Why I Love Writing Junior Novels
If you’re not quite sure what a junior novel is, you’re not alone. In today’s publishing world, it’s a bit of an in-between category. Under the umbrella of children's literature, these books fall somewhere between early chapter books (Magic Treehouse or Junie B. Jones) and full-length middle grade, text-only novels (Harry Potter or Wings of Fire). As you read my examples, you might be thinking how big of a jump that is between the two. This is where the junior novel comes in.
Junior novels range from about 10,000 words up to about 20,000 words, with 12–20 chapters and no chapter illustrations. Some may have stylized pages or small chapter header-only illustrations that loosely relate to what will happen in that chapter, but scenes and characters are not illustrated. This is the last step before text-only chapters and helps the reader practice deciding for themselves what the prose declares, while keeping the book open, friendly, and welcoming overall. In comparison to early chapter books, junior novels tend to have shorter sentences, longer chapters, faster pacing, and are marketed for children ages 7–12.
You may recognize the format from titles like A MINECRAFT MOVIE: The Junior Novelization, Star Wars: The Clone Wars Junior Novel, or Jurassic World: Fallen Kingdom: The Deluxe Junior Novelization, but recent trend shifts in reading fluency and shorter attention spans have opened the door for the junior novel to grow well beyond these branded series.
Junior novels should not be confused with UK junior fiction, which is the umbrella term they use for children's chapter books.
In our modern world, the junior novel (aka junior novelization) is often reserved for niches such as literary adaptations of movies. They are a big business in the traditional publishing world, but are very rarely noticed by the consumer. You buy them, and probably don't even realize how they differ from other books you buy your children.
Why the Shift?
Recent trends in children's and middle grade publishing reflect a growing need for shorter, faster-paced fiction as a consequence of children’s attention spans shrinking, due in part to the influence of digital platforms like TikTok, which reward quick, high-stimulation engagement. A 2024 report from From the Mixed-Up Files notes that middle grade fiction is “veering shorter,” with tighter narratives and more accessible word counts, as publishers respond to the reality that “reading attention spans are getting shorter” (From the Mixed-Up Files, 2024).
Richmond University’s JOLT journal warns that frequent exposure to rapid, short-form media may lead to “TikTok Brain,” a cognitive shift where children (and adults) struggle with sustained attention, especially in low-stimulus tasks like traditional reading (JOLT, 2024). Together, these findings suggest a widening gap between the structure of traditional middle grade books and the needs of modern young readers, with some readers walking away from books altogether.
Other Factors in Favor of the Junior Novel
Currently, we have illustrated books for children, books for beginning readers, and illustrated early chapter books. But there is a big difference in a book that is heavily illustrated with 2–3 pictures per chapter, which really holds the reader’s hand, and the text-only chapters of a middle grade novel. It's a big jump!
As a child, I was a reluctant, late reader, and I see how the junior novel can be helpful to an older elementary reader who is struggling by providing them with a longer, more engaging story than the younger chapter books, but with a Lexile they can handle. It preserves their dignity as it has the appearance of a middle grade novel (no pictures) and gives them an opportunity to improve while not outpacing their Lexile level.
On the other end of the spectrum, parents of advanced younger readers struggle to find the next step up in reading without outpacing their child's development with regard to content.
As an author, I care very deeply that we owe children quality stories with beautifully thought-out characters, scenes, and story arcs, and that they should not be given surface, overly mature, or subpar content simply because they are young.
And with older children walking away from books because they take too much time, we have to figure out a way to draw them back in.
I believe that junior novels strike a perfect balance for both these scenarios. With simpler content and the perception of a longer novel for older struggling readers, and advanced but content-friendly material for younger readers, shorter overall word counts can help fit the needs of both.
To the literary purists who say if we give in to the trend of shorter novels we will be lowering the standards for literacy, I would suggest a shorter, well-written book will always be better than the book they didn't read.And I believe over time we can help the younger generations overcome these challenges if we work with them.
However, this makes the need for accessible, confidence-building reading experiences even more urgent.
According to the Matthew Effect, a term introduced by educational psychologist Keith E. Stanovich in 1986, early exposure to sustained, text-based reading (this means with limited illustration), is one of the strongest predictors of long-term literacy success. Children who begin reading independently and especially those who engage with text-only books early on, experience greater vocabulary growth, comprehension, and academic confidence over time. By contrast, children who lag in early reading often read less overall, leading to an ever-widening skills gap (Stanovich, 1986).
Whether on pace or struggling as a reader, junior novels that help bridge the gap between “mostly text” books may offer exactly the kind of support today’s readers need.
They give kids a meaningful and manageable reading win. That feeling of “I did it” builds motivation.
There’s also something worth mentioning here about illustrations—I love illustrations! I have two adult children who are artists, and my grandmother was an accomplished painter. What I am suggesting is that we have plenty of one and not enough of the other, and they both have an important place.
I also believe in the power of the “no pictures” milestone. I still remember the first time I read a book without any illustrations. I felt so grown up.
I love the freedom of writing for middle grades, but from a craft perspective, writing in this junior novel and early chapter book format is a challenge I love. The shorter length forces me to make every scene count. I still remember cringing when my senior journalism professor told me brevity wasn't my strength—challenge accepted! The stakes are high because every sentence matters.
I support the case for expanding the prevalence of the junior novel format, and not just for movie novelizations, but also to include original fiction. I believe writing quality stories that meet kids right where they are is a noble and valuable use of our time as children's authors.
Reference:
Stanovich, K. E. (1986). Matthew Effects in Reading: Some Consequences of Individual Differences in the Acquisition of Literacy. Reading Research Quarterly, 21(4), 360–407. https://doi.org/10.1598/RRQ.21.4.1