel: Three-Act, Four-Act, and Every Other Structure That Works (and Why You Need One).

And don't forget to explore Sudowrite.