Book Anatomy · The Princess and the Goblin
The Princess and the Goblin: Commercial facts
13 lenses on commercial facts for The Princess and the Goblin by George MacDonald. 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
1872, 51,219 words. See the full lens on the book page.
L2. Chapter count and average length. Count
1872, 51,219 words. See the full lens on the book page.
L3. Length against modern norms for the genre. Both
51,219 words. Modern fantasy and children's often runs 30,000 to 60,000 words, so this is in the usual range today. These ranges are rough trade norms, not rules.
At 51,219 words, the book is moderate length for children's fantasy. Longer than modern picture books but shorter than contemporary middle-grade novels. Suits serialisation in magazines, which was common in 1872.
L4. First published as a serial or a volume? Research
1872, 51,219 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 book was serialised in Good Words for the Young. Chapter breaks align with serial instalment breaks: chapter 6 ends with rescue, chapter 9 with discovery, chapter 14 with flight, chapter 21 with escape, chapter 27 with battle, chapter 32 with resolution.
Chapters: Ch 6, Ch 9, Ch 14, Ch 21, Ch 27, Ch 32
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: Neil Gaiman's Coraline (girl in magical house, underground threat), Patrick Ness's A Monster Calls (belief in the unseen), Cornelia Funke's Inkheart (magical objects, adventure). All blend fairy-tale with contemporary concerns.
L10. Who it would be shelved for today. AI
Today shelved as middle-grade fantasy for ages 8 to 12. Appeals to readers who enjoy fairy-tales, magical realism and adventure. Suits fans of classic children's literature and those learning about Victorian fantasy.
L11. Content notes. AI
Content notes: mild peril from goblins and creatures, brief violence in battle scenes, some scary moments for young readers, themes of disbelief and isolation, class hierarchy accepted without critique.
Chapters: Ch 14, Ch 27, Ch 31
L12. A modern pitch line and blurb. AI
When a lonely princess discovers her great-great-grandmother is real and magical, she must learn to trust the unseen. A brave miner boy uncovers a goblin plot to invade the mountain kingdom. Together they must stop the invasion using faith, magic and courage.
L13. Title style against genre norms. AI
The title is simple and direct, naming the two leads. It follows Victorian fairy-tale convention: The Princess and the Goblin echoes The Princess and the Pea. Modern titles tend toward single words or longer phrases.
Ask The Princess and the Goblin 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).
Weekly email: coming soon
One short email a week on new AI tools for authors. Sign up opens soon.