teaching book review writing

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.

A COMPLETE UNIT ON REVIEW AND ANALYSIS OF TEXTS

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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)

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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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So What Do You Think? Writing a Review

• Resources & Preparation
• Instructional Plan
• Related Resources

Teenagers are often outspoken and opinionated. Writing reviews of the literature they read gives them a chance to express their ideas while developing style and voice. This lesson uses discussion of student opinions about yesterday's lunch or a popular TV show serves as an introduction to the genre of reviews. Students then read and analyze conflicting reviews. After examining samples of movie, music, restaurant, and book reviews, students devise guidelines for writing interesting and informative reviews. They then produce their own reviews of the literature they're reading in class. Finally, students compare their ideas and their pieces with published reviews of the same piece of literature. Though this lesson is illustrated with examples from student and professional reviews of Raymond Carver's writing, the techniques can be used with whatever literature students are reading.

Featured Resources

Components of a Review : This handout gives an overview of what is normally included in a critical review.

Review Guidelines : Students can use these guidelines when writing their own critical reviews.

From Theory to Practice

While it's important for students to learn to read and evaluate critical commentary, "Each reader has a right-and even a responsibility-to form his or her own opinions, based on that reader's reading and understanding of a piece of literature, and to be able to support those opinions with solid reasons" (97).

When students express ideas on an author's work that are also noted by critics, "it presents a perfect opportunity to introduce critical commentary naturally into class discussion in order to promote a deeper understanding of the literature" (100).

Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 7. Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.
• 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
• 9. Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

• Sample reviews of various types (movie, music, restaurant, book, etc.), both print and online
• Specific reviews of the literature students are reading
• Components of a Review
• Creating Classroom Discussion about Reviews
• Student Example of a Book Review
• Review Guidelines
• Writing a Review Checklist
• Student Reflection Sheet

Preparation

• two conflicting reviews of a current movie, television show, or CD with which students are likely familiar.
• reviews specific to the writer(s) who students are reading. The Stauffer Library Reference and  Book Reviews in the Yahoo! Directory may be helpful in finding those reviews.
• Make appropriate number of copies of handouts.
• Test the ReadWriteThink Pinting Press on your computers to familiarize yourself with the tool and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.

Student Objectives

Students will

• read a variety of different kinds of reviews.
• determine the qualities and characteristics of an effective review.
• use critical thinking skills to formulate their own opinions about a writer's work.
• apply their knowledge to write their own reviews.
• compare their ideas and their work to that of professional reviewers.

Session One

• In this first class session, work to generate interest in writing a review-and to convince students that they do have strong and valid opinions.
• If lunch was "gross," what made it so?
• If the show was "really funny," why did it make them laugh?
• Ask students why they go to certain movies, buy specific CDs, or choose to eat in particular restaurants. Encourage them to explore where they get their "recommendations" from.
• Invite students to share both positive and negative experiences they have had as a result of listening to someone else's opinion.
• Lead the discussion to a point where students begin to see that word-of-mouth recommendations and published reviews essentially serve the same purpose: to comment on and evaluate a work or an event.
• Share two conflicting reviews with students.
• the kind of information included in both reviews.
• the specific points the reviewers agree and disagree about.
• any differences in focus between the reviews.
• which review is more entertaining—and why.
• which review is more convincing—and why.
• Ask students to list various kinds of reviews and to suggest where they can find these reviews (newspapers, magazines, journals, and online).
• For homework, ask each student bring one to three reviews to class.

Session Two

• In this second session, focus on helping students determine the qualities and characteristics of a good review.
• the name of what is being reviewed
• a clear statement of the reviewer's opinion (i.e., a thesis)
• specific examples that support the reviewer's opinion
• a particular tone (use of humor, sarcasm, authority, etc.).
• book reviews may include quotations from the work.
• restaurant reviews may discuss atmosphere.
• both music and literary reviews may trace developments in the writer/musician's history.
• Each small group should choose one review to read to the class along with their own short oral analysis.
• As a conclusion to the activity, the class as a whole should compile a list on the board or on chart paper of qualities that contribute to a good review. If desired, share the Components of a Review handout, which reviews the parts of a review.
• The teacher should collect all reviews students brought in for homework for use in future sessions.

Session Three

• In this third session, work to get students to focus on the particular attributes of a book review in preparation for writing their own reviews of the literature they're reading.
• Ideally, the teacher should have a selection of book reviews from those collected from students the previous day. In case students have not brought in book reviews, the teacher should have such reviews available. These reviews should be carefully chosen so that their content is accessible to students. It's best if some reviews focus on works students may have read while others are of work unfamiliar to students.)
• In small groups of three or four, have students examine a book review and break it down into its components to determine how the introduction, the body, and the conclusion allow the writer to make his/her points.
• Next, students should examine the particular style of their group's review and determine how the writer achieves a unique voice. Each group should try to determine the tone of their review (i.e., pompous and authoritative, humorous, enthusiastic, analytical, etc.) by noting such things as word choice, sentence structure, and use of detail. If students have collected reviews written by the same reviewer, these "elusive" qualities may be easier to spot.
• Invite a class discussion about how a review combines the informative aspects of straight journalism with the "pizzazz" of personal narrative.
• Where did your review appear?
• What do you know about this publication?
• Who do you think the audience for this publication would be?
• What would a reader who had read the book take from the review?
• What would a reader unfamiliar with the book take from the review?
• By the end of the session, ask students to compile a class list of broad, basic guidelines for writing a review. Example guidelines are also available.
• Invite students to begin writing the first draft of a review based on the particular piece(s) of literature the class is studying.
• If students are reading one book, that one work would be the focus of the review.
• If students are reading more than one work (i.e., a number of short stories, poems, or essays) by an author, the review can cover any or all of this material.
• Ask students to design a rating system to include with the written review. The system can be as traditional as 1-5 stars or something more creative.

NOTE: Older students tend to get the style and tone of a review quite quickly, while younger students often produce something more like a book report in the early drafts. Writing instruction should be geared to the ability of each class.

• Use the Writing a Review Checklist as a guide to help students draft and edit their reviews.

Session Four

• In this fourth session, introduce critical commentary into class discussion.
• When the students have completed their reviews, invite them to publish their reviews using one of the options on the ReadWriteThink Printing Press . Print them when they are complete.
• With their final drafts complete, have students read professionally written reviews on the same text and compare their ideas as well as their writing to these reviews. Depending on the accessibility of these reviews, you can collect all published material or students can be assigned this task. (It's for this reason that this aspect of the assignment works best if the writers reviewed are contemporary.)
• When comparing their reviews with the published pieces, students should find points that are raised in both. This process demystifies critical commentary and allows students to feel comfortable discussing the work of reviewers. For example, one of my students writes of his appreciation of Carver's "deadpan humor."
• Teachers can use such excerpts to generate lively classroom discussion. If desired, use the this suggestion for creating a classroom discussion.
• After all students have reacted to each excerpt, invite the class to break into pairs or small groups, with each group responsible for sifting through the material on one of the papers.
• Finally, have students present conclusions based on their peers' responses to the critical commentary.
• a classroom bulletin board displaying reviews, accompanied by artwork and photographs of the authors.
• a class compilation of reviews. Students can use the ReadWriteThink Printing Press to compile their reviews in a reader-friendly format.
• a class publication with all reviews collected in a booklet, brochure, or binder and saved for future classes who will be studying the same author. This collection can be added to over the years to create an "historical perspective" on a particular works/authors.
• submissions to print and online publications that seek reviews. (Note: Teen Ink seeks student written reviews on all topics.)
• writing an individual response to a review to then share with the class.
• revising and rewriting their own original reviews to address points raised by the professional reviewer.
• working with a partner and each taking a side in response to a review, with one student proving the reviewer is "right" and the other proving him/her "wrong."
• When students are comparing different types of reviews, invite them to use the Venn Diagram interactive.

Student Assessment / Reflections

• Grade the review as a complete writing assignment.
• As students write and revise their reviews, guide their work with the Review Checklist , a worksheet that outlines the vital features of a good review and asks students to verify that their final review includes these specific features. This checklist can be used by the teacher in evaluating the review.
• Students can assess their own work and learning by completing a Reflection Sheet that is handed in with the review. As with all reflection sheets, the form should include 4–5 questions that make writers really think about their pieces and the process that led to their creation.
• Publish student reviews using one of the options listed above to provide further feedback and assessment for students.
• Calendar Activities
• Professional Library
• Student Interactives
• Lesson Plans

The interactive Printing Press is designed to assist students in creating newspapers, brochures, and flyers.

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How to Write a Book Review: The Complete Guide

by Sue Weems | 23 comments

Free Book Planning Course!  Sign up for our 3-part book planning course and make your book writing easy . It expires soon, though, so don’t wait.  Sign up here before the deadline!

If you've ever loved (or hated) a book, you may have been tempted to review it. Here's a complete guide to how to write a book review, so you can share your literary adventures with other readers more often! 

You finally reach the last page of a book that kept you up all night and close it with the afterglow of satisfaction and a tinge of regret that it’s over. If you enjoyed the book enough to stay up reading it way past your bedtime, consider writing a review. It is one of the best gifts you can give an author.

Regardless of how much you know about how to write a book review, the author will appreciate hearing how their words touched you.

But as you face the five shaded stars and empty box, a blank mind strikes. What do I say? I mean, is this a book really deserving of five stars? How did it compare to Dostoevsky or Angelou or Dickens?

Maybe there’s an easier way to write a book review.

Want to learn how to write a book from start to finish? Check out How to Write a Book: The Complete Guide .

The Fallacy of Book Reviews

Once you’ve decided to give a review, you are faced with the task of deciding how many stars to give a book.

When I first started writing book reviews, I made the mistake of trying to compare a book to ALL BOOKS OF ALL TIME. (Sorry for the all caps, but that’s how it felt, like a James Earl Jones voice was asking me where to put this book in the queue of all books.)

Other readers find themselves comparing new titles to their favorite books. It's a natural comparison. But is it fair?

This is honestly why I didn’t give reviews of books for a long time. How can I compare a modern romance or historical fiction war novel with Dostoevsky? I can’t, and I shouldn’t.

I realized my mistake one day as I was watching (of all things) a dog show. In the final round, they trotted out dogs of all shapes, colors, and sizes. I thought, “How can a Yorkshire Terrier compete with a Basset Hound?” As if he'd read my mind, the announcer explained that each is judged by the standards for its breed.

This was my “Aha!” moment. I have to take a book on its own terms. The question is not, “How does this book compare to all books I’ve read?” but “How well did this book deliver what it promised for the intended audience?”

A review is going to reflect my personal experience with the book, but I can help potential readers by taking a minute to consider what the author intended. Let me explain what I mean. 

How to Write a Book Review: Consider a Book’s Promise

A book makes a promise with its cover, blurb, and first pages. It begins to set expectations the minute a reader views the thumbnail or cover. Those things indicate the genre, tone, and likely the major themes.

If a book cover includes a lip-locked couple in flowing linen on a beach, and I open to the first page to read about a pimpled vampire in a trench coat speaking like Mr. Knightly about his plan for revenge on the entire human race, there’s been a breach of contract before I even get to page two. These are the books we put down immediately (unless a mixed-message beachy cover combined with an Austen vampire story is your thing).

But what if the cover, blurb, and first pages are cohesive and perk our interest enough to keep reading? Then we have to think about what the book has promised us, which revolves around one key idea: What is the core story question and how well is it resolved?

Sometimes genre expectations help us answer this question: a romance will end with a couple who finds their way, a murder mystery ends with a solved case, a thriller’s protagonist beats the clock and saves the country or planet.

The stories we love most do those expected things in a fresh or surprising way with characters we root for from the first page. Even (and especially!) when a book doesn’t fit neatly in a genre category, we need to consider what the book promises on those first pages and decide how well it succeeds on the terms it sets for itself.

When I Don’t Know What to Write

About a month ago, I realized I was overthinking how to write a book review. Here at the Write Practice we have a longstanding tradition of giving critiques using the Oreo method : point out something that was a strength, then something we wondered about or that confused us, followed by another positive.

We can use this same structure to write a simple review when we finish books. Consider this book review format: 

[Book Title] by [book author] is about ___[plot summary in a sentence—no spoilers!]___. I chose this book based on ________. I really enjoyed ________. I wondered how ___________. Anyone who likes ____ will love this book.

Following this basic template can help you write an honest review about most any book, and it will give the author or publisher good information about what worked (and possibly what didn’t). You might write about the characters, the conflict, the setting, or anything else that captured you and kept you reading.

As an added bonus, you will be a stronger reader when you are able to express why you enjoyed parts of a book (just like when you critique!). After you complete a few, you’ll find it gets easier, and you won’t need the template anymore.

What if I Didn’t Like It?

Like professional book reviewers, you will have to make the call about when to leave a negative review. If I can’t give a book at least three stars, I usually don’t review it. Why? If I don’t like a book after a couple chapters, I put it down. I don’t review anything that I haven’t read the entire book.

Also, it may be that I’m not the target audience. The book might be well-written and well-reviewed with a great cover, and it just doesn’t capture me. Or maybe it's a book that just isn't hitting me right now for reasons that have nothing to do with the book and everything to do with my own reading life and needs. Every book is not meant for every reader.

If a book kept me reading all the way to the end and I didn’t like the ending? I would probably still review it, since there had to be enough good things going on to keep me reading to the end. I might mention in my review that the ending was less satisfying than I hoped, but I would still end with a positive.

How to Write a Book Review: Your Turn

As writers, we know how difficult it is to put down the words day after day. We are typically voracious readers. Let’s send some love back out to our fellow writers this week and review the most recent title we enjoyed.

What was the last book you read or reviewed? Do you ever find it hard to review a book? Share in the comments .

Now it's your turn. Think of the last book you read. Then, take fifteen minutes to write a review of it based on the template above. When you're done, share your review in the Pro Practice Workshop . For bonus points, post it on the book's page on Amazon and Goodreads, too!

Don't forget to leave feedback for your fellow writers! What new reads will you discover in the comments?

Sue Weems is a writer, teacher, and traveler with an advanced degree in (mostly fictional) revenge. When she’s not rationalizing her love for parentheses (and dramatic asides), she follows a sailor around the globe with their four children, two dogs, and an impossibly tall stack of books to read. You can read more of her writing tips on her website .

23 Comments

The Ice Dragon by George R.R. Martin is about a girl that shows no emotion befriending a ice dragon.

I chose this book based on the cover that had a little girl riding a ice dragon, and wondered what is about.

I really enjoyed the interaction the little girl had with the dragon.

I wondered how how the girl’s bond with the dragon.

Anyone who likes a coming of age story set in a fantasy will love this book.

Thanks for sharing your practice, Azure!

You’re welcome.

A interesting, at times perplexing, subject! And one on my mind lately,as I’ve agreed to do a few. I do enjoy giving reviews and am delighted when I can say, “This was a great book!” Or even, “I enjoyed this book.” It gets perplexing when I agree to review a book — and simply don’t like it. Then what to say? I hate to disappoint the writer but I’ve promised to give my honest opinion.

I’ve found some books mediocre and yet I see a dozen other reviewers saying “A great story!” Tastes do vary. But when there are obvious flaws I tend to skip all the best-friend-and-cousin reviewers and find the first person who says, “This writer has a problem with…” Usually there’ll be a number of reviewers who spot the same problems I do.

I like upbeat main characters, but not aggressive, belligerent, and/or self-centered ones. I like to meet in a story the kind of people I’d like to meet in real life— not people I’d avoid if possible. I recently read a book where the main character came across as insipid and the story only mildly interesting. Other reviewers said it was great and I know for this specific audience — readers who want a certain slant to a story — it was quite suitable. So I tried to cut the book some slack. Everyone has their limit as to how much blood and gore, smooching and snuggling, they are willing to read about.

Once I agreed to review a book and would have tossed it after the first chapter — for several reasons. A lot of “writer inserting facts for reader’s benefit”; teach/preach paragraphs; excess of description; attitudes of MCs. Once it’s live on seller’s sites like Amazon, what can you say? The one thing good it had going for it was the story line or theme. With a pro editor’s help it could have been a great story.

As for a review, one book I read lately was “A Clue for the Puzzle Lady” by Parnell Hall. It’s one of those “Stayed up half the night to finish it” books; I think anyone who likes a compelling cozy mystery would probably like it. Downside: I didn’t care for the “Puzzle Lady.” She’s a lush, hangs out at the bar getting sloshed. The upside: her sensible niece has a starring role —trying to keep her aunt on the straight-and-narrow and the mystery keeps you guessing until the end.

Christine, Thanks for sharing your insight! It sounds like you are approached often to review new books. It does make it tricky if it’s a request, especially outside your own preferences. Thanks for chiming in about your process, as I’m sure others will appreciate the perspective too. I’ll have to take a look at the Puzzle Lady– I do enjoy cozy mysteries. Sue

Here’s another cozy mystery book review in case you’re interested. I’m not approached by writers that often, but there are the Story Cartel, Book Bub and Goodreads, all sites where authors ask for review volunteers.

Reel Estate Ripoff by Renee Pawlish

The detective Reed Ferguson is a fan of Humphry Bogart, movie memorabilia of that era, and fancies himself a bit of a Sam Slade. Though not your super-sleuth, rather inept at times, he’s a likeable character. Told in first person, the story has a Philip Marlowe tone to it, but much tamer. Dialogue and story line are well done, the story well plotted and believable. I’d gladly read more stories about this particular gumshoe.

If you like cozy mystery books, I’ll send you a list later, Sue. Love them too and I’ve met many authors who write in this genre. Back on topic– you inspire me again to add some reviews to my Blog. I have been reading and writing many middle grade mysteries for a project! My latest favorite: “The World’s Greatest Detective” by Caroline Carson (who I hope to meet tomorrow in Arlington, VA!) My 12 year old grandson borrowed it and finished it before I could. “It’s the best mystery I ever read, Grandma! You’ ll never guess the ending with unpredictable twists!” What better review could we read. The target audience and I both highly recommend this 2017 mystery.

Adding it to my stack, Beth. Thanks!

Not wanting to sound life an idiot, but willing to risk it here among friends: What exactly is a cozy mystery?

Glad you asked! It’s a subgenre of mystery. The best examples of cozy mysteries are those by Agatha Christie. They usually avoid profanity, excessive gore/ violence, and sex. They focus more on the puzzle, sleuth, and their smaller world. Hope that helps!

Thanks, Sue.

Wonderful article. The first I have read by you. It especially gets those of us who don’t feel we have the formula down for review writing to be introduced to a form we can build upon with experience. You’ve kept it simple but you have given us the main ingredients needed for a good review. I printed this one off to look at the next few times I write reviews. Thank you.

Glad you found it helpful. Thanks for reading and commenting!

I haven’t gone into all this. It’s a matter of time, Joe. I gad about all over the place, not knowing where I am or where I’m going. Within weeks, I’ll be 87. I’ve books of my own that I’d like to see reviewed. Even sorting them out, however, even finding where any of them are, would be a time burden. You see the fix?

Hi Dave, You aren’t alone in feeling the press of time for getting your stories out into the world. May I gently offer this: start with finding and sorting one. If you can’t find it, write it anew. You’ve probably grown in time and perspective since you wrote the first draft, which will make for a stronger story. Good luck. I’m cheering you on!

This is an article for me, because I am happy to receive a rating. I haven’t sold many books. But, at least some thinks that it was worth the time to read. That was refreshing. And, I think I wrote two reviews, so far. It was on Amazon.com. Thank you.

You’re welcome!

Hi, Sue. Thanks for the helpful advice. I did a review on Amazon for the first of a 7-part thriller titled ‘Mosh Pit (The Rose Garden Incident)’ by Michael Hiebert. [Here it is.]

“5.0 out of 5 stars Advance copy review. By A fellow author on September 18, 2016 Format: Kindle Edition I Recommend This Book Strongly

I enjoyed reading this first part of the thriller. The author’s opening chapter/prologue was fast paced, and set me in the middle of the inciting incident along with two of the main characters. After that thrilling opening, I felt the ensuing chapters moved at a more leisurely pace, and was about to grade them as less praiseworthy when I watched a lecture by Brandon Sanderson on YouTube about building three dimensional characters and realised Michael Hiebert had done exactly that by introducing the reader to the minutiae of other characters who had parts to play in the development of the story. So, instead of cardboard cutouts of bland stock characters, the author shows us real people with real concerns that the reader can relate to.and actually care about. I look forward to reading the rest of this intriguing thriller, and highly recommend it to all lovers of well-written, and well-crafted thrillers.”

I also reviewed Part 2 of the series, but that review is too long to post here.

Footnote: The author, Michael Hiebert, was so pleased with my reviews, he recently asked me to beta-read a short story collection he plans to publish in November.

Great review, John! I like how you shared a bit of your process as a reader too, in recognizing what the writer was doing with their characterization. Thanks!

Thank you, Sue.

Five out of five stars When I picked up a copy of “The Girl with All the Gifts,” by M R Carey, at the used book store, I somehow had it in my head that it was a YA dystopian novel along the lines of “Divergent” or “The Hunger Games.” While I would definitely say that I was not right about that, I wouldn’t say that I was completely wrong. I was, however, completely unprepared for a zombie novel–which is a good thing, cause I wouldn’t have read it, and I’m glad I did. Think “The Walking Dead” meets (why do I want to say ‘The Curious Incident of the Dog in the Night”?) “Peter Pan.” I really enjoyed seeing things from, the main character, Melanie’s point of view. Her limited knowledge of her own situation was intriguing, to say the least (and probably why I thought of “The Curious Incident”). I was a bit disappointed when the POV changed to another character’s, but, as the novel progressed, I found myself sympathizing with nearly all the characters–with one exception, and I’ll leave that for you to ponder when you read it. I wondered how much of the science was real, but not enough for me to research it myself. Although, based on other reviews, I guess most of the science about the fungus is real. I also wondered about the fate of the remaining ‘lost boys’ of the cities. If you liked…. well, I don’t know. I’m not typically a fan of things zombie, so I don’t have a comparison, but the book was somewhat similar to “Divergent” and “The Hunger Games” in that the main character goes through a hellluva time and comes out the other side with a plan for her future.

“Tuesdays with Morrie” by Mitch Albom is a true story about how one man found meaning in life when his doctors gave him a death sentence. Morrie was a college professor who passed on his new found wisdom in the last year of his life to a favorite student, the author, who chronicled his professor’s perspectives on death and dying.

I chose this book because of its philosophical topic, and because it is so well written that the words just jump off the page.

Knowing we are all mortal beings, I especially liked the insights, the tidbits of wisdom imparted by the dying man. Death is a subject that few, if any of us, ever talk about seriously with friends and family. The subject of death is verboten. We deny its existence. And, if we are religious, we pretend we will not really die, but we deceive ourselves and think we will live on in some afterlife existence for all eternity. But the professor, Morrie, learns some valuable life lessons from his impending death, and Mitch Albom was gracious enough to capture them in this short but eminently readable book.

I really liked the book because it is timeless. This true story will impart serious life lessons for all future generations, and will help us gain perspectives on our lives and the relationships with those we love the most.

R. Allan Worrell

Sue, I’ve been meaning to come back since this was first posted to tell you thanks for a great article. I seldom review books for alllllll the reasons you listed. This is a perfect tool and I’ll surely use it. Cathy

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Book Review Writing Examples

Examples: learn from the efforts of others.

Learning how to write strong reviews takes time and not a little effort. Reading the reviews others have done can help you get a feel for the flow and flavor of reviews.

If I Never Forever Endeavor Review by Hayden, age 4, Southeast Michigan Mensa

This book was about a bird who didn't yet know how to fly.

The bird has to decide if it will try to fly, but it was not sure if it wants to. The bird thought, "If I never forever endeavor" then I won't ever learn. On one wing, he worries he might fail and on the other wing he thinks of how he may succeed. He worries that if he tries, he may get lost in the world. That makes him want to stay in his nest where he's safe.

I think this book would help other children to learn that trying new things can be scary, but sometimes when we try, we can find things that make us happy too. And this book will help others know that mistakes are okay and part of learning.

My favorite part is that the bird tried and learned that she could fly. I also liked that I read this book because it gave me a chance to talk to mom about making mistakes and how I don't like making them. Then I learned they are good and part of learning.

Boys and girls who are 3 to 8 years old would like this book because it teaches about trying a new thing and how it's important to get past being scared so you can learn new things.

I give the book 5 stars since I think it's important for other children to learn about courage.

Flesh & Blood So Cheap Review by Umar B., age 8, Central New Jersy Mensa

I liked this book. People who are interested in national disasters and US history as well as immigration will most probably be interested in reading this book.

Readers can gain knowledge of what it was like to work in New York City in the early 1900s. One of the things that was especially interesting was that there were no safety laws at work. Also, there was a big contrast between the rich and the poor. Some people may not like this book because it is very depressing, but it is an important event in history to remember.

This book was very well written. It has black and white photos along with descriptions of the photos. These photos give us a better idea of what people's lives were like. This book is suitable for 9-20 year olds.

I give this book 5 stars.

Galaxy Zach: Journey to Juno Review by Young Mensan Connor C., age 6, Boston Mensa

Journey To Juno is the second book of the Galaxy Zack series. It is just as good as the first one. It's awesome!

Zack joins the Sprockets Academy Explorers Club at school. They fly on a special trip to Juno, a new planet no one has ever visited. Zack gets paired up with Seth, the class bully, and that's dreadful but Zack is excited when he finds a huge galaxy gemmite. A gemmite that large had not been found in 100 years! Kids will love this book!

Boys and girls will both like it. It's an easy chapter book with pictures on every page. I love the illustrations. I think ages 6-8 would like this but younger kids would like the story being read to them.

My favorite parts are the galactic blast game (it is similar to baseball except there are robots playing), recess at Zack's school where everything is 3-D holographic images, the rainbow river in a crystal cave on Juno, and the galaxy gemmite that Zack finds on Juno. I also loved when a life-size holographic image of his Earth friend appears in Zack's room because he calls him on a hyperphone. I give this book one hundred stars! There is a "to be continued" at the end so you have to read the next book see what's in store. I can't wait to find out what happens!!!

I Capture the Castle Review by Lauren W., age 17, Mensa in Georgia

Dodie Smith's novel I Capture the Castle is a journey through the mind of a young writer as she attempts to chronicle her daily life. Seventeen-year-old Cassandra Mortmain has recently learned to speed-write, and she decides to work on her writing skills by describing the actions and conversations of those around her.

Cassandra lives in a fourteenth-century English castle with an interesting cast of characters: her beautiful older sister, Rose; her rather unsociable author father and his second wife, artist-model Topaz; Stephen, the garden boy; a cat and a bull terrier; and sometimes her brother Thomas when he is home from school. One fateful day they make the acquaintance of the Cotton family, including the two sons, and a web of tangled relationships ensues.

While I definitely recommend this book to other readers, I would recommend it to older teenagers, mainly because it will resonate better with them. The writing is tame enough that younger teens could also read it, but most of the characters are adults or on the verge of adulthood. Older readers would take the most from it since they can not only relate, but they may also better pick up on and appreciate Cassandra's sometimes subtle humor.

Over the course of the novel, Cassandra undergoes a definite transformation from child to mature young adult, even though it's only over the course of several months. I love that I could see into her mindset and read exactly what she was feeling when she thought out situations. Her thoughts flowed well and moved the book along very quickly.

Cassandra's narrative voice is wonderful. She is serious at times, but also very witty, which makes for an engaging read. It feels absolutely real, as though I'm reading someone's actual journal. Sometimes I forget that I am reading a story and not a real-life account. Her emotions and the dialogue are so genuine, and they are spot-on for a seventeen-year-old girl in her situation.

Cassandra has many wonderful insights on life, on topics ranging from writing to faith to matters of the heart. I personally have had some of the same thoughts as Cassandra, except Ms. Smith was able to put them into words.

Capture the Castle should be essential reading for aspiring writers, those looking for historical fiction or romance, or anyone who loves reading amazing classic books. Dodie Smith is an exceptional writer, and I Capture the Castle is a book that will never become obsolete.

Frankenstein's Cat Review by Zander H., age 12, Mid-America Mensa

I appreciated Frankenstein's Cat for its fascinating explanation about the often baffling subject of bioengineering and its sister sciences. Emily Anthes explains the many sides of today's modern technology, such as gene modification, cloning, pharmaceutical products (from the farm), prosthesis, animal tag and tracking and gene cryogenics. This book provides a well-rounded summary of these complicated sciences without being boring or simply factual. Her real world examples take us on a journey from the farm, to the pet store and then from the pharmacy to the frozen arc.

Have you ever wondered if the neighborhood cat is spying on you? Read about Operation Acoustic Kitty and find out if this feline fantasy fiction or fact. Do you think bugs are creepy? What about a zombified cyborg beetle? Is Fido so special that you want two of him? Money can buy you an almost exact copy of your pooch BUT don't expect the same personality. Emily Anthes makes you crave more information. She makes you want to know the future of Earth's flora and fauna, as well as humanity itself.

I would highly recommend this book to anyone who desires a guide to the future of biological science and technology. Frankenstein's Cat is best read by the light of a glow-in-the-dark fish, while cuddling your favorite cloned dog and drinking a glass of genetically modified milk.

About Marsupials Review by Connor C., age 6, Boston Mensa

About Marsupials is the title so the book is about...marsupials, of course. It's non-fiction. I really think everyone would like the book. I think someone who likes animals would especially like to read it.

The glossary of facts in the back of About Marsupials is the most useful part. I thought the most interesting parts were that some marsupials have their pouch at their back legs and one marsupial, the Yellow-footed Rock Wallaby, is very small but can jump 13 feet wide!

Kids in the 4-8 age range would like this book. Even though it's not a story book, 4 year olds would like the few words on each page and they would love the beautiful pictures. But older kids would like it because of all the facts in the back of the book. There's a lot of information for each animal. I think boys and girls (and parents) would enjoy reading it. This book is very interesting. I give it 4 stars.

Mapping the World Review by Umar A., age 10, Central New Jersey Mensa

Every day, people around the world use maps. Whether it is an airplane pilot or businessman, housewife or museum group, maps have always and will continue to provide useful information for all.

Mapping the World talks about the uses of maps, as well as how to differentiate between the type of map projection and type of map.

In this series, we travel to the past and learn about historical mapmakers, from Claudius Ptolemy (who stated the idea that the Earth is at the center of the universe) to Gerardus Mercator (who created one of the most widely used map projections) and more. This series goes into tremendous detail on the cartographer's life and maps. We then journey to the present era to learn about map projections and the diverse types of maps used today. You might ask, "What is the difference between the two? They sound the same to me." No map projection is perfect, because you cannot really flatten a sphere into a rectangle. An uncolored projection could be used in many ways. We could use it for population concentration, highways, land elevation, and so many other things!

For example, we could make a topographic map of the U.S., which shows land elevation. We could make it a colorful map that shows the amount of pollution in different areas, or it could be a population map, or it could even be a map that shows the 50 states, their capitals and borders! Our last step in this amazing excursion is the near future, where we see some hypothetical solutions as to what maps will be used for. Currently, we are working on better virtual map technology.

Now, scientists have been able to put maps on phones. Back in the early 1900s, people had to lug a lot of maps around to find your way from place to place, or just keep asking for directions. Now, all the information is on a phone or global positioning system (GPS). It is amazing how much maps have changed technology and the world in this century.

The Mapping the World 8-book set goes into amazing levels of detail. It is a long read, but it gives an immense range and amount of information that you would not find in any other book or series on maps. The flowing way the chapters and books are organized makes it easy to link passages from different books in this series together. Mapping the World is a treasure box, filled with the seeds of cartography. Collect and plant them, and you soon will have the fruits of cartography, beneficial to those who want to be cartographers. Use this series to the utmost, then the fruits of mapping will be sweet for all who endeavor to succeed in cartography.

This series of lessons was designed to meet the needs of gifted children for extension beyond the standard curriculum with the greatest ease of use for the educator. The lessons may be given to the students for individual self-guided work, or they may be taught in a classroom or a home-school setting. Assessment strategies and rubrics are included at the end of each section. The rubrics often include a column for "scholar points," which are invitations for students to extend their efforts beyond that which is required, incorporating creativity or higher level technical skills.

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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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

Book Review Lesson Plan: Teach Students How to Write a Successful Book Report

• Categories : High school english lesson plans grades 9 12
• Tags : High school lesson plans & tips

Teaching Students to Write a Book Review

I’ve always been an avid reader, but I hit a snag around high school and college when it came to choosing books for reading pleasure. I started reading book reviews out of my People magazine and online to help narrow down my choices. Through reading reviews, I was introduced to some of my all-time favorite novels, like The Lovely Bones by Alice Sebold and The Time Traveler’s Wife by Audrey Niffenegger. Book reviews are a useful resource for reading fans, but can also be an alternative assessment tool for teachers.

Before students can write a book review, you must introduce them to professionally written pieces. Take them to the computer lab and go to sites that have notable book reviews, like the New York Times or Barnes and Noble Review. If you do not have access to the internet, you can always clip reviews from magazines, like People or from the newspaper. Read several reviews as a class and discuss the format reviewers use when writing about a book. Be sure to point out that reviews provide a general summary, name major characters, introduce the major conflicts in the story, and give either a positive, negative, or neutral opinion of the work. Good reviews will never reveal the resolution to the conflict, so encourage them to avoid giving away the ending!

I also use this time discuss how reviewing books, movies, and other media can easily turn into a profession. We discuss how writing and expressing one’s opinions clearly can benefit a future reviewer. Students are in awe at the many different types of reviewers that are in our mainstream media today. There are reviewers for video games, phone apps, computer software, as well as the typical book and movie reviewers. As a class we discuss how much fun a career in reviewing could bring to someone who has an avid interest in the subject matter they are critiquing. Tying a real-world application to the assignment helps middle school kids to see the answer to the eternal adolescent question, “Why do I need to know this” that every teacher seems to encounter on a daily (if not on a daily basis)!

How to Implement and Assess Student Reviews

Develop a structure for the book review, depending on the length you desire the review to be. I usually like students to implement the “Plot Pyramid” structure that they learn early on in the year, which follows the five steps of plot organization: Exposition, Conflict/Rising Action, Climax, Falling Action/denouement, and Resolution. Of course, I have them leave off resolution, so the ending to the novel is not revealed to the reader. This ends up being a four paragraph structure (minus the resolution), and then I have them add an “opinion paragraph” at the end of their plot assessment to make the structure a five-paragraph essay form.

If you have advanced students, or if you think your students are ready, you can also require quote integration into the article. Using the Quote Burger Method , assign students to integrate a certain number of quotes within their writing to bring a flavor and voice to the article that mirror’s the book. You will also be able to pick up on who actually read the book, and who is “writing blind”, based on the relevance of their quotes. At the end of the article, students can also rank the book on a four star system (one star being a horrible book and four stars being an awesome book). Students can draw the stars and color them in, or you can use clip art in Microsoft Word….either way, assigning a star ranking adds visual appeal to their review and peaks student interest in the review.

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Using Reviews as Authentic Experiences in Persuasive Writing

When elementary students write and publish restaurant, book, or movie reviews, they see how they can use their opinions to influence others.

My daily life is filled with writing, which I craft with care and satisfaction—correspondence with friends, reports about students, dealings with vendors, condolences. I have tried to create authentic writing experiences like these for my students, in order to motivate them to write with care and to understand and enjoy the power of good writing.

I used to encourage them to write letters to their favorite authors. Their writing was fine, but usually any responses that arrived were too late to be satisfying and too clearly just formulaic responses. Then, one night, I was looking back at a review I had just written of a friend’s book, already posted online. What better motivation, I thought, to do meaningful writing than to see it in print where it can influence others. And what better way to get students to analyze published texts, consider audiences, practice editing, and learn how to use a flexible writing format—all important writing skills.

Why and How to Teach Review Writing

A review or persuasive piece is a widely published form that suits the teaching of structured authentic writing. The advantage of reviews that appear online is almost-instant gratification, as they are often published virtually overnight. (I don’t tell my students that they are also rarely rejected, suggesting instead that the standard is high.) My students in grades 3–5 have reviewed restaurants for Yelp, movies for Rotten Tomatoes, and books and products for Amazon.

These are the steps we take to write a restaurant review.

Step 1: I choose (and sometimes edit) several reviews from Yelp that fit the format I want to teach. The students analyze them and discover that restaurant reviews usually assess three areas: food, atmosphere, and service. The models I show them also have introductory and concluding sentences.

Step 2: Students choose a favorite restaurant and brainstorm details about the three target areas. The models are useful for illustrating elements of atmosphere and service and the kinds of words writers use to describe foods.

Step 3: To organize this information, they use the TIDE paragraph planner , a format suggested by the evidence-based SRSD (Self-Regulated Strategy Development) approach to writing.

TIDE gives students an effective structure in which to select and organize the most important details in each area and to introduce and conclude their review.

Step 4: Students write their first drafts.

Step 5: Students edit their drafts, add details and transitions if necessary, sharpen word choices, and proofread them.

Step 6: I submit the reviews to the Yelp website. For privacy, I use my email account and put students’ first names or initials at the bottom of the reviews as well as their ages or grades.

Here is the Yelp review of a fifth-grader:

Use the Power of Persuasive Writing for Different Audiences

I explain to my students in advance that their glowing reviews provide two public services: They inform and attract customers and help a restaurant they love to succeed. Giving it the highest number of stars can also boost its overall rating. Very soon after writing, students are able to show familiar restaurant workers and owners what they wrote.

For movies, books, and products, the process is similar. We look at a model, identify main areas to assess, and brainstorm. Then, the students organize and develop their ideas with TIDE. These kinds of reviews offer an added satisfaction if readers rate them as “helpful,” and sometimes product reviewers are sent questions from potential buyers.

There are other markets for persuasive writing, depending on students’ interests. Although they may not result in publication, they can have a real-world effect. Writing to an elected official usually gets an immediate automated response, and politicians tally positive and negative mail on topical issues.

Parents are another possibly responsive audience. One student wrote about the advantages of the game Fortnite for the parents of a friend who was not allowed to play. Another addressed a well-reasoned argument to his mom explaining why he should be given a cell phone.

I know that the writing skills that students learn by doing these projects will serve them well in school and in whatever work they choose. But I also hope that seeing how their opinions can influence others will motivate them to keep on writing.

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Book review article, book review: writing about learning and teaching in higher education: creating and contributing to scholarly conversations across a range of genres.

• School of Psychology, College of Liberal Arts, Wenzhou-Kean University, Wenzhou, China

A Book Review on Writing about Learning and Teaching in Higher Education: Creating and Contributing to Scholarly Conversations across a Range of Genres Mick Healey, Kelly Matthews, and Alison Cook-Sather (United States: Center for Engaged Learning Open-Access Books, Elon University, ), 2020, 403 pages,ISBN: 978-1-951414-04-7

Summary of the Book

This book is unique and distinct in more than one way when compared to other texts that guide academic writing in a straightforward and mechanical manner.

The book offers a vicarious learning approach for faculty, staff, and students new to and experienced in writing about learning and teaching. It encompasses lived experiences of seasoned and new academics, graduate students, and undergraduates from different parts of the world, which serves as an informational as well as a motivational source for its audiences in forging their identities as authors.

The content of this book develops systematically in a scholarly yet personal way and inspires readers to be reflective and introspective as part of developing as authors. This approach not only adds meaning to the purpose of writing but provides directions to authors to develop their identities by adopting conscious practices towards writing about teaching and learning in multiple genres. The contemplative and systematic approach presented through the book chapters in six parts opens new ways of thinking about teaching and learning by invoking reflection, engaging in existing conversations, and creating your own dialogue. The book proposes that “writing is a subjective and complex human experience through which people bring diverse perspectives to bear on the practice of learning and teaching” (p.330) and forge their professional identities.

Evaluation of the Book’s Content: Content and Style

The book is set against the background of diverse human perspectives and their value and contribution to the dialogue about teaching and learning. Thus, in part one of the book, the authors begin by sharing their positionalities in terms of who they are as “people, scholars, and writers” (p.10). Their personalized introduction sets the stage for readers to pause and locate their own positionalities as scholars and in what ways they would like to embrace thinking and writing about teaching and learning. The most significant section of this part of the text is the authors’ self-reflection on writing this book, which can be instrumental for many readers own writing.

By considering writing about teaching and learning as a tool for self-learning, self-discovery, and transformation to forge their identities, part two of the book stimulates writers in an intellectual as well as emotional sense about their scholarly work and about to whom and how would they like to communicate. A list of questions, for example, How do you see yourself starting or continuing to engage in scholarly conversations about learning and teaching in higher education across a wide range of genres? (p.21) come across as extremely valuable. The introspective approach helps authors clarify their values and forge identities as writers—an important element that guides powerful written communication and sets it apart from the mechanical writing process.

To continue the process of introspection and preparation to engage in the dialogue, part three of the book explains the underlying motivational process for writing about teaching and learning, which essentially emanates from the identity of being a writers and it prepares readers to think about the precursors of writing by seeking answers to questions such as: What is the motivation behind your writing? What are your preferred outlets for publication? Would you work alone or in collaboration? (p.51). Readings from this section lay a solid foundation for the authors and pave a way to move forward. The final section of this part is unique and rare in similar types of publication. It discusses important criteria for choosing an appropriate outlet in alignment with technical, motivational, and personal preferences of authors by providing authentic information about a variety of journals of teaching and learning.

Acknowledging the diversity of conversation in teaching and learning i.e. multiple disciplines and forms and their contribution in developing our professional identities, part four of the book offer insights on writing for eleven different genres. These genres range from conventional writing, such as empirical, theoretical, and conceptual articles, to non-traditional forms of writing comprising stories, social media, and applications for teaching fellowships, and awards to inspires academics to think in unusual and innovative ways about writing and joining in the dialogue about teaching and learning in higher education. The salient elements of the writing genres are discussed in an active and animated fashion, and the inclusion of reflections from a wide range of scholars is not only informative but also motivational.

Part five provides practical and meaningful advice on priming for writing activities. This section also adopts an animated approach to communicate with readers by asking introspective questions to guide their writing. The discussion ranges from simple topics like when and where to write to more complex topics like how to assert your voice and seek critical feedback to enhance output. Finally, the Part six focuses on making writing public and participating in scholarly conversations on learning and teaching. Besides regular advise on choosing an outlet and submitting a manuscript, the section discusses strategies for revising the manuscript and, more importantly, promoting the published work in effective ways.

Discussion of the Book’s Content in Light of the Current Needs of the Community: Merit

The book offers merit in two powerful ways. One, it inspires readers and offers them the courage to expand their scholarly horizons by adopting new and unconventional ways of writing and communicating about teaching and learning in higher education. The traditional ways of studying pedagogy and andragogy are grounded in a unidimensional and highly structured empirical approach. To advance the understanding of teaching and learning, it is imperative to include diverse perspectives by listening to multiple voices as they share their subjective experiences of human learning and its underlying processes.

Two, the reflective and introspective approach offered in this book suggests that writing for teaching and learning that integrates personal values and practical approaches can be a potential tool for practitioners to forge identities for themselves by engaging in dialogue with self and others. Research has established that professional identity of teachers is well developed among those who have gained a greater sense of self-knowledge through exploration of their values and beliefs ( Friesen and Besley, 2013 ).

The book, along with its online resources gets too lenghty which may prompt readers to skip some sections. Nevertheless, it is a valuable resource for anyone interested in teaching and learning about higher education.

Author Contributions

The author confirms being the sole contributor of this work and has approved it for publication.

Conflict of Interest

The author declares that the work was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

Friesen, M. D., and Besley, S. C. (2013). Teacher identity development in the first year of teacher education: a developmental and social psychological perspective. Teach. Teach. Edu. 36, 23–32. doi:10.1016/j.tate.2013.06.005

CrossRef Full Text | Google Scholar

Healey, M., Matthews, K., and Cook-Sather, A. (2020). Writing about learning and teaching in higher education: creating and contributing to scholarly conversations across a range of genre. United States: Center for Engaged Learning Open-Access Books, Elon University , 403. Available at: https://www.centerforengagedlearning.org/books/writing-about-learning/

Keywords: identity, teaching and learning, higher education, vicarious learning, writing

Citation: Amrita K (2021) Book Review: Writing About Learning and Teaching in Higher Education: Creating and Contributing to Scholarly Conversations Across a Range of Genres. Front. Educ. 6:649647. doi: 10.3389/feduc.2021.649647

Received: 05 January 2021; Accepted: 08 February 2021; Published: 22 March 2021.

Reviewed by:

Copyright © 2021 Amrita. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

*Correspondence: Kaur Amrita, [email protected]

Classroom Q&A

With larry ferlazzo.

In this EdWeek blog, an experiment in knowledge-gathering, Ferlazzo will address readers’ questions on classroom management, ELL instruction, lesson planning, and other issues facing teachers. Send your questions to [email protected]. Read more from this blog.

Advice for Teachers Who Want to Write a Book

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(This is the first post in a three-part series.)

The new question-of-the-week is:

What is your advice for active K-12 educators who might be thinking about writing a book?

Many of us feel like we have books “in us.”

In theory, many educators (at least, those who don’t have little kids at home) might have a little more time over the next few months to devote to writing.

This series is designed to support teachers if that theory reflects reality.

Today, educators Sarah Cooper, Tom Rademacher, Rita Platt, and Pernille Ripp share their experiences writing books while teaching at the same time. In Part Two, editors from publishing houses will contribute their suggestions. Part Three will again feature active K-12 teachers writing about their very recent trials and tribulations.

You might also be interested in three previous posts that have appeared here on the same topic:

* ‘Write the Book You Wish You Had on Your Bookshelf’

This final post in a series on teachers writing books shares advice from Kimberly Carraway, Erik Palmer, Jeffrey Benson, and Cathie E. West. In addition, I share a few comments from readers.

* ‘Teachers Make Great Authors’

Allison Scott, Julia Thompson, and Vicki Davis share suggestions for teachers who would like to write a book and get it published. This is the second post in a three-part series.

* Educators Wanting to Write a Book ‘Must Go for It!’

Marjorie McAneny, Alan Sitomer, PJ Caposey, and Steven Anderson share their suggestions for educators who want to write a book.

In addition, here are some additional resources I’ve collected: So, You Want To Write A Book? Here’s The Best Advice...

Six tips for writing a book

Sarah Cooper teaches 8th grade U.S. history and is dean of studies at Flintridge Preparatory School in La Canada, Calif. She is the author of two books, Creating Citizens (Routledge, 2018) and Making History Mine (Stenhouse, 2009). Sarah speaks at conferences and writes for sites including Well-Schooled, Bookclique, MiddleWeb, CivXNow, iCivics, and the Modern Civics Project. All of her recent writing can be found at sarahjcooper.com :

Writing a book about teaching is not as hard as it seems. You don’t need an agent, and cold submissions can be very successful.

In 2007, I had been teaching for almost a decade, always fascinated by curriculum design, and wanted to put my history lesson plans to good use beyond the classroom.

First, I queried Heinemann, which had a temporary hiatus on publishing social studies books because they didn’t sell that well (still don’t, in general, compared with English and general literacy books). An editor there kindly directed me to Stenhouse Publishers.

My first book, Making History Mine: Meaningful Connections for Grades 5-9 , emerged after a Stenhouse submission which included an outline and sample chapter, followed by another sample chapter four months later, followed by an offer two months after that.

My second book, Creating Citizens: Teaching Civics and Current Events in the History Classroom , jump-started itself. An editor at Routledge’s Eye on Education, which partners with MiddleWeb on K-12 titles, wanted someone to write about teaching in a controversial political climate and had read my MiddleWeb blog posts about current events.

Here’s what I’ve learned from publishing two books nearly 10 years apart:

Write a pedagogy book because you know you have something to say - not because you’re hoping it will sell a ton of copies and help you quit your day job. This could be a happy consequence, but it shouldn’t be why you’re writing.

Survey the field before you query. Any proposal should address how your book would be different from what is already out there. If it’s not fresh, keep thinking.

Query committed educational publishing companies such as Stenhouse , Heinemann , Routledge , ASCD , and Corwin . They are actively looking for new voices and believe in supporting authors and teachers.

Listen to your editors. I don’t like admitting it, but every time I received substantial edits, I chafed. Inevitably, though, I realized my editor was right. Through the revision process, I grew as a writer and a teacher, as when my Stenhouse editor suggested that reading about the times I had failed as a teacher was more interesting than hearing about success. And I had renewed empathy for my students when they needed to revise their own drafts based on my comments!

Seize writing time when you can . Sometimes a 20-minute interval can be enough to get down a paragraph or a page. At other times, you may need an uninterrupted two or three hours to let ideas spool out. I wrote my first book while on a six-month maternity leave with my second son (born in March, with perfect “teacher baby” timing!) and my second book while getting a master’s degree through the Gilder Lehrman Institute of American History. I would not have chosen this timing for either book, but there will never be a perfect time, and sometimes you just have to get started.

• Realize that your writing will inform your teaching and vice versa. This symbiosis will keep you honest in your writing and with your students, and it has been perhaps the richest unexpected consequence of publishing. I’m a more creative teacher because writing regularly keeps me experimenting.

Seeing yourself as a researcher and author in addition to a teacher is thrilling - good luck!

“Write your book”

Tom Rademacher is an 8th grade English teacher in the Minneapolis area. His book, It Won’t Be Easy, An Exceedingly Honest (and slightly unprofessional) Love Letter to Teaching, was released in April 2017 and was a finalist for a Minnesota Book Award. His writing has also appeared in Education Post, City Pages, MinnPost, and Huffington Post. In 2014, he was honored as Minnesota’s Teacher of the Year. You can find him at www.mrtomrad.com:

For the first chunk of teaching, eight years or so, I knew that while I was a writer, and while I was a teacher, that I was not someone who wrote about teaching.

I tried. I was very, very bad at it. My attempts came off like a mixture between awful spoken word poetry, stand-up comedy, and the answers one would give when their grandma asked, “How’s school?” Somewhere during that eighth or ninth year, I finally had some teacher thoughts that maybe were good enough to write down. I was ready, at last, for my teacher book.

I had this grand unifying theory of teaching, or at least pieces of it that I was starting to draw lines between in my head. Questions I had about teaching had been answered, and a little digging would surely uncover the magical codex that made every nonsense moment make total sense. I worried about fitting the whole thing into just one book.

I started writing and couldn’t stop. I was a madman, possessed with the fury and fire of this missive, possessed with the need to transcribe everything I had come to understand about this profession during my near-decade. Then I stopped writing. I had written it all down. Every single thing. It was almost two whole pages and had taken me the better part of half an hour.

It was not a book. It was barely long enough to be a blog post.

A couple years later, I did end up writing a book, even publishing it and everything and having the truly and consistently stunning experience of having lots of people read and like it.

I dunno, it felt a little like working really hard to grow a new internal organ and then cutting it out for people to look at and pass around. But, you know, no big deal.

I’ve had a few other teacher friends who have published. The first teacher book I ever truly loved was Jose Vilson’s This is Not a Test. Shanna Peeple’s book Teach Like Socrates should be mandatory for everyone in the world. Megan Olivia Hall just released a book of cool science experiments for kids that includes all the awesome teachy stuff those experiments show. There are others, yes, and each book is the best teacher book I’ve ever read and also makes me feel jealous and bad about myself.

But I was asked for advice, and advice I shall give. There is much advice on publishing and stuff out there. I have found Google dot com to be a very helpful website for finding that sort of how to submit and contracts and self vs. small vs. large press stuff.

Instead, I’ll try to give you the best advice I can manage that is specific to writing teachery books about teachery stuff. Hopefully, that will help, and, if not, Google dot com is, really, a website I cannot recommend enough. Spelled just like it sounds, if you ever forget.

Write Easy:

Teaching is hard. We get used to it being hard. Writing is often no walk on the beach, either. So, yes, the combination can be a pain in the ass. But the problem with torturing yourself to write is that it will often feel like torture to read. So, yeah, give yourself permission not do that. “Write Easy” was my mantra while I finished up the first draft of my manuscript. Any time I got too furrow-browed about it, any time the words felt forced and the practice felt painful, I took a step back.

Write Simple:

Some of the most impactful parts of my book, the parts people have posted or written me letters about, are things that almost didn’t make it. I like to think I’m a pretty smart dude and I get really excited about the ideas I have that feel the most groundbreaking and out there. While editing my book, I had circled a few sections that felt a little too obvious, a little too simple, but ultimately decided to leave them in since it was directed at new teachers.

It turns out that the things that felt too simple to me were exactly what a whole lot of people felt they needed to hear. Readers needed a foundation of how my philosophy and practices evolved, and in different places and different departments, conversations that have been normal and old-hat in one place may not have ever happened in another. Good teacher books are silo-busters.

Write When You Can:

If there’s one thing about writing I know for sure, it is this: Every other writer writes more than you do.

I mean ... it certainly feels that way anyway. You see a tweet or Facebook post about someone maybe considering writing a book, and then two days later they share a picture of the finished manuscript. Writers celebrate daily word-count goals that you haven’t hit in the last three months combined.

It’s OK. Really. Write when you can.

Sometimes, I grab a little time and energy before school starts or during my lunch break. Often, I get an hour or two during a weekend when my kiddo is otherwise occupied and I have either gotten all the laundry, cleaning, and cooking done I had planned to do or, far more frequently, have decided to ignore the rest of my life because I feel compelled to write.

Whatever your schedule, whatever your timetable, whatever your practice, it is yours, and that’s OK. Some books take a few months, and some take many years. Neither path makes a book or a writer necessarily better or worse.

Write Your Book:

There is a method to book writing that involves surveying the market and looking for specific gaps in what is available or in groups that are targeted and then tailoring your book to fill that gap. It’s an OK way to get a book written but not a great way to write your book, the book you could and should write.

You are an expert in your own experience. Start there.

You are the most effective communicator of your own beliefs. Share them.

Your name will be on the front of this thing, whatever it turns out to be. Make sure it’s something that speaks for you, that speaks from you. Write your book.

“Get writing!”

Rita Platt (@ritaplatt) is a national-board-certified teacher and a proud #EduDork! Her experience includes teaching learners of all levels from kindergartner to graduate student. She is currently the principal of St. Croix Falls and Dresser Elementary Schools in Wisconsin, teaches graduate courses for the Professional Development Institute, and writes for MiddleWeb:

Last year, I wrote and published my first book, Working Hard, Working Happy: Cultivating a Climate of Effort and Joy in Your Classroom ! Thanks to the help of the amazing John Norton and Susan Curtis at MiddleWeb and the incredibly supportive Lauren Davis at Routledge Eye on Education , I was able to make a lifelong dream come true. Below are my best tips and hints on how to start down a road that will lead you to writing your own book.

Know What You Love: Teaching and learning is my passion. Education is my hobby, job, profession, and vocation. Before I wrote a book, I had spent thousands of hours thinking about my theories and philosophies and gaining a solid vision for what I wanted to say and why I needed to say it. Dave Burgess (you know the pirate guy) helped me to realize that when a writer plans to develop a book, the content should fill her/his heart and mind so completely that s/he HAS to share it! He advises that the writer think of her/his book as being a magnum opus. I love that advice because it was spot-on for me. When I wrote my book, it was filled to the brim with content that I believe every educator must be exposed to. Writing it was a work of passion, typing the pages was spilling my secrets with the hope that they would impact practice far and wide. I would suggest if you’re not feeling that strongly about the book you want to write, you might not be ready to write it.

Write, Write, and Then Write More : If you have the hope of writing a book, you need to feel like a writer, and for me, the only way to do that was to write and publish. A lot. Early in my career, I realized that it was important to write and share my ideas wherever I could (partial publication list with links is here .) Three opportunities really helped me operationalize my writing life. One, a friend had just started a teacher site, We Teach, We Learn , and he encouraged me to write and post pieces as often as I like. Two, I was lucky enough to cyber-meet Larry Ferlazzo and began writing short pieces for his Classroom Q & A column (this very one!). Three, I started reviewing books for MiddleWeb . Each of these low-pressure inroads to being a “real” writer helped me develop my writing skills, gain confidence, and build my professional network. You can do the same! Review for Middleweb, pitch a post to Edutopia , look for calls for short content on your favorite websites or journals. Even better, buy Jenny Rankin’s AMAZING book, Share Your Education Expertise With the World . It’s full of tips to get you started.

Build Your Knowledge Base and Your PLN : Not only is it important to write a ton, but reading and connecting a ton are, too. Do Google searches for the topics you’re interested in and read to get a feel for what’s already out there. Study the style of authors you like - even better, reach out to them, and pick their brains. If you’re not already on Twitter, that is a MUST! Get your handle and hop into weekly chats. Follow me (@ritaplatt) and ask for help, I’ll gladly show you around. On Twitter, you will grow your Professional Learning Network (PLN) in ways that will blow your mind! You will be amazed at how accessible your favorite edu-authors are. Through Twitter, I have met many of my heroes and found each to be open and willing to help me with my own professional writing goals.

To Sum It Up:

Before you write a book, know your message, your edu-passion, and your vision. Don’t write a book until you’re really ready (ask anyone, you’re probably not going to pay the rent from your sales, it can’t be about that).

Write and publish as much as you can and get your writing life in order.

Read everything and anything that will help you learn your craft, grow as a writer, and see what’s already out there.

• Build your PLN; you’ll need the feedback and support.

Thanks for reading. Now, get writing!

“Find your own voice”

Pernille Ripp (@pernilleripp) helps students discover their superpower as a former 4th and 5th, but now 7th grade English teacher in Oregon, Wis. She opens up her educational practices to the world on her blog www.pernillesripp.com and is also the creator of the Global Read Aloud Project , a global literacy initiative that has connected millions of students. She is an internationally known educational speaker and also the author of several education books, with her latest release titled Passionate Readers - The Art of Reaching and Engaging Every Child :

To write a book can often seem like a major “how dare I moment?”

After all, as educators, we are supposed to always think of others, not of ourselves, as we do everything we can to serve the children who are entrusted in our care. And yet, within this profession, the best learning that seems to happen comes from those who have walked this path before us, who took the time, worked through their imposter syndrome, and shared their stories with the world. Who brought their advice, their lessons learned, and their knowledge out to the world in such a way that it encouraged others to step onto their path, perhaps forge their own, and continue the tradition of sharing knowledge so that we all could learn.

So the first piece of advice I have to anyone considering writing a book is this: Find your own voice. What have you learned alongside your students that may be helpful to others? How have you made the messages that surround us all in the education community and made it uniquely your own? How will what you have learned boost the learning of others? My second piece of advice is know whose footsteps you walk in? Who has empowered you to do the work you do? Make sure you acknowledge the shoulders you stand on and give thanks to those who have paved the way. While we often think of original twists to ideas, it is rare that anything is truly unique to us, and so knowing your history of educational practices is important, much like citing research. Write for yourself first, then write for others second, share your work in order to fine tune before approaching a publisher, and also be aware of what is already out there.

My final piece of advice is to make it a priority. We balance a lot as educators, and often, writing a book is not at the top of our list of priorities. But it must be if we are to inspire the next generation of educators, if we are to grow as a collective. Find a routine, much like we would encourage our students to do, and stick to it. Believe in your own worth and write your truth. Invite others into your journey, not because you have the only right answer, but because your thoughts will add to the ongoing educational dialogue and your ideas may be exactly what someone else needs. Do not feel that putting your own words out there is something others need to give you permission for; give yourself permission to share your work and then stay true to the mission, bettering education for all.

Thanks to Tom, Sarah, Rita, and Pernille for their contributions!

Please feel free to leave a comment with your reactions to the topic or directly to anything that has been said in this post.

Consider contributing a question to be answered in a future post. You can send one to me at [email protected] . When you send it in, let me know if I can use your real name if it’s selected or if you’d prefer remaining anonymous and have a pseudonym in mind.

You can also contact me on Twitter at @Larryferlazzo .

Education Week has published a collection of posts from this blog, along with new material, in an e-book form. It’s titled Classroom Management Q&As: Expert Strategies for Teaching .

Just a reminder; you can subscribe and receive updates from this blog via email or RSS Reader. And if you missed any of the highlights from the first eight years of this blog, you can see a categorized list below. The list doesn’t include ones from this current year, but you can find those by clicking on the “answers” category found in the sidebar.

This Year’s Most Popular Q&A Posts

Race & Gender Challenges

Classroom-Management Advice

Best Ways to Begin the School Year

Best Ways to End the School Year

Implementing the Common Core

Student Motivation & Social-Emotional Learning

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Teacher Leadership

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Best of Classroom Q&A

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I am also creating a Twitter list including all contributors to this column .

Look for Part Two in a few days ...

The opinions expressed in Classroom Q&A With Larry Ferlazzo are strictly those of the author(s) and do not reflect the opinions or endorsement of Editorial Projects in Education, or any of its publications.

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A sympathetic look at the rise — and stall — of gay conservatives

Neil j. young’s ‘coming out republican’ offers the history of a movement that may not have actually been that influential.

History may be written by the victors, but Neil J. Young’s excellent new book, “ Coming Out Republican ,” is a sympathetic look at one of the past century’s losers: the gay conservative. Young, a historian by training, has spent his career explaining the heterogeneity of the conservative movement. His first book, “ We Gather Together ,” was about the alliances and rivalries among Catholics, Mormons and evangelicals that birthed the Christian right, and Young has written about religion and politics for the New York Times and CNN.

“Coming Out Republican” moves from the 1950s to the present, telling the stories of the closeted operators and buttoned-up political clubs that often served as the Myrtle Wilson to the Christian right’s Daisy Buchanan, their sense of entitlement out of proportion to the way their supposed allies treated them. Sometimes these gay men acted gallantly to expand the individual freedoms of their queer countrymen. But there are also many instances in the book of them selling out the other civil rights movements in whose wake they traveled. “Coming Out Republican” is less about an interest group than a self-interest group, one that has long been unable to envision a liberation project more ambitious than expanding the sexual prerogatives of White men.

“Coming Out Republican” is at its best when using profiles of individual men to depict the eras in which they lived. Leonard Matlovich, a Vietnam War hero, came out in 1975 and sued the federal government to reenlist after he was kicked out of the military. Conservative and macho, Matlovich claimed that “everything I am and everything I hope to be I owe to the United States Air Force.” He relied on Frank Kameny, of the gay advocacy group the Mattachine Society, and a lawyer from the ACLU to sue on his behalf. Appearing on the cover of Time magazine, he had a dark mustache from central casting, but he was an imperfect poster boy, all-American but naive about gay life. He once bashfully asked a reporter from the Advocate — an eminent gay magazine — what the publication was.

In his study of Matlovich, Young deftly, if a little dryly, parses the cross currents of imperialism, respectability and internecine gay resentment. His prose is at times as vanilla as the men he writes about, relying on ventriloquism of vulgar gay patois for color. In other illuminating sketches, we meet figures such as Jon Hinson, the Bible-thumping congressman from Mississippi who resigned after getting caught performing oral sex on a Black Library of Congress technician in a bathroom in the Capitol, and Terry Dolan, Ronald Reagan’s whiz kid pollster who bragged about purging moderates from Congress, bulldozing a path for the Christian right’s ascension in the 1980s. They are but two of the legions of closeted Republicans who believed in privacy for a man’s sex life but not, among other things, a woman’s right to an abortion . Young takes so much care describing the different ways Matlovich, Hinson and Dolan conceived of themselves, and the roles they played in the politics of their era, that their deaths feel like a gut-punch. Each one died of AIDS.

Less successful are Young’s sections on gay Republican groups — the Log Cabin Republicans, the Teddy Roosevelt Republican Club, the Lincoln Republican Club, Concerned Republicans for Individual Rights, GOProud — whose sheer number of names reflects how often they split off from one another. Most of the book’s colorful characters were better at acting out and working covertly than they were at building large coalitions, so the stakes of their collective action — like persuading a few thousand San Francisco Republicans to oppose a California ballot initiative — feel low.

Young also has the credulous habit of, for example, describing a group whose membership “doubled that year to over 150” and citing the growth as evidence of its strength, when such crowds would barely match a modest gay bar’s Saturday night or a Baptist church’s Sunday services. In instances when gay Republican groups have wielded influence in a decisive way — say, by whipping up a handful of votes to pass civil rights protections in the California legislature and marriage equality in the New York legislature — it is not because they had power that could not be ignored. It is because in the eyes of Republican lawmakers in very liberal states, gay Republicans could, like a mistress that doesn’t ask or expect too much, be indulged from time to time.

But that’s state politics. At the national level, gay Republicans have been betrayed and insulted by every Republican presidential candidate since Reagan. In 1980, they had reasons for optimism. Despite Reagan’s conservative bona fides, two years earlier he helped defeat a California referendum that would have barred gay people from teaching in public schools. But as president, his embrace of the religious right was so close, and his administration’s antipathy for people with AIDS so pronounced, that it further stained the Republican Party’s reputation with gay people. George H.W. Bush ran as a moderate and even signed gay-friendly legislation like the Ryan White Care Act and the Americans With Disabilities Act before abandoning tolerance to court the religious right. Less than a decade after he left office, his son campaigned as a compassionate conservative, and then ran for reelection supporting a constitutional amendment to forbid same-sex marriage. Donald Trump also seemed to embrace LGBTQ people as he campaigned for the 2016 election, but as president he nominated judges hostile to LGBTQ rights and supported policies that made it easier for people claiming religious exemptions to discriminate against sexual minorities.

Young makes a persuasive case that gay Republicans contributed to the civil rights progress of the last few decades. Intellectuals like Andrew Sullivan and operators like Ken Mehlman, who ran George W. Bush’s 2004 campaign from the closet, contributed to the push for marriage equality and military participation. But neither man — or really any conservative advocate — did nearly as much as Evan Wolfson, the Lambda Legal lawyer, who articulated the intellectual foundations of same-sex marriage and executed the political strategy to make it a reality. The simple fact is that liberal gays have been more clear-eyed about power than their conservative counterparts, better at building coalitions and more wary of placating the Christian conservatives who do not believe there is a place for sexual minorities in public life.

Young could have more forcefully thought through the reluctance of gay Republicans to find common cause with members of other minority groups. The obvious answer is the most uncomfortable one: Gay Republicans see themselves as having more in common with other White people, rich people and men. Unfortunately, the only way that the numerically few can wield power is through solidarity with other minorities, but that requires insight that does not always come easily to White gay men, especially conservative White gay men: None of us is that special, and trying to be “not that kind of gay” comes at a cost. One of the most heartbreaking themes of “Coming Out Republican” is how unfamiliar many conservative gays are with the varying joys of gay life — writing it off as too “PC” or too promiscuous. Being gay can be quite fun, not despite but because of our endless squabbles and struggles over how to keep this life distinct and ours, and open to as many people as want to partake.

Anyone could benefit from reading this book. Straight people will learn how the puritanical impulse to control other people’s ’ sex lives has defined politics for nearly a century, an impulse as old as it is futile. Queer people — who often must teach ourselves our own history — will learn how respectability remains an empty promise. But it is gay Republicans themselves who most need to read Young’s book. If they are not too vain, the Peter Thiels and George Santoses of the world might find in these pages a warning that having power is not the same thing as being tolerated until you are no longer useful.

Nathan Kohrman is a writer covering medicine, politics and culture. Based in New York, he is an incoming general surgery resident at Columbia University Irving Medical Center.

Coming Out Republican

A History of the Gay Right

By Neil J. Young

University of Chicago Press. 441 pp. $29.99

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ESL Conversation Lessons for Teenagers and Adults: With Vocabulary, Questions & Writing Prompts (Teaching English as a Second or Foreign Language) Paperback – April 10, 2024

Purchase options and add-ons, have better english conversation classes filled with happy, engaged students by using this book filled with interesting speaking topics..

Get your students talking with these English conversation topics that consist of a warm-up question, vocabulary challenge, idioms & phrases, conversation questions, and 2 writing prompts. It's the ultimate book for speaking or conversation classes with teenagers or adults.

The best part? It's a no-prep solution! Seriously. It's designed so that you can just grab it and go, so stop wasting too much time doing lesson planning. There are dozens of ESL conversation topics so you can make it through an entire semester in style.

Check out the book if you want to...

• Save time when planning lessons
• Help students improve their English conversational skills in a big way
• Talk about interesting things with your students
• Have something you can print off and take to class at the last minute
• See happy, smiling students in your classes

The basis of a good conversation class is giving learners a reason and an opportunity to speak. Combine this with scaffolding of grammar and phrases and that's some serious ESL teaching gold! Your students will love this engaging, interesting approach to working on their English conversational skills.

Author and CELTA/DELTA certified teacher Jackie Bolen is sharing her great ideas with ESL teachers around the world. She has 20 years of experience teaching conversational English. These are the lesson plans that she uses in her own classes. It’s designed for intermediate-advanced English learners.

Pick up a copy of the book today and get ready for better English conversation classes in the future.

• Part of series Teaching English as a Second or Foreign Language
• Print length 100 pages
• Language English
• Publication date April 10, 2024
• Dimensions 8 x 0.23 x 10 inches
• ISBN-13 979-8322506874
• See all details

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About the Author

Jackie Bolen is an English teacher with more than 20 years of experience in the classroom. She taught in South Korea for 10 years and now teaches in Vancouver. She's the host of the Let's Talk TEFL podcast.

More favourites by Jackie:

• 39 No-Prep/Low-Prep ESL Speaking Activities
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• 101 ESL Activities for Teenagers and Adults
• 101 ESL Activities for Kids
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Editorial reviews, from the author, product details.

• ASIN ‏ : ‎ B0D1FMTRSG
• Publisher ‏ : ‎ Independently published (April 10, 2024)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 100 pages
• ISBN-13 ‏ : ‎ 979-8322506874
• Item Weight ‏ : ‎ 7.7 ounces
• Dimensions ‏ : ‎ 8 x 0.23 x 10 inches
• #659 in English as a Second Language Instruction
• #754 in Foreign Language Instruction (Books)

About the author

Jackie bolen.

I taught English in South Korea for a decade to every level and type of student and I've taught every age from kindergarten kids to adults. I spent most of my time teaching at two universities, where I taught every class under the sun!

These days, I do private tutoring and online teaching in Vancouver, Canada. In my spare time, you can usually find me outside playing tennis, biking, hiking or on the hunt for the most delicious kimchi I can find.

I hold a Masters degree in Psychology. During my time in Korea, I completed the Cambridge CELTA and DELTA certification programs. With the combination of almost 20 years teaching ESL/EFL learners of all ages and levels, and the more formal teaching qualifications I've obtained, I have a solid foundation on which to offer teaching advice. And of course, help English learners improve their skills.

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He Was Blinded in One Eye, but Salman Rushdie’s Vision Is Undiminished

The author’s new memoir, “Knife,” addresses the attack that maimed him in 2022, and pays tribute to the wife who saw him through. “I wanted to write a book which was about both love and hatred — one overcoming the other,” he says.

Credit... Clément Pascal for The New York Times

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By Sarah Lyall

• April 14, 2024

Last May, nine months after the knife attack that nearly killed him, Salman Rushdie made a surprise appearance at the 2023 PEN America literary gala. His voice was weak and he was noticeably thinner than usual; one of his eyeglass lenses was blacked out, because his right eye had been blinded in the assault. But anyone wondering whether the author was still his old exuberant self would have been immediately reassured by the way he began his remarks, with a racy impromptu joke.

“I want to remind people in the room who might not remember that ‘Valley of the Dolls’ was published in the same publishing season as Philip Roth’s ‘Portnoy’s Complaint,’” he said, riffing on an earlier speaker’s mention of Jacqueline Susann’s potboiler. “And when Jacqueline Susann was asked what she thought about Philip Roth’s great novel” — with its enthusiastically self-pleasuring main character — “she said, ‘I think he’s very talented but I wouldn’t want to shake his hand.’”

It was classic Rushdie, improvisational literary wit deployed during a solemn occasion, in this case his acceptance of the organization’s Centenary Courage Award . It was also a triumphant signal that his brush with death — more than three decades after Ayatollah Ruhollah Khomeini of Iran issued a fatwa calling for Rushdie’s murder over the novel “The Satanic Verses” — had dampened neither his spirit nor his determination to live life in the open.

His new book, “Knife,” which will be published April 16, is a harrowing account of the attack and its aftermath, and a reminder of how gravely injured he was. It’s also a deeply moving love story that attributes much of his recovery and good spirits to the tender, brave support of his wife of three years, the poet and novelist Rachel Eliza Griffiths. (They met at an event in 2017 and flirted over drinks at the after-party; he walked smack into a glass door as he attempted to follow her onto the roof deck. The rest is history.)

“I wanted to write a book which was about both love and hatred — one overcoming the other,” Rushdie said in a recent interview. “And so it’s a book about both of us.”

Nearly a year had passed since the PEN speech. The Rushdie sitting in the Manhattan office of his longtime agent, Andrew Wylie, was considerably more robust than the one who had appeared onstage.

He is still dealing with the physical repercussions of the attack, including bouts of fatigue. One side of his mouth pulls a bit when he talks, the result of damage to a nerve in his neck. His left hand has only partially recovered; his right eye is permanently unusable.

But Rushdie’s voice has regained its rich timbre and air of quick, antic amusement. His manner is just as relaxed, and his mind just as supple, as ever. So easily does he allude to and quote from books and popular culture that it can feel as if everything he’s read and seen and heard is at the forefront of his mind, instantly accessible like some sort of personal Google service.

Though Rushdie considered calling his new book “A Knife in the Eye,” a reference to the worst of his injuries, he decided on a single-word title, as sharp and staccato as the object itself. “Knife” can mean many things, he writes. It’s a weapon, of course, and an artistic device in books, movies and paintings. In Rushdie’s book, it’s a metaphor for understanding.

“Language can be that kind of knife, the thing that cuts through to the truth,” Rushdie said. “I wanted to use the power of literature — not just in my writing, but in literature in general, to reply to this attack.”

It came seemingly from nowhere, long after the danger to his life seemed to have receded. In London, where he lived when the fatwa was issued, Rushdie had round-the-clock Special Branch protection mandated by the British government. (I knew Rushdie and his family during this period when I was a London correspondent for The New York Times.) But he jettisoned that protection when he moved to New York more than two decades ago.

“You know, America’s view of security is, if you think you’re in danger, get a gun,” Rushdie said. “Or at least get somebody with a gun. But for me, it was a kind of freedom. At least it allowed me to make my own choices.” For all that time, he said, “everything felt pretty normal. I felt like I was living a fairly conventional writer’s life.”

On Aug. 12, 2022, Rushdie was onstage at the Chautauqua Institution in western New York — ironically, he was speaking about City of Asylum, a program that provides safe haven to writers under threat — when a black-clad man ran full-tilt onto the stage, wielding a knife. (The man was Hadi Matar, who has pleaded not guilty to charges of second-degree assault and second-degree attempted murder and is awaiting trial .)

The blade struck Rushdie 10 times. It severed all the tendons and most of the nerves in his left hand. It penetrated his right eye just short of his brain, destroying the optic nerve. It slashed into his neck, across his upper right thigh and along his hairline, and pierced his abdomen.

Rushdie remembers thinking two things as he saw the assailant hurtling forward, he writes. The first was that death had finally come for him: “So it’s you. Here you are.” The second was disbelief that it was happening so late in the game, after this long uneventful stretch. “Really?” he thought. “Why now, after all these years?”

As the blows rained down, people rushed to Rushdie’s aid, led by the City of Asylum co-founder Henry Reese, 73, who was interviewing the author onstage and who sustained a shallow knife wound and a badly bruised right eye as he held down the assailant.

“If it hadn’t been for Henry and the audience, I wouldn’t be sitting here writing these words,” Rushdie says in the book. “That Chautauqua morning I experienced both the worst and best of human nature, almost simultaneously.”

At first it was unclear whether he would survive.

“The gravity of his wounds was just insane, like something out of a horror film,” said Andrew Wylie, who has represented the author for decades. Rushdie remained in the hospital for nearly two months. Even after returning home, he had vivid, horrific dreams — about the blinding of the Duke of Gloucester in “King Lear,” about the opening sequence of the Luis Buñuel movie “Un Chien Andalou,” in which a cloud drifting across the moon becomes a razor blade slicing an eye. He had medical appointments almost every day, different specialists for each affected body part. “Everyone had to sign off on the various repair jobs,” he said.

Rushdie had been toying with an idea for a novel before the attack. But “when, finally, it felt like the juice was beginning to flow again, I went and opened up the file that I’d had, and it just seemed ridiculous,” he said. “It just became clear to me that until I dealt with this, I wouldn’t be able to write anything else.”

“Knife” is a visceral, intimate book, in contrast to an earlier memoir, “Joseph Anton,” a 2012 book that was written in the third person, so that the central character existed on the same level as the supporting players.

“I wanted it to read like a novel,” Rushdie explained of the earlier book. But “Knife” is different. “This is not novelistic. I mean, somebody sticks a knife in you, that’s pretty personal. Pretty first person,” he said.

The book contains a long passage in which Rushdie imagines interrogating his assailant, but he never mentions him by name. “My Assailant, my would-be Assassin, the Asinine man who made Assumptions about me, and with whom I had a near-lethal Assignation,” he writes. “I will refer to him more decorously as ‘the A.’ What I call him in the privacy of my home is my business.”

What he feels now is not anger, exactly.

“Obviously I’m not particularly pleased about him,” he said. “And if I gave it some attention, I probably am angry. But where does that get you? Nowhere. And it also becomes a way of being captured by the event, you know, to be possessed by a kind of rage about it.”

His therapist has helped, he said, as has a natural steeliness. “Sometimes you don’t know how resilient you are until the question is asked, until you’re obliged to face very tough things,” he said.

Rushdie is close to his two sons, Milan and Zafar. The loving way he talks about Griffiths reflects a late-in-life contentment after a colorful romantic life featuring four earlier wives, including the novelist Marianne Wiggins and the celebrity chef Padma Lakshmi. When his family met Griffiths, he said, “ they all kind of said, ‘Finally.’”

Rushdie said he wants to be thought of foremost as a novelist. But he has always felt — even before the fatwa — an obligation to be engaged in public matters. For years, he served as president of PEN America, in the forefront of its fights on behalf of free speech.

Presenting Rushdie’s award to him last year, PEN America’s then-president, the playwright and novelist Ayad Akhtar, said the group was honoring him “because of what he stood for and continues to stand for, and what this organization is fundamentally all about — freedom.” Akhtar continued: “He has enlarged the world’s imaginative capacities, and at such great cost to himself.”

But Rushdie said that he doesn’t see himself as a symbol of anything.

“I’ve never felt symbolic. I felt — you know, I’m just here.” He laughed. “I’m just Ken.” (This was an allusion to Ryan Gosling’s showstopping song at the Oscars, the night before the interview.) “I’m just me. I’m just somebody who’s trying to be a writer, trying to do his best. And that’s all I’ve ever wanted to be.”

In June, Rushdie will turn 77, the age his father was when he died, a bracing moment in anyone’s life. In his case, it’s magnified by his recent experience.

“I came very close to dying,” he said. “And when you get that close, when you get a really good look at it, it stays with you. It’s much closer to the front of my head than it used to be.”

Yet he’s not afraid. “Did you ever see the musical ‘Spamalot’?” he continued. “There’s a wheelbarrow of plague victims being wheeled across the stage. And when they get to the middle of the stage they all jump off the wheelbarrow and sing this song, ‘He Is Not Dead Yet.’

“Either you succumb to the fear of death, or you don’t,” he said.

Sarah Lyall is a writer at large for The Times, writing news, features and analysis across a wide range of sections. More about Sarah Lyall

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