How Many Words in a Novel? (Updated for 2024)

Authors are gearing up to create worlds, characters, and stories for their novels. But how many words actually make a novel? And how crucial is it to stick to word count rules? Well, if you're hoping to publish and sell your book, those rules matter quite a bit. In this post, we’ll be diving into the average novel lengths by genre and why they matter. 

How many words should my novel be?

The average word count for a standard novel typically falls between 70,000 and 100,000 words. A minimum of 40,000 words is usually considered the threshold for a novel, while the maximum word count can be around 140,000, depending on your book's genre. 

Keep in mind that these are not strict rules. Word count expectations can vary depending on the organization. For example, NaNoWriMo requires manuscripts to be over 50,000 words to qualify, while the Science Fiction and Fantasy Writers of America only requires 40,000 words for their Nebula Awards.

And what about shorter works?

• Short story: under 7,500 words
• Novelette: 7,500 to 17,500 words
• Novella: 17,500 to 40,000 words

So, in general, your manuscript only needs 40,000 words to qualify as a novel. Many well-known books fall below this threshold, including The Lion, the Witch, and the Wardrobe by C.S. Lewis (38,421 words) and Animal Farm by George Orwell (29,966 words). 

But before you celebrate and race to send your manuscript off to the presses as a novel, there's something else that you should consider. Whether a word count is "enough" for a novel depends on one thing and one thing only: its genre.

What are the standard word counts by genre?

To find out whether your novel falls above, below, or in the ideal word count for its genre, take a gander at the recommended word counts from Reedsy’s editors below.

Fantasy & Sci-Fi: 100,000–115,000 words

Fantasy and science fiction novels are known to be lengthier than other books due to their worldbuilding. Fantasy, in particular, takes the cake: some books in a fantasy series end up exceeding 140,000 words. That said, the average word count for science fiction and fantasy novels generally lies between 100,000 and 115,000. 

Examples include: 

• Ender’s Game by Orson Scott Card (100,609 words)
• Harry Potter and the Prisoner of Azkaban by JK Rowling (106,821 words)
• The Golden Compass by Philip Pullman (112,815 words)

Mystery & Thriller: 80,000–100,000 words

Mystery and thriller novels typically range from 80,000 to 100,000 words. These genres often rely on fast-paced narratives, plot twists, and suspense to keep readers engaged. While some authors may push the boundaries of these word counts (think Gillian Flynn’s 145,719-words Gone Girl), most successful mystery and thriller novels fall within this range.

Examples include:

• Shutter Island by Dennis Lehane (81,666 words)
• Odd Thomas by Dean Koontz (99,438 words) 
• The Girl on the Train by Paula Hawkins (101,704 words)

Literary Fiction: 80,000–100,000 words

Literary fiction focuses heavily on character development and exploring deep themes. These novels typically range from 80,000 to 100,000 words, but they can be as short as 60,000 words if they're well-crafted and thought-provoking, like Cormac McCarthy's Pulitzer Prize-winning The Road.

Examples include:

• The Unbearable Lightness of Being by Milan Kundera (85,199 words)
• The Joy Luck Club by Amy Tan (91,419 words)
• Life of Pi by Yhann Martel (98,783 words)

Romance: 80,000–100,000 words

Romance novels tend to be shorter, lying between 80,000 and 100,000 words. However, since romance has many sub-genres, this figure may vary. (For instance, regency romances and paranormal romances must be above 40,000 words). We recommend researching the niche and checking specific imprints before you start writing your romance book.

Examples include:

• The Choice by Nicholas Sparks (79,950 words)
• The Secret Diaries of Miss Miranda Cheever by Julia Quinn (84,255 words)
• Sense and Sensibility by Jane Austen (119,394 words)

Horror: 70,000–100,000 words

Horror novels typically range from 70,000 to 100,000 words, allowing authors to build suspense and create a chilling atmosphere. This genre often relies on psychological tension and vivid descriptions to evoke fear in readers. 

Examples include:

• The Haunting of Hill House by Shirley Jackson (66,691 words)
• Bird Box by Josh Malerman (78,608 words)
• The Bad Seed by William March (78,080 words)

Memoir: 80,000–90,000 words

Memoirs typically range from 80,000 to 90,000 words, providing authors enough space to explore significant life events, relationships, and personal growth while maintaining the reader engaged. 

Examples include:

• Educated by Tara Westover (83,424 words)
• Eat, Pray, Love by Elizabeth Gilbert (87,216 words)
• Open by Andre Agassi (91,956 words)

Young Adult: 55,000–80,000 words

Young Adult novels usually range from 55,000 to 80,000 words, targeting teenage readers with coming-of-age stories. Some YA novels may exceed this range, especially in fantasy and dystopian sub-genres, like The Hunger Games by Susan Collins listed below.

Examples include:

• The Perks of Being a Wallflower by Stephen Chbosky (60,438 words)
• Eleanor & Park by Rainbow Rowell (78,179 words)
• The Hunger Games by Suzanne Collins (99,750 words)

Nonfiction: 50,000–80,000 words

Nonfiction books typically range from 50,000 to 80,000 words, providing authors with ample space to explore their chosen topics in depth. The length can vary depending on the subject matter. Self-help books tend to be shorter than anthropology books. The War of Art by Steven Pressfield, for example, is around 25,000 words, while Yuval Noah Harari's Sapiens is over 120,000 words.

Examples include:

• The Power of Now by Eckhart Tolle (56,792 words)
• Attached by Amir Levine (67,003 words)
• Outliers by Malcom Gladwell (75,073 words)

Middle Grade: 20,000–55,000 words

Middle-grade novels are generally 20,000 to 55,000 words. Chapter books will come in at the lower end of the spectrum, while middle-grade books meant for older readers may even slightly exceed 55,000 words.

Examples include:

• The One and Only Ivan by Katherine Applegate (26,263 words)
• Charlie and the Chocolate Factory by Roald Dahl (30,644 words)
• Escape from Mr. Lemoncello's Library by Chris Grabenstein (47,493 words)

At this point, if you're also interested in the length of picture books, know that they typically have 400-800 words, with illustrations playing a crucial role in retelling the story. Board books are even shorter, usually around 300 words, while Early Reader stories average closer to 2,000 words. Learn more about children’s books’ length in our post on the topic.

There are always exceptions to the rule

Of course, as already mentioned, there are books that smash these "rules." George R.R. Martin’s longest novel in the A Song of Ice and Fire series is A Storm of Swords, at 424,000 words. JK Rowling’s longest novel is Harry Potter and the Order of the Phoenix, totaling 257,045 words. And The Fellowship of the Ring sits at 187,790 words. However, they have one similarity: they were all published by authors after they’d already become famous and built a huge fanbase, making the companies that published them lots of money.

This is not to say that epic novels are a form of storytelling reserved only for bestselling writers. Diana Gabaldon’s debut novel, Outlander, totals a cool 305k words. But if you’re still getting your start, proceed into the “over 100 thousands word count” with caution.

But why should you care about your novel’s length anyway?

Why does word count matter?

If you're publishing a novel, there are three key reasons to keep an eye on the word count: meeting reader expectations, maintaining narrative flow, and managing production costs.

Reader expectations

As already mentioned, each genre has an average word count that readers expect. If your book is published and lands in a bookstore, you don’t want to turn away prospective readers with a bizarrely small or large book spine. For instance, readers browsing the Mystery section for a light beach read are unlikely to pick up a 1,000-page tome.

Narrative flow

Word count provides authors with a framework for storytelling. Too few words might result in an insubstantial narrative, while too many could indicate the need for editing. Jackie Bates, former Managing Editor at AA Publishing, notes, “I do find if someone has written a very short or overly long novel, they often don't quite have a grip on their story. Word counts give writers something to aim for and an idea of what a reader's expectations might be.”

Production costs

Longer books are more expensive to produce due to increased material costs, particularly for paper. This makes them a pricier investment for publishers. So if you’re hoping to land a book deal with a traditional publisher, you don’t want to give an editor a reason to turn your book away. That’s why Freelance Editor Jessica Hatch urges you to follow these guidelines. “In the New York agencies I worked for, it was rare to see a 120,000-word manuscript avoid the slush pile. This is because we were groomed to understand that, even if a long manuscript is strong from start to finish, it would take considerable work to convince an editor to buy it at auction.”

So, how do you make sure your book stays within your genre’s word count? Several Reedsy editors have shared helpful tips for authors in the revision stage, especially those looking to trim down their manuscript.

How to stick to word count guidelines

The rule of thumb is that you shouldn't worry about word count when you're writing your first draft — and it should be even less of a concern in the outlining phase. If you'd like to learn more about that topic, we write extensively about how to outline a book here.

However, if you're done with your first draft and you're shocked by the amount of words in it, it might be time to cut down. Let the words of Truman Capote be your revising mantra: “I’m all for the scissors. I believe more in the scissors than I do in the pencil.” Grab your scissors and take these tips into account.

1) Don’t edit until the first draft is completed
"Put your manuscript aside for a few weeks before going back to it. With a little distance, you'll be able to see where there are superfluous scenes or unnecessary purple prose." — Alli Brydon, former Associate Editor at Sterling Publishing Co., Inc.

2) Send extraneous movement of characters to the cutting room floor
“Extraneous movement of characters through space is something that beginning writers tend to be loyal to. It’s challenging to figure out how to move characters from one scene to the next. But readers don’t need to see every step a character makes. It’s good to leave some things to the imagination, and the reader in their own mind can fill in the blanks between scene cuts.” — Kelly Lydick, Associate Editor at Immanence Journal

3) Ask yourself, “Does the reader really need to know this?”
“One bad habit that inflates word count in historical fiction especially is the tendency to info-dump historical facts into the narration. This is a tough habit to break. In order to create a world of verisimilitude, the writer has to research all of this information, and so it's difficult for them to believe the reader doesn't need to know it, too. I recommend curtailing historical information to those tidbits that further the plot or help to develop a main character. This can be applied to any genre, however: if a detail doesn't serve a purpose, it's extraneous and should be cut.” — Jessica Hatch

4) Avoid the “brother and sister explaining family life to each other” exposition
“Be aware of what characters would know about each other/themselves, and try to be creative when imparting this information to the reader. It is possible to explain all sorts of things without being obvious or writing it directly into dialogue. Some things can be inferred.” — Jackie Bates

5) Edit out adverbs in favor of stronger verbs
"Instead of 'walking quickly,' why can't your hero 'stride' across the room? This is especially something to keep in mind when you're writing fight scenes." — Jessica Hatch

6) Be aware of your overused words
“I think every writer has 'pet' words they use all the time, often without realizing it. Words I tend to notice and always flag include frequently starting dialogue with 'Well,' — I often see more than one example of this per page, even in traditionally-published novels. I also always suggest authors do a search of their manuscript for the word ‘that’ and really question the necessity of each one. It’s a useful word but often unnecessary.” — Jackie Bates

7) Too many adjectives are not necessarily a good thing
“Great writing creates a skillful balance between what the writer provides on the page and what the reader brings to the story with their own imagination. One lean but carefully chosen, perfect-for-the-context description is much more valuable than fluffier, or lengthy descriptions of character or scene. Knowing what to keep and what to cut should be driven by voice and tone — they will dictate the cadence of the language used in the story.” — Kelly Lydick

8) Don’t shy away from contractions
“People frequently avoid contractions, both in narrative and dialogue, and this often (depending on when a book is set and what the characters are like) gives a sense of formality that I find quite intrusive. If appropriate to the text, I always encourage writers to use more contractions for a more direct and natural feel.” — Jackie Bates

To bend or not to bend the rules?

We said it already, but it's worth repeating: authors should not underestimate the value of staying within standard word counts. Editors in traditional publishing houses believe that it’s easier to market books that meet genre expectations, and if you’re hunting for a book deal or for an agent, you want to eliminate any reason for them to eliminate you. Not to mention that the longer your book is, the more time it will take to write it.

While sticking to standard word counts is definitely important from a sales or marketing standpoint, a greater pool of publishing options means that writers do not need to view “the rules” as entirely rigid and unbendable — especially when going against the grain ultimately serves the story. As Kelly Lydick, advises, “Adhering to standard word counts can be important — but even more important than that is the telling of a good story. Even better — a great story.”