Book Anatomy · Sense and Sensibility
Sense and Sensibility: Commercial facts
13 lenses on commercial facts for Sense and Sensibility 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
1811, 119,848 words. See the full lens on the book page.
L2. Chapter count and average length. Count
1811, 119,848 words. See the full lens on the book page.
L3. Length against modern norms for the genre. Both
119,848 words. Modern romance often runs 70,000 to 90,000 words, so this is long for the shelf today. These ranges are rough trade norms, not rules.
At 119,848 words, the novel is longer than modern romance norms (80,000 to 100,000 words) but shorter than contemporary literary fiction. For 1811, it was a substantial three-volume work. Modern editions are comparable to contemporary adult romance in length.
L4. First published as a serial or a volume? Research
1811, 119,848 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 published in three volumes. Volume 1 likely ended around chapter 15 or 16 (Willoughby's departure). Volume 2 around chapter 32 or 33 (Willoughby's marriage revealed). Volume 3 concludes with the marriages. Each volume ends on suspense or revelation.
Chapters: Ch 15, Ch 32, Ch 50
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: 'Pride and Prejudice' by Austen (same author, similar structure). 'The Hating Game' by Sally Thorne (dual romance, emotional restraint). 'Outlander' by Diana Gabaldon (historical romance with moral complexity). 'Bridgerton' series (Regency romance, ensemble cast).
L10. Who it would be shelved for today. AI
Shelved as historical romance, literary fiction, and classic romance. Appeals to readers of Austen, period romance, and character-driven narratives. Marketed to adult women aged 18 to 65 who enjoy slow-burn romance and moral complexity. Also read in academic and educational settings.
L11. Content notes. AI
Content notes: seduction and abandonment of a young woman (Eliza Williams), emotional manipulation, financial coercion, illness and fever, class-based discrimination, emotional distress and grief. No graphic content; all harm is emotional or social.
Chapters: Ch 31, Ch 43
He had left the girl whose youth and innocence he had seduced, in a situation of the utmost distress, with no creditable home, no help, no friends, ignorant of his address! (Ch 31, para 30)
L12. A modern pitch line and blurb. AI
When Elinor Dashwood's family loses their estate, she must choose between her own heart and her duty to protect her impulsive sister. As hidden love and cruel betrayal test her restraint, Elinor discovers that true strength lies not in silence but in claiming her own happiness.
L13. Title style against genre norms. AI
The title is thematic rather than plot-driven, naming the novel's central tension rather than a specific event. This is typical of Austen's style. Modern romance titles often name the couple or a plot event; Austen names the moral question.
Ask Sense and Sensibility 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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