Persuasion: Commercial facts
13 lenses on commercial facts for Persuasion by Jane Austen. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13
L1. Total word count. Count
1817, 83,588 words. See the full lens on the book page.
L2. Chapter count and average length. Count
1817, 83,588 words. See the full lens on the book page.
L3. Length against modern norms for the genre. Both
83,588 words. Modern romance often runs 70,000 to 90,000 words, so this is in the usual range today. These ranges are rough trade norms, not rules.
At 83,588 words, Persuasion is shorter than modern romance novels but longer than contemporary novellas. It matches the length of a modern literary romance or women's fiction. The length allows for psychological depth without excessive subplot.
L4. First published as a serial or a volume? Research
1817, 83,588 words. See the full lens on the book page.
Facts from outside the text (sales, serial history, adaptations, sequels, most quoted lines). Coming in a later phase, with sources and dates.
L5. Serial instalment breaks and how each ends. Both
The novel was not published in serial instalments. It appeared as a complete three-volume work in 1817. However, natural break points occur at chapter 12 (Louisa's accident), chapter 13 (Anne leaves Uppercross), chapter 20 (Wentworth's jealous departure), and chapter 23 (the reunion).
Chapters: Ch 12, Ch 13, Ch 20, Ch 23
L6. Sales and reviews in its day. Research
Facts from outside the text (sales, serial history, adaptations, sequels, most quoted lines). Coming in a later phase, with sources and dates.
L7. Adaptations: film, TV, stage, count and type. Research
Facts from outside the text (sales, serial history, adaptations, sequels, most quoted lines). Coming in a later phase, with sources and dates.
L8. Sequels and series. Research
Facts from outside the text (sales, serial history, adaptations, sequels, most quoted lines). Coming in a later phase, with sources and dates.
L9. Modern books in the same mould (comps). AI
Modern comps include Bridget Jones's Diary (romantic comedy with social observation), The Hating Game (slow-burn reunion romance), and Lessons in Chemistry (woman finding her voice against social constraint). Contemporary romance authors like Christina Lauren and Sally Thorne echo Austen's wit and emotional depth.
L10. Who it would be shelved for today. AI
Today it would be shelved as literary romance or women's fiction. Readers of Jane Austen, historical romance, and character-driven contemporary romance would find it. Book clubs favour it for its moral complexity and emotional resonance. It appeals to readers seeking intelligent, witty love stories.
L11. Content notes. AI
Content notes: class-based prejudice, financial insecurity, brief mention of naval warfare, discussion of women's limited marriage prospects, emotional manipulation by authority figures, minor injury (Louisa's fall from the Cobb).
Chapters: Ch 1, Ch 2, Ch 12, Ch 21
L12. A modern pitch line and blurb. AI
When Anne Elliot broke her engagement to naval officer Frederick Wentworth eight years ago, she obeyed her family's wishes. Now, thrown together again by circumstance, they must confront whether constancy or obedience matters more, and whether second chances at love are possible.
L13. Title style against genre norms. AI
The title is a single abstract noun, typical of Austen's style. It names the central action and moral question rather than a character or place. This approach suits literary and historical romance, distinguishing it from modern genre titles that often feature character names or romantic descriptors.
Ask Persuasion a question about its craft (free beta)
Answers cite chapter and paragraph, and every quote is checked against the text. (3 free questions a day).
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