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Want to write a perfect book review that readers enjoy? Discover how to pen a book review in 6 easy steps. To help you understand, we’ve included amazing examples of book reviews. 

We’ve also answered many questions you might have such as: How long should a book review be? How to start a book review? How to conclude a book review? For beginners, we’ve also mentioned the basic book review format. So without further delay, let’s begin! 

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What is a book review? 

A book review is the critical analysis of the book’s content and significance. It includes an evaluation of the plot, character development, and writing style. A good book review highlights the book’s strengths and weaknesses. Reviewers often include quotes to support the opinions mentioned in the book review. A book review is different from a book report which objectively describes the book’s main content. 

Now that we know what is a book review, let’s understand their length. 

How long is a book review? 

The length of a book review can vary, depending on the purpose and the medium used. Book reviews in newspapers, magazines, and journals can range from 500-2000 words. In contrast, book reviews by readers on platforms like Goodreads, Amazon, Facebook, or Google can range from 50-500 words. 

Now let us see the 6 easy steps to write book reviews. Whether you’re writing book reviews for your assignment or book promotion, these steps will help! 

How to write a book review

• Note down the key points- This is an important step before writing a book review. Jot down your analysis about the characters, themes, plot, and your personal view. Also, note down the book title, author’s name, and any relevant information about the book. 
• Start with a strong introduction- Mention the author’s name, book title, themes, and main characters in the introduction. The introduction should give a very brief book summary without giving spoilers. 
• Analyze the book- Discuss the book’s strong points and weaknesses. This can include your opinion on the narrative pacing, writing style, character development , and structure. You can also compare it with books belonging to a similar genre. To enhance the review, you can also use relevant quotes to support your perspective. 
• Reflect on your experience- Describe how the book makes you feel. Did you find it engaging or was it slow-paced? Were you happy with the climax or did you expect more? 
• Conclude the review- Summarize the important points and end the review with a final evaluative statement about the book. This is where you can state whether you will recommend the book to readers or not. This is an important step in writing a book review. 
• Rate the book (Optional)- Depending on the platform requirements, you can rate the book out of 5 or 10. 

Now that we’ve seen how to write a book review, let’s see five amazing tips to create the perfect book review.

Top 5 tips to create an amazing book review 

Here are the top 5 tips to create the perfect book review: 

• Start with an attractive hook- Begin the review with an intriguing question or statement, capturing the book’s essence. For example, “In ‘The Enchanted Labyrinth’, every page takes you into a magical world of intrigue and wonder. 
• Discuss originality- Write what makes the book unique as compared to other books in the same genre. If the book highlights an unexplored theme or gives a unique take on a common theme, you can mention it in the book review. 
• Analyze worldbuilding- Review the fictional world created by the author (Its depth, complexity and detail). You can discuss how the setting of the story affected your experience as a reader. This is a good practice, especially while reviewing fantasy and science fiction novels. 
• Evaluate key themes- Discuss how the central themes of the story are seamlessly woven into the narrative. You can do this by highlighting how the characters’ relationships and choices reflect the themes. Describe how themes add depth to the story. 
• Edit and proofread- Once you’ve completed your book review, thoroughly check it. Correct any grammatical mistakes , spelling, and word choice errors. 

Book review examples

1. a thousand splendid suns by khaled hosseini .

“A Thousand Splendid Suns,” by Khaled Hosseini, is a profoundly moving story set against the backdrop of Afghan history. This novel tells the tale of two women, Mariam and Laila, whose lives become entwined in a harrowing journey of friendship, suffering, and redemption.

Mariam, an illegitimate child, suffers from stigma and rejection from an early age. Her tragic story evolves when she is forced into an abusive marriage with Rasheed, a brutish shoemaker. Laila, born generations later, is initially a symbol of the new Afghanistan – hopeful and educated. Their shared struggles against the backdrop of Afghanistan crumbling under Taliban rule form the novel’s heart.

Hosseini’s writing is evocative, capturing the stark realities in Afghanistan while also highlighting the profound resilience of his characters. The author masterfully portrays the emotional landscapes of Mariam and Laila, making them vividly relatable.

“A Thousand Splendid Suns” is more than a story of survival; it is a testament to the unyielding strength of human connection and endurance. This book is a must-read, not only for its storytelling brilliance but for its deep exploration of the often-unheard voices of Afghan women. It’s a heartbreaking, yet ultimately hopeful novel that stays with you long after the last page.

Now let’s see another example of a book review. 

2. A Man Called Ove by Fredrik Backman 

“A Man Called Ove ” by Fredrik Backman is a heartwarming novel that takes readers on an emotional journey of its titular character, Ove. At first glance, Ove appears to be nothing more than a grumpy old man. However, as the story unfolds, we discover that there is so much more to Ove than meets the eye.

The novel skillfully explores themes of loss, grief, and the human capacity for change. Ove’s journey is one of rediscovery and redemption, as he learns to open his heart to the people around him. Backman’s writing is both poignant and humorous, capturing the essence of human relationships and the power of community.

Ove is a character who is easy to relate to, with his quirks making him all the more endearing. As we delve into his past through flashbacks, we understand the events that shaped him. These glimpses provide depth and complexity to his character, making him incredibly three-dimensional.

The supporting characters are equally charming and well-developed. Parvaneh, the pregnant neighbor, and her family are a refreshing contrast to Ove’s gruff exterior. Their interactions with Ove are both heartwarming and hilarious, playing an important role in his transformation.

What makes “A Man Called Ove” truly exceptional is its ability to elicit a wide range of emotions from its readers. It can make you laugh out loud on one page and bring tears to your eyes on the next. The story is a testament to the importance of human connection.

In conclusion, “A Man Called Ove” is a beautifully written novel that explores the themes of love, friendship, and the capacity for change. Fredrik Backman’s storytelling is both touching and humorous, and his characters are unforgettable. For those who appreciate heartwarming stories that inspire the soul, this book is a must-read.”

After seeing these book review examples, let’s see a simple book review template you can use. 

Book review template

The following template highlights a basic book review format and book review outline. You can use this template for reference. 

We hope this book review template and book review examples have inspired you to start writing. Now that you’ve understood how to write a good book review, you can begin brainstorming. Want to get a polished, professional book review? At PaperTrue, our team of experts can help you craft the perfect review for your book. Get in touch with us and forget all stress about how to do a book review. 

You can also take advantage of our self-publishing services like editing, book cover design, securing an ISBN, and creating a copyright page. This ensures that your book is ready for publication. Whether you want a simple edit or an end-to-end service package, we’re here to help! 

Here are some other articles that you might find interesting: 

• Top 10 Best Print-on-Demand Book Companies in 2024
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• What Is a Blurb? Meaning, Examples & 10 Expert Tips

Frequently Asked Questions

What is the purpose of a book review, what makes a good book review, how to end a book review, how to structure a book review, where to write a book review.

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How to Write a Book Review: A Comprehensive Tutorial With Examples

You don’t need to be a literary expert to craft captivating book reviews. With one in every three readers selecting books based on insightful reviews, your opinions can guide fellow bibliophiles toward their next literary adventure.

Learning how to write a book review will not only help you excel at your assigned tasks, but you’ll also contribute valuable insights to the book-loving community and turn your passion into a professional pursuit.

In this comprehensive guide,  PaperPerk  will walk you through a few simple steps to master the art of writing book reviews so you can confidently embark on this rewarding journey.

What is a Book Review?

A book review is a critical evaluation of a book, offering insights into its content, quality, and impact. It helps readers make informed decisions about whether to read the book.

Writing a book review as an assignment benefits students in multiple ways. Firstly, it teaches them how to write a book review by developing their analytical skills as they evaluate the content, themes, and writing style .

Secondly, it enhances their ability to express opinions and provide constructive criticism. Additionally, book review assignments expose students to various publications and genres, broadening their knowledge.

Furthermore, these tasks foster essential skills for academic success, like critical thinking and the ability to synthesize information. By now, we’re sure you want to learn how to write a book review, so let’s look at the book review template first.

Table of Contents

Book Review Template

How to Write a Book Review- A Step-by-Step Guide

Check out these 5 straightforward steps for composing the best book review.

Step 1: Planning Your Book Review – The Art of Getting Started

You’ve decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let’s take a step back and plan your approach. Knowing how to write a book review that’s both informative and engaging is an art in itself.

Choosing Your Literature

First things first, pick the book you want to review. This might seem like a no-brainer, but selecting a book that genuinely interests you will make the review process more enjoyable and your insights more authentic.

Crafting the Master Plan

Next, create an  outline  that covers all the essential points you want to discuss in your review. This will serve as the roadmap for your writing journey.

The Devil is in the Details

As you read, note any information that stands out, whether it overwhelms, underwhelms, or simply intrigues you. Pay attention to:

• The characters and their development
• The plot and its intricacies
• Any themes, symbols, or motifs you find noteworthy

Remember to reserve a body paragraph for each point you want to discuss.

The Key Questions to Ponder

When planning your book review, consider the following questions:

• What’s the plot (if any)? Understanding the driving force behind the book will help you craft a more effective review.
• Is the plot interesting? Did the book hold your attention and keep you turning the pages?
• Are the writing techniques effective? Does the author’s style captivate you, making you want to read (or reread) the text?
• Are the characters or the information believable? Do the characters/plot/information feel real, and can you relate to them?
• Would you recommend the book to anyone? Consider if the book is worthy of being recommended, whether to impress someone or to support a point in a literature class.
• What could be improved? Always keep an eye out for areas that could be improved. Providing constructive criticism can enhance the quality of literature.

Step 2 – Crafting the Perfect Introduction to Write a Book Review

In this second step of “how to write a book review,” we’re focusing on the art of creating a powerful opening that will hook your audience and set the stage for your analysis.

Identify Your Book and Author

Begin by mentioning the book you’ve chosen, including its  title  and the author’s name. This informs your readers and establishes the subject of your review.

Ponder the Title

Next, discuss the mental images or emotions the book’s title evokes in your mind . This helps your readers understand your initial feelings and expectations before diving into the book.

Judge the Book by Its Cover (Just a Little)

Take a moment to talk about the book’s cover. Did it intrigue you? Did it hint at what to expect from the story or the author’s writing style? Sharing your thoughts on the cover can offer a unique perspective on how the book presents itself to potential readers.

Present Your Thesis

Now it’s time to introduce your thesis. This statement should be a concise and insightful summary of your opinion of the book. For example:

“Normal People” by Sally Rooney is a captivating portrayal of the complexities of human relationships, exploring themes of love, class, and self-discovery with exceptional depth and authenticity.

Ensure that your thesis is relevant to the points or quotes you plan to discuss throughout your review.

Incorporating these elements into your introduction will create a strong foundation for your book review. Your readers will be eager to learn more about your thoughts and insights on the book, setting the stage for a compelling and thought-provoking analysis.

How to Write a Book Review: Step 3 – Building Brilliant Body Paragraphs

You’ve planned your review and written an attention-grabbing introduction. Now it’s time for the main event: crafting the body paragraphs of your book review. In this step of “how to write a book review,” we’ll explore the art of constructing engaging and insightful body paragraphs that will keep your readers hooked.

Summarize Without Spoilers

Begin by summarizing a specific section of the book, not revealing any major plot twists or spoilers. Your goal is to give your readers a taste of the story without ruining surprises.

Support Your Viewpoint with Quotes

Next, choose three quotes from the book that support your viewpoint or opinion. These quotes should be relevant to the section you’re summarizing and help illustrate your thoughts on the book.

Analyze the Quotes

Write a summary of each quote in your own words, explaining how it made you feel or what it led you to think about the book or the author’s writing. This analysis should provide insight into your perspective and demonstrate your understanding of the text.

Structure Your Body Paragraphs

Dedicate one body paragraph to each quote, ensuring your writing is well-connected, coherent, and easy to understand.

For example:

• In  Jane Eyre , Charlotte Brontë writes, “I am no bird; and no net ensnares me.” This powerful statement highlights Jane’s fierce independence and refusal to be trapped by societal expectations.
• In  Normal People , Sally Rooney explores the complexities of love and friendship when she writes, “It was culture as class performance, literature fetishized for its ability to take educated people on false emotional journeys.” This quote reveals the author’s astute observations on the role of culture and class in shaping personal relationships.
• In  Wuthering Heights , Emily Brontë captures the tumultuous nature of love with the quote, “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.” This poignant line emphasizes the deep, unbreakable bond between the story’s central characters.

By following these guidelines, you’ll create body paragraphs that are both captivating and insightful, enhancing your book review and providing your readers with a deeper understanding of the literary work. 

How to Write a Book Review: Step 4 – Crafting a Captivating Conclusion

You’ve navigated through planning, introductions, and body paragraphs with finesse. Now it’s time to wrap up your book review with a  conclusion that leaves a lasting impression . In this final step of “How to write a Book Review,” we’ll explore the art of writing a memorable and persuasive conclusion.

Summarize Your Analysis

Begin by summarizing the key points you’ve presented in the body paragraphs. This helps to remind your readers of the insights and arguments you’ve shared throughout your review.

Offer Your Final Conclusion

Next, provide a conclusion that reflects your overall feelings about the book. This is your chance to leave a lasting impression and persuade your readers to consider your perspective.

Address the Book’s Appeal

Now, answer the question: Is this book worth reading? Be clear about who would enjoy the book and who might not. Discuss the taste preferences and circumstances that make the book more appealing to some readers than others.

For example:  The Alchemist is a book that can enchant a young teen, but those who are already well-versed in classic literature might find it less engaging.

Be Subtle and Balanced

Avoid simply stating whether you “liked” or “disliked” the book. Instead, use nuanced language to convey your message. Highlight the pros and cons of reading the type of literature you’ve reviewed, offering a balanced perspective.

Bringing It All Together

By following these guidelines, you’ll craft a conclusion that leaves your readers with a clear understanding of your thoughts and opinions on the book. Your review will be a valuable resource for those considering whether to pick up the book, and your witty and insightful analysis will make your review a pleasure to read. So conquer the world of book reviews, one captivating conclusion at a time!

How to Write a Book Review: Step 5 – Rating the Book (Optional)

You’ve masterfully crafted your book review, from the introduction to the conclusion. But wait, there’s one more step you might consider before calling it a day: rating the book. In this optional step of “how to write a book review,” we’ll explore the benefits and methods of assigning a rating to the book you’ve reviewed.

Why Rate the Book?

Sometimes, when writing a professional book review, it may not be appropriate to state whether you liked or disliked the book. In such cases, assigning a rating can be an effective way to get your message across without explicitly sharing your personal opinion.

How to Rate the Book

There are various rating systems you can use to evaluate the book, such as:

• A star rating (e.g., 1 to 5 stars)
• A numerical score (e.g., 1 to 10)
• A letter grade (e.g., A+ to F)

Choose a rating system that best suits your style and the format of your review. Be consistent in your rating criteria, considering writing quality, character development, plot, and overall enjoyment.

Tips for Rating the Book

Here are some tips for rating the book effectively:

• Be honest: Your rating should reflect your true feelings about the book. Don’t inflate or deflate your rating based on external factors, such as the book’s popularity or the author’s reputation.
• Be fair: Consider the book’s merits and shortcomings when rating. Even if you didn’t enjoy the book, recognize its strengths and acknowledge them in your rating.
• Be clear: Explain the rationale behind your rating so your readers understand the factors that influenced your evaluation.

Wrapping Up

By including a rating in your book review, you provide your readers with additional insight into your thoughts on the book. While this step is optional, it can be a valuable tool for conveying your message subtly yet effectively. So, rate those books confidently, adding a touch of wit and wisdom to your book reviews.

Additional Tips on How to Write a Book Review: A Guide

In this segment, we’ll explore additional tips on how to write a book review. Get ready to captivate your readers and make your review a memorable one!

Hook ’em with an Intriguing Introduction

Keep your introduction precise and to the point. Readers have the attention span of a goldfish these days, so don’t let them swim away in boredom. Start with a bang and keep them hooked!

Embrace the World of Fiction

When learning how to write a book review, remember that reviewing fiction is often more engaging and effective. If your professor hasn’t assigned you a specific book, dive into the realm of fiction and select a novel that piques your interest.

Opinionated with Gusto

Don’t shy away from adding your own opinion to your review. A good book review always features the writer’s viewpoint and constructive criticism. After all, your readers want to know what  you  think!

Express Your Love (or Lack Thereof)

If you adored the book, let your readers know! Use phrases like “I’ll definitely return to this book again” to convey your enthusiasm. Conversely, be honest but respectful even if the book wasn’t your cup of tea.

Templates and Examples and Expert Help: Your Trusty Sidekicks

Feeling lost? You can always get help from formats, book review examples or online  college paper writing service  platforms. These trusty sidekicks will help you navigate the world of book reviews with ease. 

Be a Champion for New Writers and Literature

Remember to uplift new writers and pieces of literature. If you want to suggest improvements, do so kindly and constructively. There’s no need to be mean about anyone’s books – we’re all in this literary adventure together!

Criticize with Clarity, Not Cruelty

When adding criticism to your review, be clear but not mean. Remember, there’s a fine line between constructive criticism and cruelty. Tread lightly and keep your reader’s feelings in mind.

Avoid the Comparison Trap

Resist the urge to compare one writer’s book with another. Every book holds its worth, and comparing them will only confuse your reader. Stick to discussing the book at hand, and let it shine in its own light.

Top 7 Mistakes and How to Avoid Them

Writing a book review can be a delightful and rewarding experience, especially when you balance analysis, wit, and personal insights. However, some common mistakes can kill the brilliance of your review. 

In this section of “How to write a book review,” we’ll explore the top 7 blunders writers commit and how to steer clear of them, with a dash of  modernist literature  examples and tips for students writing book reviews as assignments.

Succumbing to the Lure of Plot Summaries

Mistake: Diving headfirst into a plot summary instead of dissecting the book’s themes, characters, and writing style.

Example: “The Bell Jar chronicles the life of a young woman who experiences a mental breakdown.”

How to Avoid: Delve into the book’s deeper aspects, such as its portrayal of mental health, societal expectations, and the author’s distinctive narrative voice. Offer thoughtful insights and reflections, making your review a treasure trove of analysis.

Unleashing the Spoiler Kraken

Mistake: Spilling major plot twists or the ending without providing a spoiler warning, effectively ruining the reading experience for potential readers.

Example: “In Metamorphosis, the protagonist’s transformation into a monstrous insect leads to…”

How to Avoid: Tread carefully when discussing significant plot developments, and consider using spoiler warnings. Focus on the impact of these plot points on the overall narrative, character growth, or thematic resonance.

Riding the Personal Bias Express

Mistake: Allowing personal bias to hijack the review without providing sufficient evidence or reasoning to support opinions.

Example: “I detest books about existential crises, so The Sun Also Rises was a snoozefest.”

How to Avoid: While personal opinions are valid, it’s crucial to back them up with specific examples from the book. Discuss aspects like writing style, character development, or pacing to support your evaluation and provide a more balanced perspective.

Wielding the Vague Language Saber

Mistake: Resorting to generic, vague language that fails to capture the nuances of the book and can come across as clichéd.

Example: “This book was mind-blowing. It’s a must-read for everyone.”

How to Avoid: Use precise and descriptive language to express your thoughts. Employ specific examples and quotations to highlight memorable scenes, the author’s unique writing style, or the impact of the book’s themes on readers.

Ignoring the Contextualization Compass

Mistake: Neglecting to provide context about the author, genre, or cultural relevance of the book, leaving readers without a proper frame of reference.

Example: “This book is dull and unoriginal.”

How to Avoid: Offer readers a broader understanding by discussing the author’s background, the genre conventions the book adheres to or subverts, and any societal or historical contexts that inform the narrative. This helps readers appreciate the book’s uniqueness and relevance.

Overindulging in Personal Preferences

Mistake: Letting personal preferences overshadow an objective assessment of the book’s merits.

Example: “I don’t like stream-of-consciousness writing, so this book is automatically bad.”

How to Avoid: Acknowledge personal preferences but strive to evaluate the book objectively. Focus on the book’s strengths and weaknesses, considering how well it achieves its goals within its genre or intended audience.

Forgetting the Target Audience Telescope

Mistake: Failing to mention the book’s target audience or who might enjoy it, leading to confusion for potential readers.

Example: “This book is great for everyone.”

How to Avoid: Contemplate the book’s intended audience, genre, and themes. Mention who might particularly enjoy the book based on these factors, whether it’s fans of a specific genre, readers interested in character-driven stories, or those seeking thought-provoking narratives.

By dodging these common pitfalls, writers can craft insightful, balanced, and engaging book reviews that help readers make informed decisions about their reading choices.

These tips are particularly beneficial for students writing book reviews as assignments, as they ensure a well-rounded and thoughtful analysis.!

Many students requested us to cover how to write a book review. This thorough guide is sure to help you. At Paperperk, professionals are dedicated to helping students find their balance. We understand the importance of good grades, so we offer the finest writing service , ensuring students stay ahead of the curve. So seek expert help because only Paperperk is your perfect solution!

What is the difference between a book review and a report?

Who is the target audience for book reviews and book reports, how do book reviews and reports differ in length and content, can i write professional book reviews, what are the key aspects of writing professional book reviews, how can i enhance my book-reviewing skills to write professional reviews, what should be included in a good book review.

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Organizing Your Social Sciences Research Assignments

• Annotated Bibliography
• Analyzing a Scholarly Journal Article
• Group Presentations
• Dealing with Nervousness
• Using Visual Aids
• Grading Someone Else's Paper
• Types of Structured Group Activities
• Group Project Survival Skills
• Leading a Class Discussion
• Multiple Book Review Essay
• Reviewing Collected Works
• Writing a Case Analysis Paper
• Writing a Case Study
• About Informed Consent
• Writing Field Notes
• Writing a Policy Memo
• Writing a Reflective Paper
• Writing a Research Proposal
• Generative AI and Writing
• Acknowledgments

A book review is a thorough description, critical analysis, and/or evaluation of the quality, meaning, and significance of a book, often written in relation to prior research on the topic. Reviews generally range from 500-2000 words, but may be longer or shorter depends on several factors: the length and complexity of the book being reviewed, the overall purpose of the review, and whether the review examines two or more books that focus on the same topic. Professors assign book reviews as practice in carefully analyzing complex scholarly texts and to assess your ability to effectively synthesize research so that you reach an informed perspective about the topic being covered.

There are two general approaches to reviewing a book:

• Descriptive review: Presents the content and structure of a book as objectively as possible, describing essential information about a book's purpose and authority. This is done by stating the perceived aims and purposes of the study, often incorporating passages quoted from the text that highlight key elements of the work. Additionally, there may be some indication of the reading level and anticipated audience.
• Critical review: Describes and evaluates the book in relation to accepted literary and historical standards and supports this evaluation with evidence from the text and, in most cases, in contrast to and in comparison with the research of others. It should include a statement about what the author has tried to do, evaluates how well you believe the author has succeeded in meeting the objectives of the study, and presents evidence to support this assessment. For most course assignments, your professor will want you to write this type of review.

Book Reviews. Writing Center. University of New Hampshire; Book Reviews: How to Write a Book Review. Writing and Style Guides. Libraries. Dalhousie University; Kindle, Peter A. "Teaching Students to Write Book Reviews." Contemporary Rural Social Work 7 (2015): 135-141; Erwin, R. W. “Reviewing Books for Scholarly Journals.” In Writing and Publishing for Academic Authors . Joseph M. Moxley and Todd Taylor. 2 nd edition. (Lanham, MD: Rowan and Littlefield, 1997), pp. 83-90.

How to Approach Writing Your Review

NOTE:   Since most course assignments require that you write a critical rather than descriptive book review, the following information about preparing to write and developing the structure and style of reviews focuses on this approach.

I.  Common Features

While book reviews vary in tone, subject, and style, they share some common features. These include:

• A review gives the reader a concise summary of the content . This includes a description of the research topic and scope of analysis as well as an overview of the book's overall perspective, argument, and purpose.
• A review offers a critical assessment of the content in relation to other studies on the same topic . This involves documenting your reactions to the work under review--what strikes you as noteworthy or important, whether or not the arguments made by the author(s) were effective or persuasive, and how the work enhanced your understanding of the research problem under investigation.
• In addition to analyzing a book's strengths and weaknesses, a scholarly review often recommends whether or not readers would value the work for its authenticity and overall quality . This measure of quality includes both the author's ideas and arguments and covers practical issues, such as, readability and language, organization and layout, indexing, and, if needed, the use of non-textual elements .

To maintain your focus, always keep in mind that most assignments ask you to discuss a book's treatment of its topic, not the topic itself . Your key sentences should say, "This book shows...,” "The study demonstrates...," or “The author argues...," rather than "This happened...” or “This is the case....”

II.  Developing a Critical Assessment Strategy

There is no definitive methodological approach to writing a book review in the social sciences, although it is necessary that you think critically about the research problem under investigation before you begin to write. Therefore, writing a book review is a three-step process: 1) carefully taking notes as you read the text; 2) developing an argument about the value of the work under consideration; and, 3) clearly articulating that argument as you write an organized and well-supported assessment of the work.

A useful strategy in preparing to write a review is to list a set of questions that should be answered as you read the book [remember to note the page numbers so you can refer back to the text!]. The specific questions to ask yourself will depend upon the type of book you are reviewing. For example, a book that is presenting original research about a topic may require a different set of questions to ask yourself than a work where the author is offering a personal critique of an existing policy or issue.

Here are some sample questions that can help you think critically about the book:

• Thesis or Argument . What is the central thesis—or main argument—of the book? If the author wanted you to get one main idea from the book, what would it be? How does it compare or contrast to the world that you know or have experienced? What has the book accomplished? Is the argument clearly stated and does the research support this?
• Topic . What exactly is the subject or topic of the book? Is it clearly articulated? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? Can you detect any biases? What type of approach has the author adopted to explore the research problem [e.g., topical, analytical, chronological, descriptive]?
• Evidence . How does the author support their argument? What evidence does the author use to prove their point? Is the evidence based on an appropriate application of the method chosen to gather information? Do you find that evidence convincing? Why or why not? Does any of the author's information [or conclusions] conflict with other books you've read, courses you've taken, or just previous assumptions you had about the research problem?
• Structure . How does the author structure their argument? Does it follow a logical order of analysis? What are the parts that make up the whole? Does the argument make sense to you? Does it persuade you? Why or why not?
• Take-aways . How has this book helped you understand the research problem? Would you recommend the book to others? Why or why not?

Beyond the content of the book, you may also consider some information about the author and the general presentation of information. Question to ask may include:

• The Author: Who is the author? The nationality, political persuasion, education, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the author is affiliated with a particular organization? What difference would it make if the author participated in the events they wrote about? What other topics has the author written about? Does this work build on prior research or does it represent a new or unique area of research?
• The Presentation: What is the book's genre? Out of what discipline does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or other contextual standard upon which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know this. Keep in mind, though, that declarative statements about being the “first,” the "best," or the "only" book of its kind can be a risky unless you're absolutely certain because your professor [presumably] has a much better understanding of the overall research literature.

NOTE: Most critical book reviews examine a topic in relation to prior research. A good strategy for identifying this prior research is to examine sources the author(s) cited in the chapters introducing the research problem and, of course, any review of the literature. However, you should not assume that the author's references to prior research is authoritative or complete. If any works related to the topic have been excluded, your assessment of the book should note this . Be sure to consult with a librarian to ensure that any additional studies are located beyond what has been cited by the author(s).

Book Reviews. Writing@CSU. Colorado State University; Book Reviews. The Writing Center. University of North Carolina; Hartley, James. "Reading and Writing Book Reviews Across the Disciplines." Journal of the American Society for Information Science and Technology 57 (July 2006): 1194–1207;   Motta-Roth, D. “Discourse Analysis and Academic Book Reviews: A Study of Text and Disciplinary Cultures.”  In Genre Studies in English for Academic Purposes . Fortanet Gómez, Inmaculada  et  al., editors. (Castellò de la Plana: Publicacions de la Universitat Jaume I, 1998), pp. 29-45. Writing a Book Review. The Writing Lab and The OWL. Purdue University; Writing Book Reviews. Writing Tutorial Services, Center for Innovative Teaching and Learning. Indiana University; Suárez, Lorena and Ana I. Moreno. “The Rhetorical Structure of Academic Journal Book Reviews: A Cross-linguistic and Cross-disciplinary Approach .” In Asociación Europea de Lenguas para Fines Específicos, María del Carmen Pérez Llantada Auría, Ramón Plo Alastrué, and Claus Peter Neumann. Actas del V Congreso Internacional AELFE/Proceedings of the 5th International AELFE Conference . Zaragoza: Universidad de Zaragoza, 2006.

Structure and Writing Style

I.  Bibliographic Information

Bibliographic information refers to the essential elements of a work if you were to cite it in a paper [i.e., author, title, date of publication, etc.]. Provide the essential information about the book using the writing style [e.g., APA, MLA, Chicago] preferred by your professor or used by the discipline of your major . Depending on how your professor wants you to organize your review, the bibliographic information represents the heading of your review. In general, it would look like this:

[Complete title of book. Author or authors. Place of publication. Publisher. Date of publication. Number of pages before first chapter, often in Roman numerals. Total number of pages]. The Whites of Their Eyes: The Tea Party's Revolution and the Battle over American History . By Jill Lepore. (Princeton, NJ: Princeton University Press, 2010. xii, 207 pp.)

Reviewed by [your full name].

II.  Scope/Purpose/Content

Begin your review by telling the reader not only the overarching concern of the book in its entirety [the subject area] but also what the author's particular point of view is on that subject [the thesis statement]. If you cannot find an adequate statement in the author's own words or if you find that the thesis statement is not well-developed, then you will have to compose your own introductory thesis statement that does cover all the material. This statement should be no more than one paragraph and must be succinctly stated, accurate, and unbiased.

If you find it difficult to discern the overall aims and objectives of the book [and, be sure to point this out in your review if you determine that this is a deficiency], you may arrive at an understanding of the book's overall purpose by assessing the following:

• Scan the table of contents because it can help you understand how the book was organized and will aid in determining the author's main ideas and how they were developed [e.g., chronologically, topically, historically, etc.].
• Why did the author write on this subject rather than on some other subject?
• From what point of view is the work written?
• Was the author trying to give information, to explain something technical, or to convince the reader of a belief’s validity by dramatizing it in action?
• What is the general field or genre, and how does the book fit into it? If necessary, review related literature from other books and journal articles to familiarize yourself with the field.
• Who is the intended audience?
• What is the author's style? Is it formal or informal? You can evaluate the quality of the writing style by noting some of the following standards: coherence, clarity, originality, forcefulness, accurate use of technical words, conciseness, fullness of development, and fluidity [i.e., quality of the narrative flow].
• How did the book affect you? Were there any prior assumptions you had about the subject that were changed, abandoned, or reinforced after reading the book? How is the book related to your own personal beliefs or assumptions? What personal experiences have you had related to the subject that affirm or challenge underlying assumptions?
• How well has the book achieved the goal(s) set forth in the preface, introduction, and/or foreword?
• Would you recommend this book to others? Why or why not?

III.  Note the Method

Support your remarks with specific references to text and quotations that help to illustrate the literary method used to state the research problem, describe the research design, and analyze the findings. In general, authors tend to use the following literary methods, exclusively or in combination.

• Description : The author depicts scenes and events by giving specific details that appeal to the five senses, or to the reader’s imagination. The description presents background and setting. Its primary purpose is to help the reader realize, through as many details as possible, the way persons, places, and things are situated within the phenomenon being described.
• Narration : The author tells the story of a series of events, usually thematically or in chronological order. In general, the emphasis in scholarly books is on narration of the events. Narration tells what has happened and, in some cases, using this method to forecast what could happen in the future. Its primary purpose is to draw the reader into a story and create a contextual framework for understanding the research problem.
• Exposition : The author uses explanation and analysis to present a subject or to clarify an idea. Exposition presents the facts about a subject or an issue clearly and as impartially as possible. Its primary purpose is to describe and explain, to document for the historical record an event or phenomenon.
• Argument : The author uses techniques of persuasion to establish understanding of a particular truth, often in the form of addressing a research question, or to convince the reader of its falsity. The overall aim is to persuade the reader to believe something and perhaps to act on that belief. Argument takes sides on an issue and aims to convince the reader that the author's position is valid, logical, and/or reasonable.

IV.  Critically Evaluate the Contents

Critical comments should form the bulk of your book review . State whether or not you feel the author's treatment of the subject matter is appropriate for the intended audience. Ask yourself:

• Has the purpose of the book been achieved?
• What contributions does the book make to the field?
• Is the treatment of the subject matter objective or at least balanced in describing all sides of a debate?
• Are there facts and evidence that have been omitted?
• What kinds of data, if any, are used to support the author's thesis statement?
• Can the same data be interpreted to explain alternate outcomes?
• Is the writing style clear and effective?
• Does the book raise important or provocative issues or topics for discussion?
• Does the book bring attention to the need for further research?
• What has been left out?

Support your evaluation with evidence from the text and, when possible, state the book's quality in relation to other scholarly sources. If relevant, note of the book's format, such as, layout, binding, typography, etc. Are there tables, charts, maps, illustrations, text boxes, photographs, or other non-textual elements? Do they aid in understanding the text? Describing this is particularly important in books that contain a lot of non-textual elements.

NOTE:   It is important to carefully distinguish your views from those of the author so as not to confuse your reader. Be clear when you are describing an author's point of view versus expressing your own.

V.  Examine the Front Matter and Back Matter

Front matter refers to any content before the first chapter of the book. Back matter refers to any information included after the final chapter of the book . Front matter is most often numbered separately from the rest of the text in lower case Roman numerals [i.e. i - xi ]. Critical commentary about front or back matter is generally only necessary if you believe there is something that diminishes the overall quality of the work [e.g., the indexing is poor] or there is something that is particularly helpful in understanding the book's contents [e.g., foreword places the book in an important context].

Front matter that may be considered for evaluation when reviewing its overall quality:

• Table of contents -- is it clear? Is it detailed or general? Does it reflect the true contents of the book? Does it help in understanding a logical sequence of content?
• Author biography -- also found as back matter, the biography of author(s) can be useful in determining the authority of the writer and whether the book builds on prior research or represents new research. In scholarly reviews, noting the author's affiliation and prior publications can be a factor in helping the reader determine the overall validity of the work [i.e., are they associated with a research center devoted to studying the problem under investigation].
• Foreword -- the purpose of a foreword is to introduce the reader to the author and the content of the book, and to help establish credibility for both. A foreword may not contribute any additional information about the book's subject matter, but rather, serves as a means of validating the book's existence. In these cases, the foreword is often written by a leading scholar or expert who endorses the book's contributions to advancing research about the topic. Later editions of a book sometimes have a new foreword prepended [appearing before an older foreword, if there was one], which may be included to explain how the latest edition differs from previous editions. These are most often written by the author.
• Acknowledgements -- scholarly studies in the social sciences often take many years to write, so authors frequently acknowledge the help and support of others in getting their research published. This can be as innocuous as acknowledging the author's family or the publisher. However, an author may acknowledge prominent scholars or subject experts, staff at key research centers, people who curate important archival collections, or organizations that funded the research. In these particular cases, it may be worth noting these sources of support in your review, particularly if the funding organization is biased or its mission is to promote a particular agenda.
• Preface -- generally describes the genesis, purpose, limitations, and scope of the book and may include acknowledgments of indebtedness to people who have helped the author complete the study. Is the preface helpful in understanding the study? Does it provide an effective framework for understanding what's to follow?
• Chronology -- also may be found as back matter, a chronology is generally included to highlight key events related to the subject of the book. Do the entries contribute to the overall work? Is it detailed or very general?
• List of non-textual elements -- a book that contains numerous charts, photographs, maps, tables, etc. will often list these items after the table of contents in the order that they appear in the text. Is this useful?

Back matter that may be considered for evaluation when reviewing its overall quality:

• Afterword -- this is a short, reflective piece written by the author that takes the form of a concluding section, final commentary, or closing statement. It is worth mentioning in a review if it contributes information about the purpose of the book, gives a call to action, summarizes key recommendations or next steps, or asks the reader to consider key points made in the book.
• Appendix -- is the supplementary material in the appendix or appendices well organized? Do they relate to the contents or appear superfluous? Does it contain any essential information that would have been more appropriately integrated into the text?
• Index -- are there separate indexes for names and subjects or one integrated index. Is the indexing thorough and accurate? Are elements used, such as, bold or italic fonts to help identify specific places in the book? Does the index include "see also" references to direct you to related topics?
• Glossary of Terms -- are the definitions clearly written? Is the glossary comprehensive or are there key terms missing? Are any terms or concepts mentioned in the text not included that should have been?
• Endnotes -- examine any endnotes as you read from chapter to chapter. Do they provide important additional information? Do they clarify or extend points made in the body of the text? Should any notes have been better integrated into the text rather than separated? Do the same if the author uses footnotes.
• Bibliography/References/Further Readings -- review any bibliography, list of references to sources, and/or further readings the author may have included. What kinds of sources appear [e.g., primary or secondary, recent or old, scholarly or popular, etc.]? How does the author make use of them? Be sure to note important omissions of sources that you believe should have been utilized, including important digital resources or archival collections.

VI.  Summarize and Comment

State your general conclusions briefly and succinctly. Pay particular attention to the author's concluding chapter and/or afterword. Is the summary convincing? List the principal topics, and briefly summarize the author’s ideas about these topics, main points, and conclusions. If appropriate and to help clarify your overall evaluation, use specific references to text and quotations to support your statements. If your thesis has been well argued, the conclusion should follow naturally. It can include a final assessment or simply restate your thesis. Do not introduce new information in the conclusion. If you've compared the book to any other works or used other sources in writing the review, be sure to cite them at the end of your book review in the same writing style as your bibliographic heading of the book.

Book Reviews. Writing@CSU. Colorado State University; Book Reviews. The Writing Center. University of North Carolina; Gastel, Barbara. "Special Books Section: A Strategy for Reviewing Books for Journals." BioScience 41 (October 1991): 635-637; Hartley, James. "Reading and Writing Book Reviews Across the Disciplines." Journal of the American Society for Information Science and Technology 57 (July 2006): 1194–1207; Lee, Alexander D., Bart N. Green, Claire D. Johnson, and Julie Nyquist. "How to Write a Scholarly Book Review for Publication in a Peer-reviewed Journal: A Review of the Literature." Journal of Chiropractic Education 24 (2010): 57-69; Nicolaisen, Jeppe. "The Scholarliness of Published Peer Reviews: A Bibliometric Study of Book Reviews in Selected Social Science Fields." Research Evaluation 11 (2002): 129-140;.Procter, Margaret. The Book Review or Article Critique. The Lab Report. University College Writing Centre. University of Toronto; Reading a Book to Review It. The Writer’s Handbook. Writing Center. University of Wisconsin, Madison; Scarnecchia, David L. "Writing Book Reviews for the Journal Of Range Management and Rangelands." Rangeland Ecology and Management 57 (2004): 418-421; Simon, Linda. "The Pleasures of Book Reviewing." Journal of Scholarly Publishing 27 (1996): 240-241; Writing a Book Review. The Writing Lab and The OWL. Purdue University; Writing Book Reviews. Writing Tutorial Services, Center for Innovative Teaching and Learning. Indiana University.

Writing Tip

Always Read the Foreword and/or the Preface

If they are included in the front matter, a good place for understanding a book's overall purpose, organization, contributions to further understanding of the research problem, and relationship to other studies is to read the preface and the foreword. The foreword may be written by someone other than the author or editor and can be a person who is famous or who has name recognition within the discipline. A foreword is often included to add credibility to the work.

The preface is usually an introductory essay written by the author or editor. It is intended to describe the book's overall purpose, arrangement, scope, and overall contributions to the literature. When reviewing the book, it can be useful to critically evaluate whether the goals set forth in the foreword and/or preface were actually achieved. At the very least, they can establish a foundation for understanding a study's scope and purpose as well as its significance in contributing new knowledge.

Distinguishing between a Foreword, a Preface, and an Introduction . Book Creation Learning Center. Greenleaf Book Group, 2019.

Locating Book Reviews

There are several databases the USC Libraries subscribes to that include the full-text or citations to book reviews. Short, descriptive reviews can also be found at book-related online sites such as Amazon , although it's not always obvious who has written them and may actually be created by the publisher. The following databases provide comprehensive access to scholarly, full-text book reviews:

• ProQuest [1983-present]
• Book Review Digest Retrospective [1905-1982]

Some Language for Evaluating Texts

It can be challenging to find the proper vocabulary from which to discuss and evaluate a book. Here is a list of some active verbs for referring to texts and ideas that you might find useful:

• account for
• demonstrate
• distinguish
• investigate

Examples of usage

• "The evidence indicates that..."
• "This work assesses the effect of..."
• "The author identifies three key reasons for..."
• "This book questions the view that..."
• "This work challenges assumptions about...."

Paquot, Magali. Academic Keyword List. Centre for English Corpus Linguistics. Université Catholique de Louvain.

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This is Writing

How to Write a Book Review

By Kara Hutchings

A great book review is one that helps a reader decide whether they will pick up the book and read it. This article will provide guidance on how to write a book review. It will answer the question ‘what is a book review’, help you choose which book to review and explore the key elements that form a successful review.

Whether you’re a seasoned professional, student, or brand new to book reviewing, here’s our strategies and suggestions for writing an effective book review.

What you’ll learn in this article

The purpose of this article is to teach you how to write a book review. By reading this article you will learn the following: 

What is a book review?

• How to choose a book to review
• How to critically analyse a book
• The key elements of a book review
• Rating a book
• FAQs about book reviewing

Before you even pick up the book, it’s important to understand exactly what a book review is. 

A book review describes, analyzes and evaluates a book based on elements including writing style, plot, characters, significance, impact and fitness for purpose. The criteria for evaluating a book are explored in more detail below.

The most important part of a book review is the analysis and evaluation. A book review requires a critical evaluation meaning you must form an opinion about the book and support your opinion with evidence. Evidence from the book can include direct quotes, writing techniques, themes and character dialogue.

To ensure you are critically evaluating a book, it’s important to avoid falling into the trap of simply describing the plot and characters. Your opinion must be clearly stated, whether it’s positive or negative. The following is an example of a simple description, without any analysis or evaluation:

“The unnamed narrator, a woman writer, lives in Vienna with a man named Malina who works at a military museum, and she is conducting an affair with a Hungarian man named Ivan, who lives nearby and has two young children.” [1]

Book reviews can vary in tone and style, depending on the author of the review (i.e. whether you’re an academic writing a scholarly review, a journalist, or an amateur reviewer, etc) and the book you are reviewing. 

However, there are key elements that should always be addressed in order to create an effective book review. These include:

• a summary of the book,
• a critical assessment, and;
• a conclusion, including whether or not you would recommend the book to your audience.

You can read more about the key elements of a book review below. 

Choosing a book to review

The first and probably most important step of writing a book review is choosing the book you would like to review.

If you’re considering writing a book review then you most likely already have a book in mind. But if not, a good place to start is by thinking about your favourite author, or genre, and finding books in this area.

Don’t be afraid to choose a book from an author you love. Some people can feel intimidated by well-respected or famous authors and hence avoid being overly critical of them. But it’s important to choose a book that you’re actually interested in. 

Reviewing a book you don’t really want to read will feel too much like a school project.

If you’re truly interested in the book before you, you’ll find the time to properly research, carefully read, and form ideas about the book – all elements of a good book review.

If you’re hoping to get your review published online, it’s also best to select a recently published book. A newer book is less likely to have already been reviewed by another book reviewer and therefore more likely to get published.

Writing the book review

Now the fun part begins. Getting your opinion out there for the world to see. But there’s much more to a book review than simply writing. A sound structure, supported by thorough research, will ensure your book review gets the credibility it deserves.

Here’s how to get started:

Before you start writing

Before you jump into writing, it’s important that you do your research. It’s easy to know whether you do or don’t like a book. But why you have that opinion needs to be supported by research and evidence (i.e. the elements that inform your critical evaluation ).

• Download sample book reviews

A great place to start, particularly if this is your very first book review, is to read other reviews. Most of the reviews you read will follow a similar structure and touch on similar points, so use others as a guide for how you should be setting out your work. If you come across a book review that you find really engaging, ask yourself why it was so impactful and try to reproduce those elements in your own work. Because if the review was persuasive enough to encourage (or dissuade) you to read the book, it’s a successful book review.

You can browse professional book reviews from writers all around the world on websites including:

• The Telegraph (UK) website
• The New York Times Sunday Book Review
• The New York Review of Books
• National Library of Australia website
• The Australian newspaper website
• Kirkus Book Reviews
• This Is Writing

As you’re reading through the book reviews make sure to take notes on factors that will form the basis of your review

• What are the common elements of the book reviews you have read? 
• What do you like about the reviews? 
• Do you prefer reviews with controversial opinions? 
• Do you like when a serious tone is used, or do you prefer a more casual review? 
• What could you do better? 

2. Do your research

A good book review is one supported by thorough research.

Understanding the context in which a novel was written will help you form an opinion later when you start writing.

It’s difficult to form an argument about the author’s choice of language, for example, if you don’t understand the time period in which the novel was composed. If you’re reading a vampire mystery book, how can you evaluate the structure of the storyline if you don’t understand the elements of that genre?

There are a number of complex and competing elements that will influence the choices an author has made, so it’s crucial to understand the reasons behind their choices in order to form an opinion about things like style, tone, character development, plot and language. Here is a great example of a book review which considers the historical context in which the novel was composed.

To help you with your contextual research, use the below template as a starting point: 

In addition to the above criteria, you should also be reading actively and critically. As you’re reading, ask yourself questions like;

• how did the author structure their argument and how did they support it?
• has the book helped you understand the topic?
• And most importantly, would you recommend this book to others? 

We will explore how to form an opinion and making recommendations more in-depth below.

How long should a book review be?

The length of your book review depends on why you are writing the review and who it is for. Is it simply to provide your opinion to your social media followers, or are you trying to get published online? Is it for an academic purpose? Perhaps it is a university assignment.

Generally, book reviews are around 500 words. However, professional and academic book reviews can be thousands of words in length. If you’re interested in writing a professional book review, check out example book reviews on The Guardian online to get an idea of length. Ultimately, the more words you use, the more thorough your analysis can be. But always be conscious of keeping your writing concise and to the point.

If you are opting for a longer review (around the 1,000 word mark), you can break up long paragraphs of text by using headings and sub-headings. This helps make the content more digestible for the reader.

The elements of a book review

Now that you’ve finished reading the book, made extensive notes, and completed your research, it’s time to begin writing.

Any writer would know that a high-quality piece of writing is well structured. Your arguments should be developed in a logical manner, beginning with the context of the novel and a general overview of the plot, followed by an exploration of the author’s argument, your own opinions about the book, and ending with a conclusion – what rating do you give the book and would you recommend it to others.

The three key elements that you should include in your book review are:

• A summary of the content – including the plot, context, author’s argument, etc. (i.e. all the information you gathered in your initial research).
• A critical assessment of the book – your reaction to the book and whether or not it was effective in meeting its purpose.
• A recommendation – whether or not the audience you are writing for would appreciate the book.

Here’s a breakdown of each point:

1. Introduction

Your book review should begin with a captivating introduction to draw your reader in and make them want to continue reading. Generally, it’ll be around one sentence in length and give a quick overview of the main theme of the book. Here are two examples of short and snappy introductions that hook the reader in:

 “For every child kidnapped, another must be taken. Otherwise The Chain will be broken.” [2]

“Throughout college, Evvie, Maggie, and Topher were the best of friends. But time and the mistakes that come with simply being human may strain their love to the breaking point.” [3]

While trying to keep your introduction short, it’s important to also be concise. A complicated introduction can turn your reader away before they’ve even gotten to your analysis.

By trying to contain the introduction to a single, lengthy sentence , the below opening line is complicated and overloaded with commas, making it difficult to read:

The English nature writer Robert Macfarlane’s new book, “Underland: A Deep Time Journey,” has a title that evokes a burrowing theme park ride or an IMAX movie, and indeed, like Alice in Wonderland or Orpheus in the underworld, down we go. [4]

2. Describe the plot

Your introduction should lead into a description of the plot. In a few sentences, Include a description of the book’s setting, the main characters, and a loose summary of the plot. An outline of the storyline will help your audience decide whether or not they’re interested in reading the book.

However, make sure your introduction doesn’t give everything away. There should be just enough details to make the reader want to pick up the book, without giving away the whole story.

Not only do you want to touch on the plot of the book in your introduction, but you will also need to set the context. What is the historical, political, and/or social context in which the novel was written? What is the author’s background? What genre is the book written in? These questions set the scene for your critical assessment. Whether the author was successful in meeting their intended purpose will be informed by the reasons behind writing the novel.

3. Avoid spoilers

It almost goes without saying. Don’t spoil the book!

While your readers will want to know what the book is about, don’t rob them of experiencing genuine emotional reactions to the shocks and plot twists of the book. For example, if the main character dies at the end of the book, keep those details to yourself. There’ll be no point in your audience reading the book if they already know what happens.

It can be really tempting to reveal spoilers in your book review, because more often than not, the big shocks of the book are those that you want to talk about. When forming an opinion of the book’s effectiveness, your emotional reaction to surprising details are likely to be the evidence you need to prove the book’s effectiveness.

But it is possible to review a book without completely revealing the details if you choose your words carefully. After all, the purpose of your book review is to encourage others (or discourage if you didn’t enjoy the book) to read the book, and no-one is going to want to read the book if you’ve already told them the ending.

For example, ‘I Let You Go’ by Clare Mackintosh is renowned for having two ‘absolute stunner’ plot twist , however, this review on The New York Times only alludes to the twist enough to entice the reader to want to pick up the book, without completely  giving it away:

“The big plot twist in Clare Mackintosh’s first novel, I LET YOU GO, is genuinely shocking. The jolts that follow, right up until the last page, are pretty good too. And if you’re the kind of genre geek who jumps back to the ­beginning of a book to work out how you’ve been hoodwinked, you’ll find that the author has played fair and square.”[5]

4. Form an opinion

By far the most important part of writing a book review is forming an opinion. As we touched on earlier, your critical evaluation is what takes your writing from a simple summary of a book, to a review.

Keep in mind your critique doesn’t have to be all negative or all praise. A well-balanced book review would explore both sides so that the reader of your review gets the whole picture. A one-sided book review can give your audience the impression that your critique is an unfair assessment. Remember, a bad book takes just as long to write as a good one and every author deserves fair treatment. Even if you hated the book, you’ll be able to find some positives. And ultimately, make sure you are reviewing the book you read, not the book you wished the author had written.

Think back to the list you wrote when you were first reading the book. Here’s where those considerations come into play – the author’s background, the genre, the purpose of the book and the main thesis of the work are all elements that inform your opinion. Whether you did or did not enjoy the book can be supported by opinions based on factors such as whether the author effectively subverted traditional elements of the genre, or whether the author’s thesis didn’t challenge your way of thinking.

This review of the novel ‘Malina’ provides an example of the reviewer evaluating how the author’s academic experience influences her language style and the overall readability of the novel:

“Taken in bites, Bachmann’s prose is often lucid and powerful, enlivened by her poetic gifts. At length, she can be tough chewing. She wrote a doctoral dissertation on Heidegger and was a devoted reader of Wittgenstein’s “Tractatus Logico-Philosophicus,” though she’s nowhere near that tough. For every aphoristic dart she throws at the human condition (“the world is sick and doesn’t want a healthy force to prevail”), there is a sentence or meaning that remains tightly knotted, and a general lack of clear orientation prevails. Whatever verifiable facts about the plot and characters might exist beneath the novel’s psychological static, you can imagine Bachmann insisting, are none of your business.”[6]

Your book review will include multiple different arguments, so aim to break them down into separate paragraphs that each deal with individual aspects. And each paragraph should contain an evaluation with an example from the book to support it.

The following criteria can be used to help you form an evaluation: 

• objectivity
• thoroughness
• usefulness for intended purpose.

5. Include your favourite quotes

When making an argument you need examples to support your opinion. The easiest way to do this is by directly quoting the book.

For example, one of the key themes of Harper Lee’s To Kill a Mockingbird , is prejudice and the following quote directly illustrates this theme:

“You never really understand a person until you consider things from his point of view … Until you climb inside of his skin and walk around in it.” [7]

The main thing to consider when quoting the book is to keep the quotes short. A lengthy quote will take up too many words and potentially overpower your review. A short quote will help to get your point across while still letting your work shine through. The purpose of including quotes is to simply bring your argument to light.

6. Provide recommendations to your audience

Would you recommend the book to your audience?

In order to recommend the book, you need to determine who your audience is. Who are you writing the book review for? Not every book is suited to every reader. For example, a book written under the magical realism genre, wouldn’t be recommended to an audience that enjoy non-fiction.

This goes back to the point above, it’s important to remember that your individual tastes don’t necessarily reflect those of your readers. Even if you didn’t enjoy the book, there may be readers out there who it would appeal to so make sure you consider diverse tastes when making a book recommendation.

If you’re reviewing children, teenage or young adult books, it’s a good idea to give an ‘age-appropriateness’ recommendation. It can be tricky for parents when buying books for their children to know whether the book would be appropriate or not, so do the hard work for them. Check out Common Sense Media for ideas on how to give an age-appropriateness rating – this site rates books by age and learning value.

A captivating way to make a recommendation is to also compare the book to other similar ones. If the book you are reviewing has similar themes, characters, writing style, or is even composed by the same author, you will be able to make a recommendation based on how it compares to other work. You might write something along the lines of ‘If loved XXX book, you will love this one’. If your audience has already read the other book, they will be able to get a good idea of whether they will also like your book based on this comparison.

7. Rate the book

You might wonder if you’ve already expressed your opinion about the book throughout your review, why give it a rating as well?

Attaching a rating to your book review is a great way to give your audience an immediate sense of how you felt about the book. Before they even begin reading your review, they already know whether you’re recommending it or not.

The simplest way to rate a book is using a star rating. Goodreads uses a 5-star book rating system.

You can see the most popular books published in 2018 here based on the star rating. If you intend for your book review to be published on a website such as this, you will need to use the rating system provided by the site.

But if you’re self-publishing the review, you can choose whatever rating system that works best for you. You could break your rating system down into categories – maybe the book deserves four stars out of five for writing style, but only two stars for the plot development. It’s up to you.

8. Write a conclusion

The conclusion to your book review is the last thing your audience will read so you want to make sure it leaves them with a lasting impression. A reader has most likely come to your review to decide whether they will or won’t read the book, so if you want them to read the book, make it clear.

Your conclusion should follow general conclusion writing guidelines. The University of Melbourne suggests a conclusion should :

• Summaries the key points made in reaching your position; and
• Make a final comment on the topic.

While summarising the key points you should aim to balance the strengths and weakness of the book. What did the author do well? What could be improved upon? And remember, no new information should be included in the conclusion. Any interesting points you want to make about the book should be included in the body of your text.

This review of Laura Lippman’s ‘Lady in the Lake’ wraps up the book in the following short and sweet sentence:

The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom and the city it covers. [8]

9. Bibliographical details

A professional book review will also include a bibliographic citation of the book. Check out some examples on Kirkus Reviews to get an idea on how you can format your citation.

Here are the bibliographic details you should include in your review:

• Title: Clockwork Angel (The Infernal Devices)
• Author: Cassandra Clare
• Place of Publication: USA
• Date of Publication: Margaret K. McElderry Books
• Date of publication edition: August 31, 2010
• Number of pages: 496
• ISBN number*: 978-1416975861

*ISBN or ‘International Standard Book Number’ is a unique identifier for books . It is used by publishers, booksellers, libraries, internet retailers and other suppliers for ordering, listing, sales records and stock control purposes. It identifies the registrant as well as the title, edition and format of the book.

10. Editing

After you’ve completed the first draft of your book review, it’s time to start the editing process. Step away from your work for at least an hour to give your brain a rest. When you come back to review your work with fresh eyes, look out for the following:

• Is the paper well-organised?
• Are the transitions between paragraphs smooth?
• Have you backed up each point with evidence?
• Is there an introduction and a conclusion?
• Have you cited all your references?

Take the time to rewrite your work and make any changes necessary to improve it.

There are also some great tools that can assist in editing such as the Hemingway App . Copy and paste your work into the app and it will give you a readability score as well as highlight sentences that are too long and complicated.

Another useful tool is Grammarly . Grammarly is a handy application that detects spelling, punctuation, grammar, word choice, plagiarism and style, and suggests corrections. It’s also available as an app for both iOS and Android.

11. Proofread

The best way to undermine your credibility as a book reviewer is with spelling mistakes. To critique the work of another writer with a piece of writing that is littered with typos and incorrect punctuation tells your audience you don’t know what you’re talking about.

Before publishing your work, read over it a few times to catch any spelling or grammar errors, as well as double-checking your facts – including double-checking that the quotes and character names you referenced from the book are accurate, as well as the facts you’ve included about the author’s background.

If you’re not feeling confident in your proofreading skills, test yourself by reading this article from The Writing Centre . It contains seven errors (two punctuation errors, two grammatical errors and three spelling errors). See if you can spot them, then refer to this handout with the errors marked in red .

It might even be worthwhile also having another person proofread your work. Once you’ve read over your own work a few times it can be easy to miss things, so a fresh set of eyes could be useful in picking up any errors you haven’t. 

12. Have fun!

While it might seem like there are a lot of rules that go into writing a high-quality book review, the most important thing is that you enjoy what you’re doing! Your passion for the book you are reviewing will shine through in your writing.

If you have been book reviewing for some time and begin to feel burned out, take a break and remind yourself why you started writing book reviews in the first place – to share your love of reading with your fellow readers all over the world.

What is the objective of a book review?

The main purpose of a book review is to help a reader device whether to read the book themselves. For this reason, a book review should include a brief summary of the book’s content, characters and setting, as well as a critical evaluation on the success or effectiveness of the book.

Book reviews save other readers time and offer them a chance to connect with the book before they even pick it up. They help validate the worthiness of a book – if someone else enjoyed the book, I might enjoy it too .

Book reviews are also very important to authors . They give a book greater visibility and a higher chance of being found by readers whether it’s online, in bookstores, among book clubs or blogging communities. A book review is a great opportunity for an author to expand their reach, as well as a platform for other books written in a similar style or from the same genre to be found.

Can you use ‘I’ in a book review?

Whether or not you use first person to write your book review will ultimately come down to why you are writing the review.

An academic piece of writing, for example, would not use first person. So if you’re writing your review for a school, university/college assignment or to be published in an academic journal or magazine (for example, the Oxford Academic Journal of Communication ), avoid using first person.

If you’re writing the review for your personal blog or website, or writing customer reviews online, then it’s okay to be a little more casual. Depending on your writing style and the purpose of your website, first-person can make your review more personal and relatable for your audience. It’s easier to give an opinion about how you felt about a book when writing in the first person, for example – ‘I loved the way the author used XYZ to ABC’.

Where can I get my book review published?

If you’re looking to get your book review published, here’s a step-by-step guide on how to:

• Identify where you want your book review to be published

There are a number of journals devoted to book reviews if you’re interested in having your book review published in a scholarly journal like the Oxford Academic Journal of Communication , Cambridge University’s Historical Journal , or the Australian Book Review .

If you’re not interested in going down the academic route, there are a host of websites where you can publish your book review, including This is Writing. A quick Google search will help you find websites where you could potentially have your review published, or check out our list of ‘Book Blogs and Review Websites for Book Lovers ’.

Otherwise, you can self-publish your book review on your own website or blog.

• Reach out to the editor Once you’ve decided where you’d like your book review to be published, get in contact with the journal or website. Your email to the editor or website owner should include a brief introduction about yourself, the book you intend on reviewing and why you’d like to write a review for the publication.It’s important to do your homework before contacting the editor or website owner. If you have a book in mind, do a quick search of the journal or website to make sure the book hasn’t already been reviewed by someone else. It’s recommended to select a book that has been published in the last two years, as anything earlier has likely already been claimed by another reviewer.And above all else, be confident! Even if you’re brand new to book reviewing, it’s perfectly alright to reach out to editors to ask them to publish your work. Conta c t us at This is Writing to have your book review featured.
• Read the book and write the review Once the editor or website owner has accepted your proposal to write a review for their publication, it’s time to get started. Refer to our recommendations on how to structure your book review above. If you’re writing for a journal you might even be lucky enough to be sent a free copy of the book.
• Submit and wait After you’ve completed the final proofread of your work it’s time to submit it to the editor or website owner. Be sure to read the journal or website submission guidelines thoroughly. Each publisher will have unique submission guidelines relating to criteria such as spelling and grammar, and offensive content, etc. Most book review journals and websites will receive a large number of submissions, so if yours doesn’t meet the guidelines it’s not likely to be considered for publishing.If you haven’t heard back after a month, it’s worthwhile following up. Send a second email asking the editor or website owner if they’ve received your submission and tell them you’re looking forward to hearing from them. The most important thing is to keep it polite and respectful. And make sure to check the website’s submission guidelines first to see if there’s a general timeline for feedback before you start harassing them after only a few days!

Can I get paid to write book reviews?

Yes. There are a number of websites that will pay writers to create book reviews for their website.

If you’re just getting started and looking for a bit of unpaid book reviewing experience, a great place to start is by writing customer reviews on websites that sell books, such as Amazon . These websites allow customers to give a star rating for the product as well as leave a comment. On Amazon, others can then mark your review as ‘helpful’ so you’ll be able to get a good idea on how people feel about your reviewing. Interacting with other book lovers and reviewers can also help improve your own reviewing style and build an audience.

You can also share your book reviews via your social media platforms, or start your own website or blog to publish your book reviews. Check out these tips on how to create a website from the Queensland Government.

The book I have chosen to review is not the first book of the series, does it matter?

No. As mentioned earlier in this article , if you want your book review to be published, you should be aiming to review a recently released book. The newer the book, the less likely it has already been reviewed by another review. If the first book of a series was released five years ago, and the second book released this year, review the second book. Chances are, the first book has already been reviewed to death. Reviewing book two is a chance to create brand new content for your audience.

Despite this, it’s still worthwhile touching on the storyline of the novels that have come before your book in the series as this provides context on the effectiveness of the book. Was book two a good sequel to the first book? What was different? What was the same? If the reader of your review has already read the first book, a comparison between the two will help them decide if they want to read the next book of the series.

[1] John Williams. “ A Postwar Love Triangle in Which One Partner May Be Pure Fantasy ”. The New York Times . July 24, 2019. Viewed 25 July 2019.

[2] “ The Chain ”. Kirkus Review. Viewed 29 July 2019.

[3] “ The Friends We Keep ”. Kirkus Review . Viewed 29 July 2019.

[4] Dwight Garner. “ ‘Underland’ Offers Excellent Nature Writing From Deep, Dark Places ”. The New York Times . Viewed 29 July 2019,

[5] Clare Mackintosh. “ Clare Mackintosh’s ‘I Let You Go’, and More ”. The New York Times . Viewed 25 July 2019.

[6] John Williams. “ A Postwar Love Triangle in Which One Partner May Be Pure Fantasy ”. The New York Times . July 24, 2019. Viewed 25 July 2019.

[7] Harper Lee. “To Kill a Mockingbird”. J. B. Lippincott & Co . Chapter 3.

[8] “ Lady in the Lake ”. Kirkus Review . Viewed 27 July 2019.

Scott Mullins

Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

• First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
• Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
• Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

• What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
• How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
• What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

• The name of the author and the book title and the main theme.
• Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
• The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
• The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
• Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

• Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
• With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
• Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
• Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
• A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Drewry, John. 1974. Writing Book Reviews. Boston: Greenwood Press.

Hoge, James. 1987. Literary Reviewing. Charlottesville: University Virginia of Press.

Sova, Dawn, and Harry Teitelbaum. 2002. How to Write Book Reports , 4th ed. Lawrenceville, NY: Thomson/Arco.

Walford, A.J. 1986. Reviews and Reviewing: A Guide. Phoenix: Oryx Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Q&A: The Editor Behind the Book Review

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How to Write a Book Review: The Ultimate Guide

WHAT IS A BOOK REVIEW?

Traditionally, book reviews are evaluations of a recently published book in any genre. Usually, around the 500 to 700-word mark, they briefly describe a text’s main elements while appraising the work’s strengths and weaknesses. Published book reviews can appear in newspapers, magazines, and academic journals. They provide the reader with an overview of the book itself and indicate whether or not the reviewer would recommend the book to the reader.

WHAT IS THE PURPOSE OF A BOOK REVIEW?

There was a time when book reviews were a regular appearance in every quality newspaper and many periodicals. They were essential elements in whether or not a book would sell well. A review from a heavyweight critic could often be the deciding factor in whether a book became a bestseller or a damp squib. In the last few decades, however, the book review’s influence has waned considerably, with many potential book buyers preferring to consult customer reviews on Amazon, or sites like Goodreads, before buying. As a result, book review’s appearance in newspapers, journals, and digital media has become less frequent.

WHY BOTHER TEACHING STUDENTS TO WRITE BOOK REVIEWS AT ALL?

Even in the heyday of the book review’s influence, few students who learned the craft of writing a book review became literary critics! The real value of crafting a well-written book review for a student does not lie in their ability to impact book sales. Understanding how to produce a well-written book review helps students to:

●     Engage critically with a text

●     Critically evaluate a text

●     Respond personally to a range of different writing genres

●     Improve their own reading, writing, and thinking skills.

Not to Be Confused with a Book Report!

WHAT’S THE DIFFERENCE BETWEEN A BOOK REVIEW AND A BOOK REPORT?

While the terms are often used interchangeably, there are clear differences in both the purpose and the format of the two genres. Generally speaking, book reports aim to give a more detailed outline of what occurs in a book. A book report on a work of fiction will tend to give a comprehensive account of the characters, major plot lines, and themes in the book. Book reports are usually written around the K-12 age range, while book reviews tend not to be undertaken by those at the younger end of this age range due to the need for the higher-level critical skills required in writing them. At their highest expression, book reviews are written at the college level and by professional critics.

Learn how to write a book review step by step with our complete guide for students and teachers by familiarizing yourself with the structure and features.

BOOK REVIEW STRUCTURE

ANALYZE Evaluate the book with a critical mind.

THOROUGHNESS The whole is greater than the sum of all its parts. Review the book as a WHOLE.

COMPARE Where appropriate compare to similar texts and genres.

THUMBS UP OR DOWN? You are going to have to inevitably recommend or reject this book to potential readers.

BE CONSISTENT Take a stance and stick with it throughout your review.

FEATURES OF A BOOK REVIEW

PAST TENSE You are writing about a book you have already read.

EMOTIVE LANGUAGE Whatever your stance or opinion be passionate about it. Your audience will thank you for it.

VOICE Both active and passive voice are used in recounts.

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ELEMENTS OF A BOOK REVIEW

As with any of the writing genres we teach our students, a book review can be helpfully explained in terms of criteria. While there is much to the ‘art’ of writing, there is also, thankfully, a lot of the nuts and bolts that can be listed too. Have students consider the following elements before writing:

●     Title: Often, the title of the book review will correspond to the title of the text itself, but there may also be some examination of the title’s relevance. How does it fit into the purpose of the work as a whole? Does it convey a message or reveal larger themes explored within the work?

●     Author: Within the book review, there may be some discussion of who the author is and what they have written before, especially if it relates to the current work being reviewed. There may be some mention of the author’s style and what they are best known for. If the author has received any awards or prizes, this may also be mentioned within the body of the review.

●     Genre: A book review will identify the genre that the book belongs to, whether fiction or nonfiction, poetry, romance, science-fiction, history etc. The genre will likely tie in, too with who the intended audience for the book is and what the overall purpose of the work is.

●     Book Jacket / Cover: Often, a book’s cover will contain artwork that is worthy of comment. It may contain interesting details related to the text that contribute to, or detract from, the work as a whole.

●     Structure: The book’s structure will often be heavily informed by its genre. Have students examine how the book is organized before writing their review. Does it contain a preface from a guest editor, for example? Is it written in sections or chapters? Does it have a table of contents, index, glossary etc.? While all these details may not make it into the review itself, looking at how the book is structured may reveal some interesting aspects.

●     Publisher and Price: A book review will usually contain details of who publishes the book and its cost. A review will often provide details of where the book is available too.

BOOK REVIEW KEY ELEMENTS

As students read and engage with the work they will review, they will develop a sense of the shape their review will take. This will begin with the summary. Encourage students to take notes during the reading of the work that will help them in writing the summary that will form an essential part of their review. Aspects of the book they may wish to take notes on in a work of fiction may include:

●     Characters: Who are the main characters? What are their motivations? Are they convincingly drawn? Or are they empathetic characters?

●     Themes: What are the main themes of the work? Are there recurring motifs in the work? Is the exploration of the themes deep or surface only?

●     Style: What are the key aspects of the writer’s style? How does it fit into the wider literary world?

●     Plot: What is the story’s main catalyst? What happens in the rising action? What are the story’s subplots? 

A book review will generally begin with a short summary of the work itself. However, it is important not to give too much away, remind students – no spoilers, please! For nonfiction works, this may be a summary of the main arguments of the work, again, without giving too much detail away. In a work of fiction, a book review will often summarise up to the rising action of the piece without going beyond to reveal too much!

The summary should also provide some orientation for the reader. Given the nature of the purpose of a review, it is important that students’ consider their intended audience in the writing of their review. Readers will most likely not have read the book in question and will require some orientation. This is often achieved through introductions to the main characters, themes, primary arguments etc. This will help the reader to gauge whether or not the book is of interest to them.

Once your student has summarized the work, it is time to ‘review’ in earnest. At this point, the student should begin to detail their own opinion of the book. To do this well they should:

i. Make It Personal

Often when teaching essay writing we will talk to our students about the importance of climbing up and down the ladder of abstraction. Just as it is helpful to explore large, more abstract concepts in an essay by bringing it down to Earth, in a book review, it is important that students can relate the characters, themes, ideas etc to their own lives.

Book reviews are meant to be subjective. They are opinion pieces, and opinions grow out of our experiences of life. Encourage students to link the work they are writing about to their own personal life within the body of the review. By making this personal connection to the work, students contextualize their opinions for the readers and help them to understand whether the book will be of interest to them or not in the process.

ii. Make It Universal

Just as it is important to climb down the ladder of abstraction to show how the work relates to individual life, it is important to climb upwards on the ladder too. Students should endeavor to show how the ideas explored in the book relate to the wider world. The may be in the form of the universality of the underlying themes in a work of fiction or, for example, the international implications for arguments expressed in a work of nonfiction.

iii. Support Opinions with Evidence

A book review is a subjective piece of writing by its very nature. However, just because it is subjective does not mean that opinions do not need to be justified. Make sure students understand how to back up their opinions with various forms of evidence, for example, quotations, statistics, and the use of primary and secondary sources.

EDIT AND REVISE YOUR BOOK REVIEW

As with any writing genre, encourage students to polish things up with review and revision at the end. Encourage them to proofread and check for accurate spelling throughout, with particular attention to the author’s name, character names, publisher etc. 

It is good practice too for students to double-check their use of evidence. Are statements supported? Are the statistics used correctly? Are the quotations from the text accurate? Mistakes such as these uncorrected can do great damage to the value of a book review as they can undermine the reader’s confidence in the writer’s judgement.

The discipline of writing book reviews offers students opportunities to develop their writing skills and exercise their critical faculties. Book reviews can be valuable standalone activities or serve as a part of a series of activities engaging with a central text. They can also serve as an effective springboard into later discussion work based on the ideas and issues explored in a particular book. Though the book review does not hold the sway it once did in the mind’s of the reading public, it still serves as an effective teaching tool in our classrooms today.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

BOOK REVIEW GRAPHIC ORGANIZER (TEMPLATE)

101 DIGITAL & PRINT GRAPHIC ORGANIZERS FOR ALL CURRICULUM AREAS

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Whilst you don’t have to have a 1:1 or BYOD classroom to benefit from this bundle, it has been purpose-built to deliver through platforms such as ✔ GOOGLE CLASSROOM, ✔ OFFICE 365, ✔ or any CLOUD-BASED LEARNING PLATFORM.

Book and Movie review writing examples (Student Writing Samples)

Below are a collection of student writing samples of book reviews.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to both read the movie or book review in detail but also the teacher and student guides which highlight some of the key elements of writing a text review

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of book review writing.

We would recommend reading the example either a year above and below, as well as the grade you are currently working with to gain a broader appreciation of this text type .

BOOK REVIEW VIDEO TUTORIALS

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Book Reviews

A book review addresses the subject matter of a literary work, and assesses effectiveness and value. Book reviews keep publishers and the public aware of what is being thought and written in a wide range of subjects. When a new book is issued, copies are sent to reviewers; subsequent reviews appear in literary magazines, academic journals, newspapers, and other periodicals. People everywhere depend on book reviews to direct them in their reading; many readers buy what commentators give particular attention. Competent reviewers are the best counselors for readers attempting to keep up with intellectual and aesthetic developments in the literary arts.

Scope: What a Book Review Is and Is Not

Book reviews vary widely. A review does not simply summarize book material, and should not be substituted for the original book. The purpose of a book review is to make known what a literary work purports to do and be, as a publication for both general and specialized readers. Essential components to be taken into account include concerns of subject matter and style. A review is a critical essay, a report and an analysis. Whether favorable or unfavorable in its assessment, it should seem authoritative. The reviewer's competence must be convincing and satisfying. As with any form of writing, the writer of a book review is convincing through thorough study and understanding of the material, and opinions supported by sound reasoning; the reviewer achieves reader satisfaction upon by giving justice to the subject, the book being reviewed, and connecting it with vital human concerns. A review may be limited in its scope due to length requirements, whether those are set by an instructor or an editor. How thoroughly and with respect to what aspects a book is reviewed also depends on instructor or editor preferences, or simply the attitudes and qualifications of the reviewer.

Essential Objectives

A book review should address three issues:

• Contents, or what is said in the book.
• Style, or how it is said.
• Assessment, or analysis of how true and significant the book is.

The most essential preparation for review writing is of course a complete, thoughtful reading of the book. After reading, the reviewer should have a sound, integrated idea of the book contents, and begin to develop attitudes toward style, purpose, and value. As the reviewer forms ideas for the review, certain influences and motives should be considered:

• The interests, general or special, of the readers: Are they looking to the review for an elementary, informational report? A more advanced, technical, scholarly address?
• The reviewer's own particular interests and purposes: Does the reviewer want to remain primarily a fact-finding reporter? Or are there more specialized ideas and principles of art and ideology the reviewer wants to advance?
• Contemporary social, economic, political, and aesthetic issues: Do one or more of these affect the aim or emphasis of the book review? How does the incorporation and interpretation of these issues in the book review further discussion of the book's contents and style?
• Required treatment and length requirements: What requirements for the review, emphasis and length, have been set by the instructor or editor?

Material for the Review

As the reviewer decides the scope and content of the review, there are various critical considerations to keep in mind. In addition to content and style, information about the publication and category of the book, and the author and author purpose, may be helpful with analysis. Not all material needs to be included in the final review, but the reviewer should be aware of any relevant issues.

Bibliographical Data

Bibliographical data includes the publisher, place and date of publication, and book price. This information is important for readers who want to buy the book. It may also raise questions: Is the book newly issued? Or is it being reissued? If reissued, is it only a new printing or has it been revised? If revised, what is the nature of the revision? Answers to these questions often can be found in a preface to the book by the author. Consult the front matter of the book, the title and copyright pages, for basic publication information. Often, price, publisher, and page count are listed separately at the beginning or end of a book review; this is the case with the example reviews accompanying this guide.

Classification

There are various categories, or genres, to which a book is assigned: fiction, poetry, travel and adventure, mystery, children's literature, biography, history, and contemporary thought, among others. A reviewer analyzes a book's conformity to a genre with attention to the author's approaches, methods, materials and coverage, and the outcomes of the book as to information, judgments, or interest value. For example, in her review of John D'Agata's Halls of Fame , Wendy Rawlings discusses how D'Agata experiments with the form of the essay: "If you're accustomed to reading essays organized around a clearly articulated theme and guided by a single narrative voice that signposts its intentions along the way, D'Agata's methods may frustrate. His essays are disjunctive agglomerations of excerpts from texts of all sorts (literary and otherwise), lists, transcripts from tape-recorded conversations, and, often, long passages of direct quotes from people he meets . . . Reading D'Agata's essays, I felt the strain of someone experimenting with the democratization of a form that, in America, has perhaps been colonized, or at least overpopulated by the ironic and the smug." Rawlings further compares and contrasts D'Agata's methods to those of David Foster Wallace, another contemporary writer of essays. When analyzing a writer's approach to form, some questions to consider are: How does the book differ from previous works in the same field? Has the author written previous books, in this genre or others? How has the author changed or developed? To what extent does the book being reviewed offer anything new its genre? How might it influence later works in the same genre?

Author and Author Purpose

Depending on the genre of the book, the background and purpose of the author may be relevant to the analysis of the book. Refer to the book jacket and biographical notes on the author. Further research may be helpful; read interviews, essays, and, if available, previously written biographies. In John Calderazzo's review of Ken Lamberton's Wilderness and Razor Wire , biographical data about Lamberton proves relevant: "Lamberton had an uncommon resume for someone doing serious jail time: no grinding poverty, no drugs or violence. He grew up in Arizona as an avid collector of wild things, a self-taught naturalist . . . He earned a bachelor's degree in biology, married Karen, a fellow lover of the wild, had kids, and decided to share his passions for science and nature in the public schools . . . He became infatuated with a student and, incredibly, ran off with her to Colorado. Soon someone from Mesa recognized them in Aspen and called the police." This background information provides the reason for Lamberton's incarceration as well as the basis for Calderazzo's discussion of the writer's "microscopically detailed prose" and "the single-mindedness of his gaze." The following is a list of possible biographical data about an author to reference in a review:

• Race, nationality, and origins-social, cultural, religious, economic, political, environmental.
• Training and affiliations-literary, scholastic, religious, political, etc.
• Schooling, travel, or other formative influences.
• Personal experiences-general or specific.
• Career and/or professional position.
• Other literary or scholastic works.
• Stimulus or occasion for writing.
• Special writing aids-illustrations, photographs, diagrams, etc.
• General attitude-objective/subjective, formal/informal, authoritative/speculative, etc.
• Purpose-as described in a preface or other formal statement, or in some key phrase.
• Audience-who the writer hopes will read the book.

Subject Matter

The subject of a book is what the book is about, an idea or ideas explored in the book's contents. In a nonfiction book, the subject should be fairly explicit, in the author's own words. With fiction, however, a reviewer must interpret the subject through analysis of character, setting, plot, and symbolism. A discussion of the subject of a book might begin with its title: From where did the author derive the title? What is the title's meaning or suggestiveness? Is the title an adequate heading for the contents of the book? Or is it ambiguous or false in some way? Other questions regarding the exploration of a book's subject by its author include: What areas of the subject are covered? (In fiction, areas of subject may be considered character concerns, setting, and plot.) What areas of the subject are left uncovered? Is this intentional, or the result of oversight or failure, on the author's part? To what degree is the author thorough or negligent in addressing the subject? In his review of Wilderness and Razor Wire , John Calderazzo comments that writer Ken Lamberton avoids discussion of personal motivation: "Perhaps to spare his wife further humiliation and pain, Lamberton has decided not to belabor his motive for his one act of insanity. He talks vaguely of immaturity, but that's about it . . . [T]he single-mindedness of his gaze [has] implications he either doesn't recognize or won't fully discuss . . . Fixating on the near at hand may be a necessary metaphor and an undeniable fact of prison life, a way to cope with an existence that certainly scares the hell out of me. Maybe, though, Lamberton's fierce gaze derives from something he'll always carry within him: this edgy and impulsive but obviously grateful husband who knows he's not free to teach again for a living . . ."

The contents of a book revolve around the subject, and develop one or more central ideas. For nonfiction, a reviewer analyzes how well the contents of a book address the central idea, the strength or weakness of supporting ideas, and the relevancy of collateral ideas or implications. In fiction, themes develop through character, setting, and plot; a reviewer evaluates the relative success or lack thereof of these fictional elements. Think about these questions: What is the setting, or place and time, of the story? Does the setting reflect or contrast with characters and plot? Are characters fully or minimally developed? Does character development increase or deteriorate as the action proceeds? Is the plot sequenced chronologically, or otherwise? Does tension build or deflate as the story progresses? Note how David Milofsky discusses the effectiveness of the contents of Reynolds Price's Noble Norfleet : "Although there are spots of lyricism-and for the first third of the book, Price's narrative has the drive and tension of some of his better work-overall, Noble Norfleet sags beneath its unlikely premise and even more unlikely hero . . . It seems likely that Price was trying to say something here about the relationship between sexuality and madness, about the necessity not only of nursing others but of caring for oneself, of showing Noble as some kind of paradigm, hence his name. But, sadly, the novel succeeds in none of these aims." Remember that details about the plot and characters in a book are revealed by the reviewer only to support the purpose of the review. Certainly, a review should not give away a book's ending, nor should it be a simple summary of events and characters. The reviewer's job is not only to report highlights but also to respond to the ideas and techniques evident in the book.

Style refers to how an author relates content through writing. This is an important aspect of a book to review. While initially reading the book, and in any subsequent reads, a reviewer should mark passages of particular resonance and reflection of the author's style. These passages help the reviewer form ideas as to whether or not the style is effective in conveying content, and pleasing to the reader. One or more of these passages may be cited within the review itself in order to both exemplify the author's style and provide basis for the reviewer's response. The following is excerpted from Wendy Rawlings' discussion of John D'Agata's poetic, associative essay-writing style in Halls of Fame: "Juxtaposing so many voices and kinds of language . . . can allow the reader to create exciting associative links between texts and ideas, but it can also, when overused, begin to feel somewhat arbitrary. In the book's title essay, for instance, single sentences and sentence fragments form choppy narratives composed of statements that seem, at times, cruelly separated from each other by the portentous silence of white space. This narrative strategy prevails throughout most of the twenty-four sections of the essay, and as a result, the sentences take on a stilted self-importance, like a poem written by someone as yet unschooled in enjambment." A passage from the essay follows this description. When responding to a literary work, consider these aspects of style:

• Logical and reasoned (objective), or imagined and emotional (subjective).
• Dramatic and gripping, or pedestrian and level.
• Epic and far-reaching, or lyrical and infused with personal poetic emotion.
• Solemn and serious, or comic and entertaining.
• Spiritual or vulgar or both.
• Formal, or familiar, informal.
• Simple, or complex.
• Broad, or specific.
• Abstract, or concrete.
• Direct, or implicational.
• Figurative, or literal.
• Use of detail, sense appeal-the look, sound, smell, taste, feel.
• Balance, parallelism, and contrast of exposition, scene, and dialogue.
• Allusions, quotations, aphorisms, etc.
• To the subject.
• To the purpose of the author.
• To the reader.

Form and Technique

An author carefully chooses the form and various writing techniques to use to develop ideas. A book reviewer decides whether or not these choices are appropriate and effective. Do certain techniques aid or impede the author's purpose? What passages from the book best exemplify these techniques?

Form and Technique in Nonfiction

• Use of source material and authority.
• Use of definition; illustrations and examples; comparison and contrast; cause and effect.
• Use of generalization and subsequent conclusions.
• Tone; authority; approach to subject and audience.
• Degree of convincingness.
• Worth of proposal; practicality; need.
• Comparison with other possible policies.
• Costs or difficulties involved.
• Ultimate promise, solution, or plan
• Methods of deduction or induction.
• Synthesis; formation of separate elements into a coherent whole.
• Syllogism; major premise, minor premise, and conclusion.
• Dialectics; arrival at truth through conversation involving question and answer.
• Casuistry; determination of right and wrong by applying generalized ethics principles.
• Fallacy; begging the question, ignoring the question, etc.

Form and Technique in Fiction

• Dominant impression; vividness of final impression.
• Selection of details to support a single effect.
• Appeal to sight, sound, smell, taste, and feel; imagery.
• Directness; implication and suggestion.
• Point of view; first, second, third; limited or omniscient.
• Establishment of setting.
• Smoothness of transitions in time sequence.
• Use of flashback.
• How presented or introduced.
• Motivations; sources for feeling and/or drives to action.
• How described; direct or implied; revealed through description or dialogue.
• Purposes; heroic or villainous; tragic inner flaws; revealing traits.
• How credible and consistent.
• Opening situation and/or conflict.
• Obstacles and complications.
• Tension and suspense.
• Turning point, or climax.
• Resolution.
• Degree of inventiveness and/or plausibility.
• Final philosophy or view of life derived from characters and action.

Depending on the author's purpose, a book's realism, or truth to life, may need assessment. If a book of fiction is meant to be realistic fiction-is it? Is it logical, natural, plausible? To what extent does the author rely on coincidence or accident to propel the plot? Is there adequate evidence of character motivation? Or a lack of sufficient urges and drives? Is the story infused with a quality of normalcy, or abnormality? Remember, if a book of fiction is to be successful according to a reviewer, it is not necessarily realistic fiction; a book's realism, or lack thereof, need be addressed by a reviewer only as it compares to the author's intention for the story. See here how David Milofsky addresses the realism of William Trevor's novel The Story of Lucy Gault : "It seems unlikely, to say the least, that longtime residents of a place (going back several generations, we're told) would cut off contact so completely as the Gaults do, but, of course, if this isn't the case there would be no novel. Similarly, it's hard to believe that the lawyer wouldn't be able to contrive a way to contact the absent parents . . . It's a tribute to Trevor's genius that these objections are largely overridden and storytelling takes over."

Form and Technique in Poetry

• Received (given) forms; sonnet, quatrain, villanelle, sestina, haiku, etc.
• Free verse forms.
• Lyric; narrative; dramatic; prose; ballad (folk, literary, popular).
• Point of view; persona or apparently personal.
• Dramatic monologue.
• Tone; irony, satire, etc.
• Intensity, atmosphere, mood.
• Concrete or abstract.
• Denotation, connotation, implication.
• Vulgar, colloquial/informal, formal.
• Syntax, or sentence structure.
• Amount and type of sensory detail.
• Metaphor; simile; personification; allusion.
• Synesthesia; describing a sense impression using words that normally describe another.
• Hyperbole or understatement.
• Metonymy; substituting one word/phrase for another, closely associated word/phrase.
• Synecdoche; using a part to refer to the whole, or the whole to refer to a part.
• Alliteration; repetition of an initial sound in two or more words of a phrase.
• Assonance (repetition of vowels) and/or consonance (repetition of consonants).
• Onomatopoeia; using a word that is defined through both its sound and meaning.
• Euphony (smooth, pleasant sound) vs. cacophony (rough, harsh sound).
• Rhythm (pattern of beats in a stream of sound)-appeals t
• The line; end-stopped (self-enclosed) or enjambed.
• Feet; iambs, trochees, anapests, dactylics, etc.
• Meter; mono-, di-, tri-, tetra-, penta-, hexa-, etc.
• Repetition.
• Rhyme (corresponding terminal sounds)-appeals t
• True; words sound nearly identical and rhyme on one stressed syllable.
• Slant (near/off); words do not exactly rhyme, but almost rhyme.
• End rhyme (at end of line) and/or internal rhyme (similar sounds within one line).
• Masculine (lines end w/ stressed syllable); feminine (lines end w/ unstressed syllable).

View of Life

It is common for an author to express a view of life through ideas and themes developed in a book. A reviewer identifies and comments on the author's stance. Does the book hold to and/or further develop views apparent in past works? Or make a new statement? Below is a list of popular attitudes, or schools of thought:

• Idealism-emphasis on enduring spirituality as opposed to transient values of materialism.
• Romanticism-focus on emotion and imagination as freedom from the strictly logical.
• Classicism-intellectuality; dominance of the whole over its parts, and form over impulse.
• Realism-adherence to actualities, the logistics of everyday life; objectivity.
• Impressionism-intuition; sense responses to aesthetic objects.
• Naturalism-humans as part of nature; adaption to external environment.

In response to Wilderness and Razor Wire , John Calderazzo discusses the importance of nature in Ken Lamberton's life and writing: "[I]n the prison of his days (to paraphrase W. H. Auden), Lamberton is helped . . . by nature, by the winds and dust and sweet-smelling raindrops that blow down from the nearby mountains, which he sees framed in barbed wire. This is nature unbound, not just out there beyond the walls but slipping in through the bars, swirling around his cell, penetrating even his skin . . . [Swallows] migrate, then return to raise new young in their mud-packed homes, lending solace-and spice-to the impossibly slow turning of the seasons . . . The swallows and many other break-ins from the natural world are also resources of rehabilitation, which Lamberton says is absent from all other aspects of prison life." If comparisons are to be made between a book being reviewed and its predecessors, a reviewer should be familiar with the basic forms and techniques prevalent in works expressing similar viewpoints. Further research and reading are necessary for the reviewer to form intelligent analysis of views of life expressed through writing.

Value and Significance

Often a book review comments on the significance of a new work. This value may be measured in relation to other books in the same genre, works addressing the same subject matter, past and contemporary authors with a similar style, and/or previous works by the same author. In his review of William Trevor's The Story of Lucy Gault , David Milofsky compares the novel to Trevor's past works, and comments on its place in literature in general: "[Trevor]'s been called the Irish Chekhov, but that's not really adequate, since Chekhov never really wrote novels. The truth is that Trevor is sui generis, in a class by himself. While his stories (collected a few years ago in an omnibus volume) are brilliant, novels like The Old Boys and Felicia's Journey are lasting contributions to our literature. He's a literary treasure and never less than interesting reading . . . The Story of Lucy Gault may not be the most accomplished novel of Trevor's distinguished career, but that still places it far beyond most of the fiction that will be written in English this year. It's highly recommended reading." Value is also determined by the universality of application-how and to whom the work applies. Are the book's contents of universal interest? Or does the subject matter limit the book's appeal to a narrow field of individuals? Determining the value and significance of a book depends largely on the knowledge and subjectivity of the reviewer; familiarity with comparable books and authors is required to draw conclusions of this nature.

A book's format, or physical make-up, reflects the ideas of both its author and its publisher. A book reviewer might mention characteristics of format, in relation to suitability and aesthetics. Is the book's size convenient? Is the binding durable? Is the print type legible? Do illustrations, diagrams, and maps, if any, aid the reader's understanding of the material? Is the index correct and complete? Are bibliographies and reference lists present? In response to artwork present in Ken Lamberton's Wilderness and Razor Wire , John Calderazzo comments on both the exactness of the drawings and the possible meaning of this detail-orientedness to Lamberton's life: "[J]ournal entries and small essays [are] complemented by drawings of tarantulas, conenose beetles, horned lizards, and other desert creatures in almost photo-realistic close-up. This is why I suggested that Lamberton may not find himself any closer to 'nature' when he's finally free. How can he get more intimate? . . . All of his drawings, in fact, are rendered in extreme close-up, like visual infatuations writ large. Nothing seems to exist in the distance, which makes me wonder if anything ever does for Lamberton, or ever will."

Planning and Writing

A book review should meet the requirements of any good composition. Clarity, correctness, readability, and interest are very important. A review should give its readers not only an understanding of the reviewer's intellectual response to a book but also an awareness of the basis for this response, through example and analysis. Specific passages from the book are used to exemplify the reviewer's points regarding elements of style, form, and technique. There is no strict pattern for writing book reviews. Guiding the book reviewer's writing process, however, are the three essential objectives of relating what is said in the book, how it is said, and how true and significant it is. As with the planning of a composition, make a list of possible material to use in the review-ideas, responses, information, examples. Study this material to decide what to include in the book review and what proves extraneous. Put the items to include in a suitable order-for instance, from greater to lesser importance. Once the material is organized, a controlling idea for the review emerges; this controlling idea may form the topic sentence of the review, and provides guidance for achieving coherence and focus throughout. Use the topic sentence, in varied forms, in the beginning and end of the review. Once the book reviewer has chosen the proper and adequate material, organized this material effectively, and decided on the main idea and focus to be developed, it is time to write the review.

Like writing the introduction of a composition, there several possible strategies to use for beginning a book review. One type of strategic beginning is prompt definition-assigning meaning to terms in the title of the book, for example, or giving the scope of the review as it relates to the subject and the reviewer's response to the book. Another effective approach is to highlight the origins and past history of the subject treated in the book; this technique may also be used to introduce ideas about genre, style, or view of life, depending on what the reviewer has chosen as the focus of the review. A statement of exclusion shows what will not be addressed in a review and focuses attention on what really will be discussed. At the beginning of his review of Reynold Price's Noble Norfleet , David Milofsky uses a comparison between Price's newest novel and his previous works: "It would be nice to report that Reynolds Price, the distinguished author of more than thirty books, including A Long and Happy Life and Surface of Earth , has added significantly to his oeuvre with his new novel, but such is not the case. Not by a long shot." A reviewer might also quickly catch reader attention by appealing to human interest-perhaps a personal reference or brief anecdote. The anecdote should connect to or exemplify the main focus of the book review. Note the anecdotal technique Wendy Rawlings uses in the introduction of her review of John D'Agata's Halls of Fame : "While on a recent trip to England, I witnessed a cultural exchange that struck me as emblematic of John D'Agata's book of essays, Halls of Fame . An American friend who has spent the past year tolerating a chilly flat in a London suburb for the sake of his British fiancée wanted me to guess the height of the World's Largest Pencil. 'I don't know-eight, nine feet tall?' I said. 'See? See? I knew it!' my friend shouted. He explained that when asked the same question, an English friend had guessed the height of the world's largest pencil to be 'perhaps a foot high, or two.' His modest expectations compared to my great ones (I could not but visualize the World's Largest Pencil as at least a foot taller than an NBA All-Star) represented to my friend something essential about the differences between British and American sensibilities."

Development

The primary focus of a book review is supplied in the beginning paragraph. After this main idea is established, it needs to be developed and justified. Using an organized list of material, the reviewer details the reasons behind the response to the book. References to past history, causes and effects, comparisons and contrasts, and specific passages from the book help illustrate and exemplify this main idea. Personal philosophy and moralization should be kept to a minimum, if included at all; the reader of a book review is interested in unbiased, thoughtful, reasonable, and well-developed ideas pertaining to the book in question. The bulk of a review consists of the development of the reviewer's main idea, the response to the book and the reasons for it. In each of the example reviews that accompany this guide, the reviewers develop their ideas through references to comparable past and contemporary works, analysis of aspects of form and technique, and inclusion of notable passages from the books being reviewed.

Conclusions

The conclusion reflects the focus of the rest of the review, and leaves the reader with a clearly articulated, well-justified final assessment. A restatement of the topic sentence is better than a cursory inspection of less important matters like book format and mechanical make-up. Main emphasis should remain primarily on the qualities and materials of the book being reviewed. At the end of Wendy Rawlings' review of John D'Agata's Halls of Fame , Rawlings summarizes previously stated ideas: "When D'Agata doesn't find the balance, the lyricism borrowed from poetry seems not quite, yet, to fit. I don't wish for D'Agata to join the legions of the smug and ironic, but at certain moments, I begin to wish for authorial presence that will assert itself less forcefully in terms of the arrangement of words on the page, which are often blasted into squadrons separated by asterisks, white space, or unhelpful section headings, and more forcefully on the level of the sentence, as D'Agata does in 'Notes toward the making of a whole human being . . . ,' a five-page essay composed of a single, breathtakingly constructed sentence." The conclusion statement cements the reviewer's recommendation, or lack thereof, of the book. Clearly, this is David Milofsky's aim in the conclusion of his review of Reynold Price's Noble Norfleet : "Even with a failure, it is interesting to read as accomplished a writer as Price, but his new novel cannot be recommended on any other grounds." The final sentence of a review should be both memorable and thought-provoking to the reader. As at the end of John Calderazzo's review of Ken Lamberton's Wilderness and Razor Wire , this final thought might be put in the form of a question: "[R]eading about Lamberton's flawed but exhilarating life makes me wonder about temptation and impetuousness. In light of losing everything, how many of us are still tempted to pursue, just once, some nearby object of desire? And will this constant risk be the prison of all of our days, our lives a landscape of wilderness and razor wire?"

Reviewing Specific Types of Books

The type of book being reviewed raises special considerations as to how to approach the review. Information specific to the categories of nonfiction, fiction, and poetry can be found under the "Form and Technique" heading of this guide. Below are further questions to consider, based on a book's category:

• Does the book give a full-length picture of the subject? Focus on only a portion of life?
• What phases of the subject's life receive greatest space? Is there justification for this?
• What is the point of view of the author?
• Are idiosyncrasies and weaknesses omitted? Treated adequately? Overplayed?
• Does the author endeavor to get at hidden motives?
• What important new facts about the subject's life are revealed in the book?
• Is the subject of the biography still living?
• What source materials were used in the preparation of the book?
• What training has the author had for this kind of work?
• What particular historical period does the book address?
• Is the accound given in broad outline, or in detail?
• Is the style that of reportorial writing, or is there an effort at interpretation?
• Is emphasis on traditional matter, like wars, kings, etc.? Or is it a social history?
• Are dates used extensively and/or intelligently?
• Is the book likely to be out of date soon? Or is it intended to stand the test of time?
• Are maps, illustrations, charts, etc., helpful to the reader?
• o Who is the author, and what right does he/she have to be writing on the subject? o What contributions to knowledge and understanding are made by the book?
• Is the author credible? What is the author's purpose for writing the book?
• Does the book contribute to knowledge of geography, government, folklore, etc.?
• Does the book have news value?
• How effective are plot, pace, style, and characterization? Strengths? Weaknesses?
• Is the ending worthwhile? Predictable?
• o Children's Literature
• o What is the age/interest group for which the book is intended?
• o What is the overall experience/feeling of reading the book?
• o Is the book illustrated? How? By whom?

Publication

There is a good market for the newcomer in book reviewing. Many editors, including those of big-name magazines, do not like to use the same reviewer too often, and this means unknown, unpublished reviewers have good opportunities to break into the field. Send query letters to editors to find out what their publication needs are. Try smaller, special-interest publications first (ethnic, feminist, religious, etc.); if the reviewer has knowledge or affiliation relevant to the publication, it may increase the chances of a positive response from the editor. Stay current with new books, and read other book reviews. Once an assignment for a review is given, produce timely, quality work, specific to requirements set by the editor. Build publication credits with a variety of periodicals; pursue possibilities of starting a regular column for a single newspaper or magazine. Book reviewing is not generally a highly profitable venture, but money can be made, depending on a reviewer's qualifications, reputation, and dedication to the field.

Cress, Janell. (2003). Book Reviews. Writing@CSU . Colorado State University. https://writing.colostate.edu/guides/guide.cfm?guideid=49

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June 25th, 2019

How to write a book review of an edited collection.

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Estimated reading time: 10 minutes

Reviewing an edited collection can seem a daunting task, presenting different challenges to a review of a monograph. In this piece, LSE RB Managing Editor  Rosemary Deller  shares five tips for writing a review of an edited volume, including examples of how contributors to the LSE RB blog have approached their reviews. If you are interested in this topic, you may also like to read  this feature on writing introductions  to book reviews.

While contributors to the LSE RB blog often feel reasonably confident about writing a review of an academic monograph, the prospect of reviewing an edited collection can provoke more uncertainty. A question that I typically get asked is: how could I possibly comment on all this content and do it justice in 1000 words? Whether the collection has a relatively concise eight chapters or is one of the dauntingly mammoth Oxford Handbooks, this concern is shared by many of those undertaking a review of an edited volume. In this piece, I share five tips for approaching a review of an edited book.

Accept that you can’t comment on all of the chapters – and your review will be stronger for it

One of the key anxieties when it comes to reviewing edited collections is the fear of not being able to cover all of the content. However, accepting that you cannot review each individual chapter in a volume doesn’t jeopardise your capacity to do justice to the book; rather, it enhances it. Since any book review can be considered a judicious balancing act between the right amount of description and evaluation (with more weight typically on the latter), then the risk of trying to review all or even most of a book’s chapters in a review is that the resulting piece – especially in our concise reviews of 1000 words – ends up providing a flat descriptive overview, rather than an insightful critical commentary on a collection’s strengths and possible shortcomings. For this reason, it is neither feasible nor constructive to try to comment on all of the essays in a volume. To narrow in on a selection of chapters is not a failing in a book review of an edited collection, but integral to critical engagement.

Narrow in on chapters that exemplify or demonstrate some of the overarching themes or concerns of the collection

With that in mind, how to select the best or most appropriate chapters to comment on? One suggestion is to focus on those that exemplify a collection’s overarching themes, shared methodology or political outlook. A noteworthy example can be found in  Ekaterina Svetlova’s review of  Uncertain Futures  (edited by Jens Beckert and Richard Bronk), where she discusses a couple of chapters that illustrate the volume’s two main themes. Faced with the task of writing  a review of  The Sage Handbook of the 21 st  Century City  (edited by Suzanne Hall and Ricky Burdett), which has 37 essays, Frederik Weissenborn structures his review around what he considers the three central contributions to the collection. Taking a slightly different approach, Fabrizia Serafim in  her review of  Feminism and the Politics of Childhood  (edited by Rachel Rosen and Katherine Twamley) discusses chapters that demonstrate two key themes she identifies  in addition  to those explicitly signalled by the editors. This method of choosing chapters is likely to be particularly useful for edited volumes that have been organised following a conference or which explore a specific topic across a small number of disciplines, where there are connective tissues between the chapters that can be drawn out for discussion.

Don’t be afraid to showcase your own research interests and expertise when picking chapters to focus on

Although it can be useful to select chapters that reflect some of the commonalities across a collection, it may be that an edited interdisciplinary volume presents more diverse offerings. Here, it can be productive to select several chapters that speak to your own research interests, especially if you contextualise this choice within the body of the review. A great example can be found  here  in Jim Reynolds’s review of  Looking Back and Living Forward: Indigenous Research Rising Up  (edited by Jennifer Markides and Laura Forsythe). Reynolds narrows in on the chapters on Indigenous law, which is his own area of expertise, while also identifying a couple of additional contributions that caught his eye. In a different vein, in  her review of  Decolonization and Feminisms in Global Teaching and Learning  (edited by Sara de Jong, Rosalba Icaza and Olivia U. Rutazibwa) Fawzia Mazanderani discusses how one of the contributions prompted her to reflect on her own teaching. Reviewing through the lens of your expertise and practice is not self-aggrandising: it can help your own evaluative voice to come to the surface and it gives the added value of casting an informed and knowledgeable eye on the book’s treatment of a particular topic.

Remember that edited volumes are not the same as monographs – make sure you attend to these differences, and the collective labour involved, in your review

From reading drafts of reviews of edited collections, it can be easy to forget that they have a different format to a monograph: for instance, collections don’t have an author; instead, they have an editor/editors and contributing authors. Although questions of structure, what to include and what to exclude are components of writing any book, they take on particular significance in an edited collection. Remember to appraise the holistic organisation of the volume in the review, including the work of editing – have the editors done a good job in selecting the contributing authors? Have they organised the chapters in a logical, illuminating manner? Do the introductions and conclusions provide an effective entrance into the text and a satisfying close to it?  Do the essays speak to one another; is there repetition of content? In  his review of  On Race , edited by George Yancy, Leonardo Custódio does a great job of appraising Yancy’s editorial approach, including some critical reflection on the geographical reach of his selected contributors. In a related vein, remember to give the names of the contributing authors when discussing their chapters to ensure that you acknowledge the collective labour that goes into an edited volume, as Jodie Matthews does so well in her review of  Posthuman Glossary  (edited by Rosi Braidotti and Maria Hlavajova).

Flag scholarship by early career researchers and emerging scholars, not just the recognised big names

It is not uncommon for edited collections to feature a particularly big name in a chosen field. While it can be tempting to focus on that chapter due to the potential familiarity of the contributing author, edited collections can often be the place where postgraduate students and early career researchers publish for the first time. So if a chapter by an emerging scholar catches your eye, a review of an edited volume can be a great place to draw attention to their work and flag its value to other readers and researchers.

About the author

Rosemary Deller  is the Managing Editor of the LSE Review of Books blog. She received a PhD in English and American Studies from the University of Manchester in 2015 for her thesis looking at co-constructions of gender and animality through representations of meat in contemporary culture. Prior to this, she studied Politics at undergraduate level at Newcastle University and has an MA in Gender Studies from Central European University, Budapest.

This post originally appeared on  LSE Review of Books . If you would like to contribute to the series, please contact the managing editor of LSE Review of Books, Dr Rosemary Deller, at  [email protected] . 

Note: This article gives the views of the authors, and not the position of the LSE Impact Blog, nor of the London School of Economics. Please review our  comments policy  if you have any concerns on posting a comment below

Image Credit, Angelina Litvin via Unsplash

https://usbookreviews.com/ probably has the best team of reviewers, a highly recommended one! Definitely a good place to start as it offers sharp and precise book reviews along with other relevant content for book lovers. I’m glad other people have a great experience as I did! Check out their website https://usbookreviews.com/

Thank you for this article. I was so lost when I was tasked to book review work with several contributors and this article has given me the clarity I need.

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Types of Editing: An Inside Look at What Editors Do

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

Literary editors are a writer's best friend — they have the skills, experience, and knowledge to take your manuscript to the next level. However, not all editors do the same job and it's important to understand what type of editing your project needs at any given stage.

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5 common types of editing in publishing:

1. Editorial assessment

2. developmental editing, 3. copy editing, 4. proofreading, 5. fact-checking.

An editorial assessment is often the first piece of professional help a manuscript will receive. Your editor will offer you some broad, insightful feedback on major strengths and weaknesses in your plot, characters, or structure.

“In an editorial assessment, the author wouldn’t receive comments and example rewrites in the manuscript,” says genre fiction editor Leah Brown . “Instead, they would receive a letter that focuses on the broad strokes. An editorial assessment is best for an author who is early in the process and whose manuscript may be messier.”

Seeking out an editorial assessment early on will make the job of a developmental and copy edit later down the line much easier. Similarly, they can help you determine whether your work is ready for querying before you contact any literary agents. 

What kind of editing does your book need?

Takes one minute!

Developmental editing — also called content or substantive editing — involves an editor providing detailed feedback on “big-picture” issues. They’ll refine your ideas, shape your narrative, and help you fix any major plot or character inconsistencies to tell you if any elements of your story just don’t work. It’s similar to an editorial assessment but contains much more detail.

“For a developmental edit, I look at some of the larger questions,” says editor Mary-Theresa Hussey . “Why are the characters behaving as they do? What are their motivations? Do these scenes add to the overall story? What is your underlying theme, and how does it change?” 

Your editor will return an annotated manuscript, a marked-up version of the original manuscript with specific suggestions for each issue, and an editorial report. This is essentially a summary of the raw feedback left on the manuscript. 

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Copy editing is the next step after you're certain you've solved your book's big-picture issues. An editor will read your work on the lookout for anything that makes it less readable, like word repetition or character inconsistencies. This type is also known as mechanical or line editing, depending on its particular application.

“A copy editor’s job is to bring the author’s completed manuscript to a more professional level ,” says editor Chersti Nieveen . “A copy edit helps create the most readable version of your book, improving clarity, coherency, consistency, and correctness. The goal is to bridge any remaining gaps between the author’s intent and the reader’s understanding.”

What elements do copy editors consider?

A copy editor examines and corrects the following elements in your work:

• Capitalization
• Word usage and repetition
• Dialogue tags
• Usage of numbers or numerals
• POV/tense (to fix any unintentional shifts)
• Descriptive inconsistencies (character descriptions, locations, blocking, etc.)

It’d be pretty distracting to your reader if you constantly misplace the comma next to quotemarks  or misspell the word “restaurant.” Copy editing ensures that errors like these don’t happen, so your writing is as strong as possible, and your reader remains 100% focused on the story. They can also help make sure that you’re using the right terminology and that you’re using inclusive language in your writing.

Is line editing the same as copy editing? 

People often use "line editing" and "copy editing" interchangeably — but they’re not exactly the same thing. To clarify: line editing focuses specifically on the content and flow of your prose . It’s also called 'stylistic editing' since it concentrates on style rather than mechanics.

In other words, it still falls under the umbrella of copy editing but is more precise. While a full copy edit looks at all of the elements listed in the bullets above, a line edit would only consider word usage, POV/tense, and descriptive inconsistencies and provide more detailed suggestions on strengthening the prose.

If you feel incredibly confident about the mechanics of your prose but less so about its flow and style, you might request that your copy editor focus their energy on line editing alone. After all, a proofreader can always catch any minor errors that slip through the cracks.

And speaking of proofreaders...

Proofreading is the last major stage of the editing process. Proofreaders are eagle-eyed inspectors who ensure no spelling or grammar errors make it to the final version of your work . 

Back in the day, an impression of a metal plate would be created as “proof” of a fully formatted book . But before that happened, it would be triple-checked by the proofreader, who made sure the publisher didn’t churn out thousands of copies of a novel called A Tale of Tow Cities .

Even with modern digital typesetting, proofreaders still often work from physical proofs, often using a language of their own , as they go. They’ll watch out for:

• Inconsistencies in spelling and style;
• Inconsistencies in layout and typography;
• Confusing or awkward page and word breaks;
• Incorrect captioning on any illustrations and page numbers in the contents.

Although most issues will be resolved by this stage, proofreaders still scrutinize the text for anything previous edits might have missed. Hopefully, they don’t find much, but better safe than sorry!

The style sheet

When working with a proofreader, you should provide them with a style sheet that notifies them of any unusual spellings or styles in your manuscript — for example, if you’ve written a second-world novel and have invented some words. Otherwise, they’ll read your manuscript “blind,” which is still pretty effective but may not incorporate every little detail of your work.

Once they’re done, your proofreader will return a marked-up document for you to revise one final time. After making those changes, you should be ready to send your manuscript into production, either by working with a typesetter or using a free tool like Reedsy Studio  to export your ebook.

No matter how thoroughly you research your book, it can still end up with informational inconsistencies — and that's a fact (pun fully intended). Developmental and copy editors can help with this, but at the end of the day, it’s not their responsibility to fact-check.

If you have a lot of niche information in your book, and especially if it’s a topic you’ve never written on before — you might consider getting a designated fact-checker to comb through it. They’ll note all the factual references in your book, then carefully confirm them via external sources; if they find any inaccuracies, they’ll alert you immediately. 

This type of editing is particularly crucial if you’re writing nonfiction (and dedicated nonfiction editors are often experienced fact-checkers too ). But getting a trained eye on your manuscript can also be very helpful for historical fiction and hard sci-fi works.

Of course, Rome wasn’t built in a day, and your book is the same — a quick self-edit won’t be enough if you want to be a successful author (whatever that means to you). An outside perspective from a professional editor, will help you lay the foundation the right way. With that in mind, you’re ready to go forth and conquer the world — the world of editing!

To learn how to find an editor to work on your book, proceed to the next post in this series.

3 responses

Emily Bradley says:

08/05/2019 – 12:28

A good editor would have caught the fact that that those are lilac blossoms over the book, not lavender. :)

29/06/2019 – 15:50

Are these out of order? Would you get copy-editing before line editing?

↪️ Martin Cavannagh replied:

01/07/2019 – 09:04

In terms of the order in which you'd get them — you're right that you'd look at line editing before a strict copy-edit, though realistically a copyeditor in publishing would be doing both, in a way. We'll have a look at swapping these around just for clarity. Thanks, Tom!

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4 Types Of Editors—What Does A Book Editor Do & Why Are They Important

• April 26, 2022

When most people think of editing, they think of proofreading. Someone writes something, and then it gets “ edited “. Many people, especially new writers, do not often know that book editors are much more than that. The book editor cost for a new writer is usually a significant and necessary chunk of their budget and an essential part of the publishing process.

So, what does a book editor do? This article will discuss what book editing is and what it encompasses, the different types of book editors, and more.

Types of Book Editors

Most writers who finish a book are barely halfway through the process and on their way to publication, even when they go with self-publishing rather than traditional publishing . The book publishing process is very involved, and the writing of the text is just the first small part of the process of having a completed, published, well-received book.

Revisions will take up the bulk of your time and energy as an author, and that is where the help of a good editor or team of editors comes in. There are different types of editors, and if you can afford them, you should employ as many as you can to get your book ready for publication.

1. Book Editor Job Description

A book editor, defined in its simplest form, is a professional who reviews the written word and looks for mistakes. There are many different types of editors, from magazine editing to ad editing to book editing—they are all generally employed to take a piece of written work and find the errors.

Any editor’s task is to take something written by someone else, find the issues, and offer ways to improve them. Even the best writers make mistakes, and editing services exist to help catch and correct those mistakes so that the reader of the eventually completed book will get the best experience possible. An editor spends a lot of time pouring over each sentence of a book, and editing services are one of the essential parts of the publishing process.

It is important for a writer to maintain good working relationships with all types of editors encountered along the way. Nothing is personal, and they are not insinuating that you are a terrible writer. They give you invaluable service, and good communication and trust are key.

2. Developmental Editor Job Description

A developmental editor has a big job. In the book editing process, the book editor looks at the overall content and looks for plot holes, continuity problems, concept issues, and hiccups in the actual story. They work with the concepts and plot of the entire manuscript, and editing books look a bit different for them than it does for other types of editors.

If you have a character who behaves in one way at the beginning of the book and then switches personalities or behavior for no reason other than to fit the plot in the second half of the book, it is the job of a developmental editor to catch it and bring it to your attention. A good editor will offer suggestions about what you could do to fix the issues in the overall big picture of the book. However, most editors will leave the creative bits up to the writer, at least in the beginning stages of revision.

Developmental editors often have a strong background or familiarity with creative writing . Authors usually see the level of their writing skills after the developmental editing of their book takes place. Some books go through developmental editing many times before they are cleared for the next stage in the publishing industry.

3. Copy Editor Job Description

A copy editor does not pay much attention to the story’s content and does not care much about the plot. The job of this professional book editor is to go through and focus on grammar, syntax, clarity, and punctuation.

A copy editor is the book editor who focuses on all of the technicalities in grammar and makes sure that the sentences make sense and are clearly articulated—that the writer used the correct punctuation and that syntax all makes sense in the text. This is the fiction editor who has to really buckle down and take your book sentence by sentence.

As a writer, if you are not highly knowledgeable in grammar and everything else, it is essential to have a good editor of this type. If you cannot afford one through a publishing house or agency, look into hiring a freelance editor. But do not skimp on this person. Copy editors are a must when publishing a book. Another option is to use software such as Grammarly . Which can help reduce the cost if you’re on a budget and self-publishing .

4. Proofreader Job Description

This is the last line of defense when it comes to professional editors. This is the editor who takes the book and goes over it once more with a fine-toothed comb and tries to catch anything that the previous editors did not.

As a writer, especially one who is not going through publishing houses and has opted instead for the process and self-publishing, do not decide to forgo the other types of editors and jump straight to a proofreader. If you expect a proofreader to catch everything, you will only set yourself up for disappointment.

When scouting prospective book editors for your new book, look for experienced editors of all types. The more intensive the editing, the more complete and polished your book will be. Leaving your book in the hands of just one type of editor is a common mistake in self-publishing and should be avoided if you can afford it.

If you cannot afford all of these editors, you or the literary agents you work with can find a good editing service to take the place of the proofreader and the copy editor. If you want to be a successful published author , you need to be willing to put your work in the hands of an editing team.

Becoming a Book Editor

Having the right editor can make a difference for a fiction or non-fiction book. Many editors take great pride in their work, and the good ones are highly respected in the publishing industry. If you want to leave the writing to the writers and think you may be interested in pursuing a career path in book editing, there are several things you are likely curious about. This article will tell you what you need to know, from the education requirements to the pay and formal training needed.

How much money do editors make?

Of course, you are supposed to pursue a career path that leaves you happy and satisfied, but you also need to pay the bills. Having an idea of what editors make for a salary is key for many in deciding whether it is something they actually want to pursue.

In 2018, the median salary for editors in the U.S. was just under $60,000 per year. Of course, several factors play into this, such as educational background, experience, how much content editors work within a year if they are employed by self-published authors or work for traditional publishing houses, and what sort of editing they do.

Obviously, the best editors make more than the median salary, but it can take a lot to get to that point.

Education Requirements

You do not actually have to hold a degree to find work as an editor. Still, the more education you have, the better your salary will be, and the more likely it will be to secure a position of higher pay and reputation.

Many book editors hold at least a bachelor’s degree. It is not uncommon for the best editors to have a master’s degree in English Literature, Business, or other media coursework. You can seek employment as a freelance editor without any educational background in editing. This sort of editor is somewhat at the mercy of his own reputation. However, getting a job can take some time and a lot of marketing yourself.

You have to do your own work to get your name out there and prove your worth. Having at least one finished book under your belt that you edited or helped with will certainly help.

Why A Book Editor is Necessary

You may be asking yourself, “ Do I need a book editor if I already know a lot about grammar, punctuation, and syntax? Can’t I just edit my own work? “

The answer to those questions is: It is not recommended.

Dan Brown, Stephen King, and J.K. Rowling are all teachers. They all understand the use of good word choice, the technical issues behind writing, the steps involved in publishing a book, and how to create a manuscript. However, each of these three bestselling authors, whose work went on to inspire films, followings, and countless fans, used editing teams to get to where they are today.

A Professional Writer is Not a Professional Reader

You could ask any book editor what they do for a living, and if their response was, “ I read books “, they are not lying. While it is true that most authors read, they do not get paid to do it. Book editors provide certain services that take time and work out of the hands of the author, who is often too close to the work to see the errors and plot holes.

1. Research

A well-edited book is iron-clad in its facts and details. Often, a work of fiction includes or focuses on a subject matter that the writer is not an expert in. This is where a developmental editor comes in. They will research and engage in rigorous fact-checking on a specific subject in your book to ensure accurate content.

For example, Stephen King has a short story about a man being bitten by a snake while playing golf (the type of snake and the effects of the bite are entirely made up). He wakes up paralyzed but aware of what is happening to him in the autopsy room.

King is not and has never been a medical examiner or mortician, and he has no real experience with the handling or care of the dead. He is a teacher who switched to being a writer. So an editor was tasked with fact-checking the manuscript for him.

2. Editors Provide Feedback

Another reason it is important to use the services of a professional book editor is that they provide feedback that is often key to improving your work and content in ways that the writer cannot see because they are too close to the work.

For example, if you wrote a book about an adventure when a group of teens sets out for a cross-country road trip, you may have it all planned out in your head and know exactly what will happen. If it does not translate so well in the manuscript, it is harder for you to catch it because you understood that the teens had to pass by Colorado to get to Las Vegas when heading west on their trip.

However, if you stated in the book that the teens stayed the night in Denver, and the next thing you know, they are on the Strip in Vegas, an editor will catch it. For you, it may not be needed to mention because you planned their route in your mind before you started to write.

3. An Editor Doesn’t Change Your Book

Your manuscript is yours, and as you gain experience working with editors, you will learn that there are some things that you can put your foot down on. Sometimes, an editor will suggest a title change, a setting change, or some other change because the title sounds clunky or is close to the title of another book.

These can be painful changes for a writer who has spent a lot of time working on a manuscript. It is not uncommon for a writer to spend ten years writing a book just to be told that the title does not work and needs to be changed.

This is a harrowing and scary thought, but you have the final say. It is still your work, and you can publish your book with the help of editors and have confidence that you are the last person who gets to put their stamp of approval on the finished manuscript. This is especially true for authors who are self-publishing. If you feel passionate about something an editor wants to change, you do not have to change it. But listening and taking everything they say with serious consideration is a must.

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Marketing, websites, training and tools for emerging authors, what is an editorial review and how is it different from a review.

There several types of reviews and reviewers:

• peer reviews by peer reviewers (other authors)
• editorial reviews by professional reviewers in the publishing industry
• manuscript overviews – pre-publication editorial reviews
• consumer reviews by individual consumers (readers)

An author requires all four to make a professional impression on potential readers because each type of review has its own targeted audience and its own aim. And since there are many shades of gray (no pun intended), authors will benefit from having reviews from all four categories:

Editorial Reviews

Editorial reviews tend to focus on the technical aspects (grammar, formatting, spelling, consistency, punctuation, POV, etc.) of work along with  the writing craft of the author by an editing professional. Other publishing or media professionals use these assessments when evaluating for works purchasing decisions or for distribution purposes.

Chanticleer Editorial Reviews:

Here at  Chanticleer Book Reviews , our reviews  combine  an  editorial assessment  of a work: plot, structure, dialogue, characters, story development, along with grammar and punctuation with the  readability  of a work. The assessment is written by a professional editor after reading and evaluating the particular work.

Our review team is comprised of experienced editors selected for their expertise in specific genres and blended genres. It is extremely important that the person reviewing the work understands the genre of the work and what the readers of that particular genre are looking for in a “good read.”  Thriller fans will be bored with cozy mysteries. Cozy mystery fans will be annoyed with the rapid fire of situations found in thrillers. Romance readers typically don’t enjoy the angst of many literary works that are known for not having “satisfactory or happy” endings. Some works overlap and blend genres which would go against the grain of some genre purists. Even though a professional editor can see merit or if there are problems in a work out of their expertise, we try to select the very best fit between a work and the reviewer. 

Manuscript Overviews 

Editorial Reviews may also be manuscript overviews. Manuscript overviews are to help the author evaluate his work on a broad spectrum on the following issues before getting a line by line edit.

Manuscript Overviews editors look for:

• consistency in story
• grammatical errors
• style sheet issues
• character development
• dialogue issues
• plotting, plot holes
• pace of story
• theme consistency
• does the work need tightening or is it too staccato

I always like to ask the manuscript reviewers, “Does the work have a ‘beat to it?’ Does the story move along? Are the characters memorable?”

A manuscript overview can answer these questions in an objective and unbiased manner. The goal is to help the author work out  issues before she has it line edited and proofed for publication.

On another note, a work can be technically correct, but a horridly boring read. We know, we’ve read them! Then there are works that are compelling to read even if they are bungled with grammatical and writing craft errors. The decisive point  is that while an editor can correct errors in grammar, punctuation, POV, etc., they cannot “correct” a boring story. Creativity and Content are King and Queen. However, lack of editing or just bad editing can cause the reader to “stumble” over the text and put it down in favor of trying another read, another author. An intriguing storyline can benefit from a developmental editor – the most difficult level of editing. Most works can benefit enormously  from a correct dose of developmental editing.

Remember:   The editor sees what the author cannot. The story lives in the author’s mind. The editor sees the gaps between the author’s mind and the words on the page. It is almost impossible to “see” your own gaps because your mind automatically fills them in.

Peer Reviews by Peer Reviewers

For most fiction authors, this would be a review by another author who writes in the same genre. The most beneficial type of Peer Review would be an “endorsement” from an author in the next tier of sales above you—an author who can validate that your work is worthy of his/her endorsement. This type of review generally bespeaks, “If you like my novels, you will like this author’s work. Give this book a try.”  The author making the “endorsement” is putting her reputation on the line for you. Request author endorsements judiciously and respect the author’s  right to pass on the opportunity.

Consumer Reviews by Individual Consumers

Translation: Readers are Consumers!   Authors create content. Readers consume content. Thank goodness!

The reviews posted on Amazon, or on Goodreads, or on websites are precious! These reviews are from individual readers who  (hopefully) enjoy reading your works. Readers, on the whole, write very few reviews for many reasons: too busy, not really knowing the specifics of why they like the work, not having the background (read vocabulary) to discuss the work, or it is just too much trouble.

Authors need to make it easy as possible for readers to recommend their books by:

• creating links
• making use of editorial (read: professional) reviews that will give recreational readers the vocabulary from which to discuss and share their thoughts about their works
• thanking the busy reader for any feedback, LIKEs, +1′s etc.
• Post, comment, LIKE, and +1  on the reviewer’s social media posts and blog-posts.

Consumer Reviews are instrumental in creating BUZZ! You, the author, should endeavor to do anything that will make it easier for your readers to spread the word about your work.

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When it comes to completing a book, no writer should go it alone. A professional book editor can help you develop your ideas and polish your work. Moreover, they can help ensure your finished book is a high-quality, professional product  ready for publishing . This guide will show you just how editors can help. Even better, it will help you find a book editor who is the right fit for you.

What Is a Book Editor?

When you’re a writer, opting for professional editing services will help you make your finished book as professional as possible. Professional editors make suggestions to improve things like pacing, characters, or plot. In addition, editors improve sentences so that they flow better, fix errors, and make sure your writing is clear and effective.

What does a book editor do?

The job of every editor is to improve your book and help make it a top-notch finished product. However, different types of book editors work on different aspects of books. The three main types of editors are developmental editors, copy editors, and proofreaders. We’ll describe each of the three types in greater detail below.

Developmental editor

A developmental editor looks at the story on a large scale. They critique structure, plot, character, and global style issues. Developmental editors work on the broad aspects of the book rather than on specific details. They look at the larger issues instead of editing the language sentence by sentence.

Copy editor

On the other hand, copy editors edit the text on a line level, ensuring sound logic, grammatical correctness, and consistent style. They don’t generally address larger issues like plot holes or confusing character motivations. (Of course, they can point out that they exist!) By the time a copy editor is working on your book, a developmental editor should have already addressed those issues.

Proofreader

A good proofreader examines the text on a purely mechanical level. They make sure that words are spelled correctly, that formatting is consistent, and that punctuation is used correctly. Further, they don’t have creative input—their job is simply to correct errors.

Why Hire a Book Editor?

A second pair of eyes on your manuscript can make all the difference, especially if that person is trained to recognize what works and doesn’t work for a certain type of book. However,  the editor’s job  isn’t to tell the author what to do. Instead, it’s to help the author bring her own vision fully to life. That’s why the best editors are patient and perceptive. They allow your vision to shine through without taking it over or pushing it in a new direction.

It’s difficult to look at your own writing objectively, especially when it’s something you’ve been working on for a long time. Thus, you need an editor to provide expert eyes on developmental, copy-related, and other issues with your manuscript. An experienced editor will catch things you never would have caught yourself—because you, the author, are too close to your project. Your editor will help you remedy overlooked issues that could weaken the experience for your readers.

Improve your manuscript

For traditional publication.

Editors usually know how the publishing industry works and what acquisitions editors are looking for. Further, a good editor can help make a manuscript attractive to a traditional publisher. This gives you the key to getting your book to a place where it’s as sellable as possible.

For self-publication

If you are self-publishing your book, working with editors is still critical. When you work with a traditional publisher, they provide editors to work with you throughout the process. Self-publishing, however, means you’re responsible for whipping your book into shape. No writer should send his book to the printing press without a few sets of well-trained eyes to help improve it. And that’s what professional editors are for.

How to Find a Book Editor

When you’re considering how to find a book editor, think about your manuscript, and find someone who specializes in that particular genre. In addition, think about what level of editing your manuscript needs. Do you need someone to edit every sentence? Or are you still looking for someone to help you strengthen your book’s ideas and themes? Find out which of the three types of editors you need. Then follow the tips below.

Ask around.

Referrals are one of the best ways to find a good book editor. If you have any trusted writer friends, ask them for a referral. The people they refer may also know other talented editors who specialize in the kind of editing you need. For example, if you are self-publishing a science fiction novel, try to find an editor who has worked on self-published science fiction books that have gone on to be successful.

Search online.

You can start by googling “book editing services.” Then, narrow things down by looking for an editor with lots of experience and positive testimonials to work on your type of book.

At Elite Authors, we take the guesswork out of the process for you. We offer a full suite of book editing services , from developmental editing and line editing to copyediting and proofreading.

What Does a Book Editor Cost?

How much an editor charges depends on the type of editing you need. The more intensive the editing, the more time an editor spends on your book, which increases the cost. Some editors charge by the job while others charge by the hour or by the word. If you choose to work with us, you’re hiring a collaborative team who will take the guesswork out of the editing process . And we keep our prices easy and transparent so that you know up front how much a service will cost.

With a set of professional eyes helping you make your book the best that it can be, you’ll be ready to pitch your finished book to literary agents or publish it on your own. Behind every great writer is a great editor, so don’t skimp on book editing services. They can make all the difference when it comes to telling the world your story.

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• What does a book editor do? 

by Lauren Humphries-Brooks | Feb 23, 2023 | Editing & Editors

Key Takeaways

• A book editor does more than just checking grammar mistakes; they work holistically to enhance the content and shape sentences for emotional impact.
• There are different types of editing: developmental, line, copy, and proofread, which range from macro to micro edits. To find the right editor, consider your book’s needs and your budget. Shop around and ask questions to ensure a good fit.
• The cost of a book editor depends on the word count, type of edit, and schedule, among other factors. Collaboration with an editor is important, and they are not there to judge but rather to help strengthen and enhance your work.
• Trust the editor’s expertise. A good editor will bring a fresh perspective to your work and help you identify areas that need improvement. Listen to their feedback and be open to suggestions, even if it means making significant changes to your manuscript.
• Communication is key. Establish clear lines of communication with your editor from the outset. Make sure you both understand each other’s expectations and deadlines, and be prepared to provide feedback and answer questions throughout the editing process.

What does a book editor do?

A simple answer would be: everything but write your book for you. A book editor has experience with fiction and nonfiction writing, and how to effectively structure a book, a paragraph, and a sentence. We want to enhance your sentences’ content and help your characters come alive for the reader. We draw out meaning, suggest changes to make your work more effective, and collaborate with you at a creative level, with knowledge of your genre and what writing rules to keep (and what ones you can safely break). A book editor doesn’t just check for grammar mistakes, but hones and shapes sentences for emotional impact. It is a holistic approach to writing that seeks to strengthen and enhance your work, not to “fix” it.

What editors actually do

While all editors have different processes, the goal is the same: to make your book stronger. We close read manuscripts, considering all aspects of the narrative, from overall plot and character arcs, to themes, pacing, emotionality, effectiveness, and writing quality. An editor will bring all their literary knowledge to bear, with a complex understanding of writing and plot structure and how to effectively craft characters that will resonate with your reader.

What are the different types of editing?

I always think of different types of editing as going from the macro to the micro, from the big content questions to the nitpicking of spelling and punctuation.

During a developmental edit , an editor will look at the overall content of the book—plot, pacing, characterizations, voice, perspective, setting, themes—and highlight what is strong and can be built up and what needs further work. We might suggest revising structure, rewriting scenes, or refocusing the narrative on a different point-of-view character.

In line editing , an editor will look closely at individual paragraphs and sentences, cutting or rearranging sentences, suggesting transitions or alterations, and generally honing your writing to strengthen it and communicate your meaning, including emotions, more effectively and accurately.

During a copy edit , the editor will look at your mechanics, such as grammar, syntax, spelling, and punctuation, and keep track of continuity and consistency. This is where most typos, word choice errors, and other small mechanical issues are caught.

A proofread is the final step, where an editor will look for lingering mistakes and typos in the text. For the most part, this is a purely mechanical edit, approached with the assumption that the text is almost clean and clear of errors.

How to find a book editor

Different editors have different specialties—you’ll find some that specialize in developmental/content editing, others that only do copy editing or proofreading, and some who do everything and anything. Some editors work in one or two genres, others will work across multiple genres. You’re looking for is an editor who fulfills your needs .

Take into consideration what you think your book needs. Do you want lots of feedback and content suggestions? Are you worried about the structure, the pacing, plot, or characters? Do you think your story is too long, but don’t know where to cut it down? Are you worried about your grammar and punctuation? The more aware you are of your own work, the easier it will be to find the kind of editor you need.

The other question is budget and how much you’re able to spend on a book editor. Most editors will be able to offer their rates, either per word or by the hour, and advise what they think they will charge for the edit. But it’s a good idea to be prepared with your own budget—remember that a quality book editor can cost a lot of money, but you’ll also receive a lot in return.

It’s OK to shop around. Read testimonials, if they’re available, and chat directly with multiple editors on email or by phone. You’re looking for someone who works in your genre and who feels a connection to your work. Remember that an editor is a collaborator, and so you want to feel comfortable with asking them questions and discussing your work. Editors are not judges—we’re not here to tell you that your writing is good or bad, and we’re not going to judge you for plot or grammar mistakes. Find someone that you feel comfortable with, and who fits with what you want for the book.

Ask questions. An editor should be able to give you an idea of cost, length of time for the edit, how they collaborate, how communicative they are, and what they can help you with. If there’s something you don’t understand, ask about it! Book editors will often also provide samples of their work, so that you can see what an edit will look like firsthand.

What does a book editor cost

There are many factors that book editors take into consideration for a project, and all editors are different (remember, we’re people too!). Generally, you can expect an editor to take the following into account:

A book of 150,000 words is going to cost more than a book of 80,000 words, no matter how well-written. So be prepared with your word count and know that a longer book will likely cost more.

Type of edit

A book editor will consider the amount of work involved with your project. A developmental/content edit will likely cost more than a copy edit or proofread, because the work involved is more strenuous. Samples are important—send your editor an indicative sample of your manuscript, so that we can gauge how much work will be needed.

Of course you might want a book done immediately, but many editors schedule themselves out for months. Some editors will apply a rush rate to a manuscript, which means that it will cost more if you want to schedule it earlier. It’s a good rule to start looking for an editor at least a month before you think you want to start so you can have someone who’s available right when you need them.

To get more specifics about book editors and what they charge, browse some of our editors here, find one or more that seems to fit your needs, and fill out our submit form. Talking with an editor directly will give you a far better idea of cost than anything else!

How to work with a book editor for best results

Book editing is collaborative, and it is best approached with that in mind. No editor should judge your writing, but neither should you expect (or want) an editor to tell you that it’s perfect. Consider what your goals are for your book, and what you want to get out of your collaboration. The better you know your own work and what you want from it, the better you can communicate that to your editor, and the stronger your book will be.

Remember that some things in literature are subjective, and what an editor suggests may not be exactly the direction that you wanted to go. But consider those suggestions, because they’re not arbitrary remarks—the editor is helping you find direction in your work. While you need not take everything an editor says as set in stone, you also shouldn’t dismiss things out of hand—after all, you came to an editor to improve your writing.

This is why choosing the right book editor is important; you want someone on your wavelength and who cares about your work, but who’s willing to provide constructive criticism. If you’re comfortable with your editor, you’ll be more willing to accept their critique and consider their advice.

Remember also that sometimes we just have to work on the book. Let your editor spend some time with the text without too many questions or prompts. We don’t know your work as well as you do!

Common questions about book editing

What does book editing include.

This depends on the type of editing, but generally a book editor will offer feedback, suggestions, and in-text changes. While you shouldn’t expect an editor to rewrite your book, you should receive direction on how you need to rewrite.

What is the difference between editor and proofreader?

An editor will consider the content of the sentences, as well as their structure, while a proofreader focuses on mechanical elements like spelling, punctuation, and grammar. A proofreader will assume that the manuscript is nearly ready for publication and a final check is all that’s needed.

Do book editors correct grammar?

Copy editing and proofreading will focus on grammar, spelling, and other mechanical elements, but developmental and line editors are looking more at content than whether your commas are in the right place.

How long should it take to edit a book?

This depends on the type of editing needed, but full-length books can take as little as two weeks and as much as six weeks or more. Different editors work differently—some are happy to go chapter by chapter, others prefer to work on the full manuscript at once—so find one that fits your needs.

Is a book editor necessary?

Yes. A book editor has distance from the text that the writer doesn’t, and knowledge of writing and structure that can’t be found in an editing program. We are looking to enhance the content of your sentences and help your characters come alive for the reader. We draw out meaning, suggest changes to make your work more effective, and collaborate with you at a creative level, with knowledge of your genre and of what writing rules to keep (and what ones you can safely break). A book editor doesn’t just check for grammar mistakes, but hones and shapes sentences for emotional impact. It is a holistic approach to writing that seeks to strengthen and enhance your work, not to “fix” it.

Does a book editor rewrite?

No. While some editors may offer rewriting services, that is usually separate from a developmental edit.

How many times do you edit a book?

This varies from manuscript to manuscript. Some manuscripts need a single round of proofreading, others require multiple rounds of developmental editing before we can move on.

When should you stop editing a book?

When you feel it’s ready. While edits are necessary, it’s possible to refine a book too much. At some point, the author needs to decide that it’s time. The book editor can advise on this, which is why it’s very important to find an editor you trust.

Should I copyright my book before sending it to an editor?

Most book editors will have a clause in their contract or service agreement stating that the text, including edits, belongs to the writer and the editor has no copyright claims on it. If an editor does not include this in their contract, ask them to include it.

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Book Reviews

Information about book reviews.

(This entry is specific to general book reviews. For information about textbook reviews, please see this link .)

1.  Definitions: Book reviews vs. review articles

Book reviews are 1200-2000 word pieces that summarize the content of the volume, assess its quality, and note its contribution to the field.  Book reviews appear in the journal Language . Book reviews are not usually assigned to volunteers, but instead are commissioned by the Review Editor in consultation with the Editor and Associate Editors of  Language . The journal typically publishes 20 to 40 reviews each year. Unsolicited reviews are discouraged. However,  Language  will entertain requests, suggestions, or proposals from potential reviewers and consider these on a case-by-case basis. Such individuals should first contact the Review Editor (Jessi Greiser).

Language also publishes reviews of textbooks. These reviews, however, are published in the Teaching Linguistics section of the journal, and are managed by the editors of that section rather than by the main Review Editor. If you are interested in doing a textbook review, contact the editors of Teaching Linguistics (see here for information about this section of Language ).

Review articles are longer pieces that are published as regular articles, and provide a more substantive review of a research area or a larger body literature on a specific topic. Review articles are commissioned by the Editors and are subject to the regular peer review process. Review articles are rather infrequent, and unsolicited review articles are generally not accepted. Individuals wishing to propose a review article should first contact the Language editorial office . 

2.  Editing

For any book review accepted for publication in  Language , the editors reserve the right to make alterations in punctuation, phrasing, and wording, as well as to make minor cuts, in order that the item be in keeping with the journal's requirements regarding style and usage. Authors are asked to proofread their contributions thoroughly before submission.

3. Format of a book review manuscript

Book reviews should strictly adhere to the formatting guidelines given below. A review that does not follow these guidelines may be returned to the reviewer for reformatting before it is considered for publication in  Language

The cover page Each book review should have a cover sheet within the document, providing the following information:

• the title and author(s)/editor(s) of the book;
• complete contact information for the review author (postal address, phone number, and e-mail address);
• an accurate word-count for the book  review (in MS Word, the "word count" utility is found in the "Tools" menu).

The first page The first page of the review should contain complete information about the book being reviewed and the name(s) of the the reviewer(s).

The page should start with information about the book being reviewed. Provide this information into a single paragraph, following this format (including punctuation and spacing): Title: Subtitle. Ed. by/By Full name of author(s). (series title) [if any].) Publication city, state abbreviation: Publisher, Publication year. Pp. XX. ISBN. Price in US$.

For indicating the price information, use the dollar amount unless none is available. In such a case, provide the price listed by the publisher in local currency (i.e., do not try to convert currencies). The price should be listed in only one currency. If there is a choice between listing paperback or hardbound prices, please provide the paperback price (this is the default). If the book is hardbound, please indicate do with the abbreviation "(Hb)" after the price. Prices should be given in whole units, without decimal points, if possible (e.g. $109 and not $109.00).

Reviewer information: The name and affiliation of the reviewer is handled differently depending upon whether it is a review or a book notice. For both reviews and book notices, include the review author's name and affiliation on a single line flush right following the header and preceding the body of the review (separated by spaces), as follows: Reviewed by Name,  Affiliation .

Please consult examples of book reviews published in  Language  to ensure that you format the first page of your review correctly.

The body of the review The body of the review should provide full first names of all scholars mentioned (except for those who publish under initials only). Please use Times New Roman font and a type size no smaller than 12 characters per inch. If the book is an edited volume, when you quote the names of authors of individual chapters, put the first name and surname in small capitals the first time you mention them, followed by regular font on subsequent mentions. Numbered examples are allowed in book reviews, but should be used sparingly. Book reviews do not allow subsections. 

4.  Timing

Book reviews should be completed within six months of receiving the book. If you need more time to complete your review, please contact the Review Editor who may be able to extend the deadline.

5.  Duplication

Undertaking to write a book review for  Language  entails that the reviewer has not previously published, and will not in future publish, a review the same book elsewhere. Exceptions to this policy may be granted in rare circumstances only after consultation with the Book Review Editor.

6.  Conflicts of interest

Individuals should not undertake to review a book to which they have contributed, or for which they have written publicity statements that appear on dust jackets or promotional literature.  Language  cautions prospective reviewers against taking on a project that would cause the objectivity of the review to be questioned (e.g. don't review a book written by a family member, close friend, advisee, advisor, student, colleague, etc.). Reviewers are also discouraged to take on reviews of books by researchers with which they have strong ideological disagreements, especially if these disagreements have played out in the public sphere. The editorial team reserves the right not to publish a review if we judge there be to a reason that may negatively impact the perceived objectivity of a review, even we learn about such a reason after a review has been accepted for publication.

7.  Negative reviews

Occasionally, a reviewer finds it necessary to express a negative opinion about a book in his/her review. When this is the case, it is important for the reviewer to maintain a professional tone and to avoid gratuitously offensive comments. The author of a negative review is also encouraged to send a copy of it to the author of the book when it is submitted to  Language for publication. This is done in order that book authors not be surprised, and infuriated needlessly, when a (deservedly) negative review appears. This also gives authors a chance to inform the reviewer of any factual errors in their review. It should be noted here that the journal rarely publishes replies to negative reviews, and only when the reply is likely to advance some useful scholarly dialogue. In such instances, the review and its rejoinder are usually published in the same issue. The decision of whether to publish a response is done at the sole discretion of the editorial team.

8.  Returns

Individuals who have been commissioned to write a book review should not hesitate to return the book, if it should turn out to be "not what was expected". If after inspecting the book, a reviewer decides against preparing a review, please inform the Book Review Editor and return the book promptly.

9.  Interaction between publishers, authors and Language

Language  receives many more books than we can publish a review for. The receipt of individual books cannot be separately acknowledged, and no book can be returned to the publisher. Accepting a book does not imply that it will be reviewed in this journal. The decision of which books to review is at the sole discretion of the Book Reviews Editor. Before sending books to Language , publishers are advised to consult the most recent reviews appearing in the journal for a representative sample of the type of publications that are sent out for reviews.

  Language  accepts books for reviews from publisher only, and never from authors. Authors interested in getting their books reviewed should confirm that their publisher's marketing department has sent a copy or new publication announcements to the  Language  Book Review office. Publishers who wish their linguistics selections to be noted in  Language should make certain to send relevant books or announcements to us.

Language  does not send copies of reviews to publishers or authors. Publishers and authors can access reviews through the same channels that they would usually access publications in  Language .

10.  How to submit a book review

All submissions should be e-mailed as both a Word and PDF attachment to the Book Review Editor. All other correspondence about book reviews should also be directed at the Book Review Editor.

Book Review Editor: Professor Jessi Grieser

E-mail: [email protected]  

Mailing address:

Language Reviews c/o Jessi Grieser Department of English College of Arts & Sciences Univeristy of Tennessee 301 McClung Tower Knoxville, TN 37996-0430

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Before submitting a manuscript

Sections of Language

FAQs about  Language

Information about book reviews

Information about textbook reviews

Online book notices 2007–2013

Advertising in  Language

Language  online archives

Language  indices

Subscribing to  Language

LSA guidelines on publication ethics

LSA guidelines for supplementary materials