how to write a book review comparing two books

How to Compare Two Novels in Comparative Essay

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• Writing Essays
• Writing Research Papers
• English Grammar
• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

At some point in your literature studies, probably just about the time you get really good at finding the theme of a novel and coming up with a sound analysis of a single literary piece, you will be required to compare two novels.

Your first task in this assignment will be to develop a good profile of both novels. You can do this by making a few simple lists of traits that might be comparable. For each novel, identify a list of characters and their roles in the story or important characteristics, and any important struggles, time periods, or major symbols (like an element of nature).

You may also attempt to come up with book themes that could be comparable. Sample themes would include:

• Man versus nature (is each main character battling the elements?)
• Individual versus society (does each main character feel like an outsider?)
• Struggle between good and evil (are your characters involved in good v. evil scenarios?)
• Coming of age (do the main characters experience a tough lesson that makes them grow?)

Your assignment will most likely give you direction as to whether you should find specific characters, story characteristics, or overall themes to compare. If it is not that specific, don't worry! You actually have a little more leeway.

Comparing Two Novel Themes

The teacher's goal when assigning this paper is to encourage you to think and analyze. You no longer read for a surface understanding of what happens in a novel; you are reading to understand why things happen and what the deeper meaning behind a character is a setting or an event. In short, you are expected to come up with an interesting comparative analysis.

As an example of comparing novel themes, we will look at The Adventures of Huckleberry Finn and The Red Badge of Courage . Both of these novels contain a "coming of age" theme since both have characters who grow a new awareness through tough lessons. Some comparisons you could make:

• Both characters have to explore the notion of "civilized behavior" in the societies where they exist.
• Each main character has to question the behavior of his male role models and his male peers.
• Each main character leaves his childhood home and encounters challenges.

To craft an essay about these two novels and their similar themes, you would create your own list of similarities like those above, using a list, chart, or a Venn diagram .

Sum up your overall theory about how these themes are comparable to create your thesis statement . Here is an example:​ "Both characters, Huck Finn and Henry Fleming, embark on a journey of discovery, and each boy finds new understanding when it comes to traditional notions about honor and courage."

You will use your common characteristic list to guide you as you create body paragraphs .

Comparing Main Characters in Novels

If your assignment is to compare the characters of these novels, you would make a list or Venn diagram to make more comparisons:

• Both characters are young men
• Both question society's notion of honor
• Both witness behavior that makes them question their role models
• Both have a nurturing female influence
• Both question their former beliefs

Comparing two novels is not as difficult as it sounds at first. Once you generate a list of traits, you can easily see an outline emerging.

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How to Write a Book Review: The Complete Guide

by Sue Weems | 23 comments

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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Organizing Your Social Sciences Research Assignments

• Annotated Bibliography
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• Group Presentations
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• Types of Structured Group Activities
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A multiple book review essay involves assessing the quality of two or more books that cover the same overall subject area [e.g., analysis of the European debt crisis] or that are related to each other in a particular way [e.g., applying grounded theory methods to study student access to education]. The review is written in the form of a short scholarly paper [essay] rather than as a descriptive book review. The purpose is to compare and contrast the works under review, to identify key themes and critical issues, and to evaluate each writer's contributions to understanding the overarching topics common to each book. Professors assign reviews of multiple books to help students gain experience critically evaluating the ways in which different researchers examine and interpret issues related to a specific research problem.

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: Roman and Littlefield, 1997), pp. 83-90.

How to Approach Writing Your Review

Developing an Assessment Strategy

An important first step in approaching how to write a review of two or more books is to identify and think critically about the research problem that ties each of the books together. This information is usually summarized in the preface or introductory chapter of each book. The challenge is to develop an argument about each book you are reviewing and then clearly compare, contrast, and ultimately synthesize your analysis into an well organized and well supported essay.

Think of a multiple book review essay as a type of compare and contrast paper similar to what you may have written for a general issue-oriented composition class . As you read through each book, write down questions concerning what you want to know about each book and answer them as you read [remember to note the page numbers from the book you got the information from so you can refer back it later!]. Which questions to ask yourself will depend upon the type of books you are reviewing and how the books are related to each other.

Here are a series of questions to focus your thinking:

• What is the thesis—or main argument—of each book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of each book? 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 is the approach to the subject [topical, historical, analytical, chronological, descriptive]?
• How does the author of each book support his or her argument? What evidence [i.e., sources cited and data collection] does each author use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author's information [or conclusions] conflict with other books you've read, courses you've taken, or just previous assumptions you had about the research problem under study?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense to you? Does it persuade you? Why or why not? Were there any questions left unanswered? Were limitations to the study effectively addressed?
• How has each book helped you understand the subject? Would you recommend the books to others? Why or why not? In what ways have the books collectively expanded your understanding of the research problem?

Beyond the content of the book, you may also consider some information about each author and the circumstances of the text's production:

• Who is the author? 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 he or she writes about? What other topics has the author written about? Does this work build on prior research or does it seem to represent a new area of research?
• What is each book's genre? Out of what discipline do they emerge? Do they 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 a book described as 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.

Bazerman, Charles. Comparing and Synthesizing Sources. The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting. The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; 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; Walk, Kerry. How to Write a Compare-and-Contrast Paper. Writing Center. Princeton Writing Program; Rhetorical Strategies: Comparison and Contrast. The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick; Writing a Compare/Contrast Essay. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay. CLRC Writing Center. Santa Barbara City College.

Structure and Writing Style

I.  Bibliographic Information

Provide the essential information about each book using the writing style asked for by your professor [e.g., APA, MLA, Chicago, etc.]. Depending on how your professor wants you to organize your review, the bibliographic information represents the heading of your review. In general, they would be arranged alphabetically by title and look like this:

Racing the Storm: Racial Implications and Lessons Learned from Hurricane Katrina . Hillary Potter, ed. (Lanham, MD: Lexington Books, 2007. 320 pp) The Sociology of Katrina: Perspectives on a Modern Catastrophe . David L. Brunsma, David Overfelt, and J. Steven Picou, eds. (Lanham, MD: Rowman and Littlefield, 2007. 288 pp.) Through the Eye of Katrina: Social Justice in the United States . Kristin A. Bates and Richelle S. Swan, eds. (Durham, NC: Carolina Academic Press, 2007. 440 pp.) Reviewed by [your full name]

II.  Thesis Statement

The thesis statement of an essay that compares and contrasts multiple works should contain an idea or claim that unites the discussion of each text under review . It should include the argument that will be advanced in support of the claims being made. To begin, ask yourself: What is the overarching subject or issue that ties together all of the books? Why is it important? In most scholarly works, the author(s) will state the purpose of their book in the preface or in an introductory chapter. Look for common themes or points of divergence among the books.

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. The comparative thesis statement will vary in length depending on the number and complexity of the books under review. Regardless of length, it must be succinct, accurate, unbiased, and clear.

If you find it difficult to discern the overall aims and objectives of each book [and, be sure to point this out in your review if you believe it to be a deficiency], you may arrive at an understanding of the purpose by asking yourself a the following questions:

• Scan the table of contents because it can help you understand how the book is organized and will aid in determining the author's main ideas and how they are developed [e.g., chronologically, topically, historically, etc.].
• Why did the authors write on this subject rather than on some other subject?
• From what point of view is each work written?
• Were the authors trying to provide 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 each 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 for each book? Is it the same or are the books intended for difference sets of readers?
• What is each 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.
• How did the books affect you? Were any prior assumptions you had on the subject that were changed, abandoned, or reinforced after reading the books? How are the books related to your own personal beliefs or assumptions? What personal experiences have you had that relate to the subject?
• How well has each 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?

A useful strategy to help organize your thoughts is to create a table with a column for each book and rows for each question. Enter your answer to each book in the chart. When completed, you'll have an easy guide to how each author has addressed the questions.

NOTE:   Your thesis statement underpins the purpose of your review and helps the reader understand how the books are related. However, while a book review essay should evaluate books about the same topic [e.g., hurricane Katrina recovery], there may not be an overarching issue that ties the books together. If this is the case, then the thesis could, for example, center around the diversity of issues scholars have chosen to examine a topic or the fractured nature of scholarship on the subject.

ANOTHER NOTE :   Your thesis statement should include the rationale for why the key points you highlight or compare and contrast among the books being reviewed were deliberate and meaningful and not random. Explain their significance.

III.  Methods of Organizing the Essay

Organization is critical to writing an essay that compares and contrasts multiple works because you will most likely be discussing a variety of evidence and you must be certain that the logic and narrative flow of your paper can be understood by the reader. Here are some general guidelines to consider:

• If your professor asks you to choose the books to review, identify works that are closely related in some way so they can be easily compared or contrasted.
• Compare according to a single organizing idea [e.g., analysis of how each author assessed the effectiveness of post-Katrina recovery efforts].
• Choose a method of development [see below] that works well with your organizing idea.
• Use specific and relevant examples to support your analysis.
• Use transitional words or phrases to help the reader understand the similarities and differences in your subject.
• Conclude your paper by restating your thesis, summarizing the main points, and giving the reader a final "so what" answer to the major similarities and/or differences that you discussed [i.e., why are they important?

There are two general methods of organizing your multiple book review essay. If you believe one work extends another, you'll probably use the block method; if you find that two or more works are essentially engaged in a debate or examine a topic from different perspectives, the point-by-point method will help draw attention to the conflict. However, the point-by-point method can come off as a rhetorical ping-pong match. You can avoid this effect by grouping more than one point together, thereby cutting down on the number of times you alternate from one work to another. No matter which method you choose, you do not need to give equal time to similarities and differences. In fact, your paper will be more interesting if you state your main argument(s) as quickly as possible. For example, a book review essay evaluating three research studies that examine different interpretations of conflict resolution among nations in the Middle East might have as few as two or three sentences in the introduction regarding similarities and only a paragraph or two to set up the contrast between the author’s positions. The rest of the essay, whether organized by block method or point-by-point, will be your analysis of the key differences among the books.

The Block Method Present all the information about A, and then present parallel information about B. This pattern tends to work better for shorter book review essays, and those with few sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce the significance of the overall subject matter     B. Thesis Statement         --First supporting point         --Second supporting point         --Third supporting point II. First book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point III. Second book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point IV. Third book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point V. Conclusion     A. Restate thesis     B. Briefly summarize how you proved your argument The Point-by-Point Method Present one point about A, and then go to the parallel point about B. Move to the next point, and do the same thing. This pattern tends to work better for long book review essays and those with many sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce significance of overall subject matter     B. Thesis statement II. Brief explanation of first book III. Brief explanation of second book IV. First comparative point     A. Relation of point to first book     B. Relation of point to second book V. Second comparative point     A. Relation of point to first book     B. Relation of point to second book VI. Third comparative point     A. Relation of point to first book     B. Relation of point to second book VII. Conclusion     A. Restate thesis     B. Briefly summarize how your proved your argument

IV.  Critically Evaluate the Contents

Regardless of whether you choose the block method or the point-by-point method, critical comments should form the bulk of your book review essay . State whether or not you feel the author's treatment of the subject matter is appropriate for the intended audience. Ask yourself:

• Has the objectives of each author(s) been achieved?
• What contribution do the books make to the field of study or discipline?
• Is the treatment of the subject matter objective?
• Are there facts and evidence that have been omitted, either in one of the books or collectively?
• What kinds of data, if any, are used to support each author's thesis statement?
• Can the same data be interpreted to alternate ends?
• Is the writing style clear and effective?
• Do the books raise important or provocative issues or topics for discussion and further research?
• What has been left out?

Support your evaluation with evidence from the text of each book and, when possible, in relation to other sources. If relevant, make note of each book's format, such as, layout, binding, typography, etc. Are there maps, illustrations? Do they aid in understanding the research problem? This is particular important in books that contain a lot of non-textual elements, such as tables, charts, pictures, and illustrations.

NOTE:   It is important to carefully distinguish your views from those of the authors, so that you don’t confuse your reader.

V.  Examine the Front Matter and Back Matter

Front matter refers to anything 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].

The following front matter may be included in a book and 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?
• 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 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 research problem under investigation].
• Foreword -- the purpose of a foreword is to introduce the reader to the author as well as the book itself, and to help establish credibility for both. A foreword may not contribute any additional information about the book's subject matter, but it serves as a means of validating the book's existence. 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 in how the latest edition differs from previous ones.
• 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, or people who curate important archival collections. In these particular cases, it may be worth noting these sources of support in your review.
• 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 a lot of charts, photographs, maps, etc. will often list these items after the table of contents in order that they appear in the text. Is it useful?

The following back matter may be included in a book and may be considered for evaluation when reviewing the overall quality of the book:

• 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, 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 -- is the index thorough and accurate? Are elements used, such as, bold or italic fonts to help identify specific places in the book?
• Glossary of Terms -- are the definitions clearly written? Is the glossary comprehensive or are key terms missing? Are any terms or concepts mentioned in the text not included?
• Footnotes/Endnotes -- examine any footnotes or 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?
• 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.

NOTE:   Typically, multiple book review essays do not compare and contrast the quality of the back and front matter unless the books share a common deficiency [e.g., poor indexing], the front or back matter is particularly important in supplementing the primary content of the books, or one book stands out in regards to the quality of information presented in the front or back matter.

VI.  Summarize and Comment

Your conclusion should synthesize the key similarities and differences among the books and their collective contributions to understanding of the research problem. Avoid re-stating your assessment word for word; your goal is to provide a sense of closure and to leave the reader with a final perspective about the overall topic under review and whether you believe each book has effectively contributed to the overall research literature on the subject. Do not introduce new information in the conclusion. If you've compared the books to any other studies or used other sources in writing the review, be sure to cite them at the end of your book review essay.

Bazerman, Charles. Comparing and Synthesizing Sources. The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting. The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Rhetorical Strategies: Comparison and Contrast. The Reading/Writing Center. Hunter College; 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; Hooker, Fran and Kate James. Apples to Oranges: Writing a Compare and Contrast Paper. The Writing Center. Webster University; Oinas, Päivi and Samuli Leppälä. “Views on Book Reviews.” Regional Studies 47 (2013): 1785-1789; Visvis, Vikki and Jerry Plotnick. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay. CLRC Writing Center. Santa Barbara City College.

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

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

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

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

What is a Book Review?

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

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

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

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

Table of Contents

Book Review Template

How to write a book review- a step by step guide.

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

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

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

Choosing Your Literature

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

Crafting the Master Plan

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

The Devil is in the Details

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

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

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

The Key Questions to Ponder

When planning your book review, consider the following questions:

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

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

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

Identify Your Book and Author

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

Ponder the Title

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

Judge the Book by Its Cover (Just a Little)

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

Present Your Thesis

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

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

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

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

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

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

Summarize Without Spoilers

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

Support Your Viewpoint with Quotes

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

Analyze the Quotes

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

Structure Your Body Paragraphs

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

For example:

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

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

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

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

Summarize Your Analysis

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

Offer Your Final Conclusion

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

Address the Book’s Appeal

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

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

Be Subtle and Balanced

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

Bringing It All Together

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

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

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

Why Rate the Book?

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

How to Rate the Book

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

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

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

Tips for Rating the Book

Here are some tips for rating the book effectively:

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

Wrapping Up

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

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

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

Hook ’em with an Intriguing Introduction

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

Embrace the World of Fiction

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

Opinionated with Gusto

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

Express Your Love (or Lack Thereof)

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

Templates and Examples and Expert Help: Your Trusty Sidekicks

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

Be a Champion for New Writers and Literature

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

Criticize with Clarity, Not Cruelty

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

Avoid the Comparison Trap

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

Top 7 Mistakes and How to Avoid Them

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

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

Succumbing to the Lure of Plot Summaries

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

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

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

Unleashing the Spoiler Kraken

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

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

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

Riding the Personal Bias Express

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

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

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

Wielding the Vague Language Saber

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

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

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

Ignoring the Contextualization Compass

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

Example: “This book is dull and unoriginal.”

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

Overindulging in Personal Preferences

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

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

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

Forgetting the Target Audience Telescope

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

Example: “This book is great for everyone.”

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

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

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

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

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Book Reviews

What this handout is about.

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

What is a review?

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

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

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

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

Becoming an expert reviewer: three short examples

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

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

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

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

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

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

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

Here is one final review of the same book:

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

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

Developing an assessment: before you write

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

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

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

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

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

Writing the review

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

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

Introduction

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

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

Summary of content

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

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

Analysis and evaluation of the book

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

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

Finally, a few general considerations:

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

Works consulted

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

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

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

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

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

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

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How to write a compelling book review

Sorry About That: The Language of Public Apology

• By Edwin Battistella
• August 11 th 2015

Summer is a time when many of us have a little extra time for reading. For me, that means Go Set a Watchman , some Haruki Murukami and James Lee Burke, plus summer mysteries and thrillers. It means catching up on what local authors and friends have published. And it means reading new books in my field and writing book reviews.

Book reviews are an essential but unappreciated genre. Reviewing is much more than service journalism. Book reviews are the first thing I look at in the Sunday paper, the first section I turn to when I get the latest issue of an academic journal. For publishers, reviews are an important way of getting the word out about books they believe in. For authors, reviews are much needed feedback, giving them both a sense of how their peers view their argument and validation that their work has not gone unread. For book reviewers themselves, writing reviews is an exercise in thinking about other peoples’ thinking and writing about other peoples’ writing.

How do you review several hundred pages of someone’s blood, sweat, and tears in just the 500 or 1,000 words allotted to you by an editor? Of course, it depends on the book—novels, anthologies, nonfiction, and reference books all have different constraints. But there are some general principles that will make reviewing something you can look forward to.

• First, pay attention to the deadline and length guidelines. Authors and publishers count on timely reviews—reviews that appear when the book is new. And editors have space limitations, even online, so you can speed things along by following guidelines.
• Leave yourself plenty of time, so that you can read the book a couple of times. Give it a quick skim, then a careful perusing (in the older sense of the word), carefully reading a chapter a day and taking notes. That gives you plenty of time to form an impression and think your evaluation through. What is the author’s point and who else cares about it? Did the author win your confidence? Overexplain? Preach? Drift? Was the exposition at the right level, well-supported and exemplified? Was the narrative propulsive and the characters and dialogue convincing? Pro tip: As I read nonfiction, I also take notes about things I might want to mention in classes or research ideas to follow up on later.
• Your job is to create a relationship between the reviewer, the book’s author, and potential readers.  To do that, you need to establish some context for the book. The best reviews quickly situate a book against some social, scientific, cultural, or disciplinary backdrop. A clever title or opening line helps, but it’s more than that. What important ideas or questions does this book address? Who would be interested in the book and why? A good review can amplify that background for readers and may even cause the author to think about the work in a new way. The opening of a Washington Post review of Allan Metcalf’s book,  OK: The Improbable History of America’s Greatest Word reads: “Probably there are as many theories about the origins of ‘OK’ as there are theorists to expound them…” If I am interested in that question, I’ll read on.
• Keep in mind that a review is also part summary. Sometimes a chapter-by-chapter summary is helpful, especially when the book is organized as an unfolding nonfiction exposition, historically or thematically. But often chapters can be grouped together more holistically (as you would in summarizing a fictional narrative), allowing you to more quickly focus on the cross-chapter theme an author raises rather than strictly on the exposition.
• As you summarize, try to fit the best examples from the book into the review, rather than just relying on a retelling of an author’s points. Try to refer to the material that brought the book alive for you, juxtaposing different examples to reinforce your reading of the book. Ben Zimmer’s New York Times review of Green’s Dictionary of Slang gives the flavor of the work itself by including the following examples in his piece: booze, crib, punk, and skeeve . Similarly, if you review an anthology or collection of essays, you have just enough space to discuss a few pieces in depth and will need to briskly note most of the others.
• Summary, however it is handled, should be combined with your evaluation of the book.  This is your honest judgement of what parts of the book are the strongest and the weakest. Where does the writing sparkle? Where does it lose its way? What might there be more of, or less? What is innovative and what is missing? Who is this book intended for, and who should pass it by? Give the reasons for your judgement, insofar as you can, and avoid being snarky. One of my professors, the late Samuel Levin, joked that he once wanted to begin a review saying, “This book creates a great void in the field.” But he didn’t. Book reviews are not the place for gratuitous put-downs (for example, “This is not a book to be tossed lightly aside. It should be thrown with great force” or “The covers of this book are too far apart.”)
• Book reviews are the time to practice the art of brevity and to polish your own writing. You will probably only have a few hundred words, so make each one count. Engage your readers by getting their attention and winning their confidence, by moving briskly through what you have to say, and helping them to decide if they want to read the book for themselves.
• Book reviews can lead to other review-like writing. You may find yourself asked to do a longer review article, basically a review of two or three books on the same topic. That’s your opportunity to put similar books in touch with one another and offer a more extended discussion on both the books and the topic. Another opportunity is the bibliographic essay, like those of Oxford Bibliographies . Here, writers survey the literature of an entire area: phonetics, dialectology, aphasia, you name it. The summary and evaluation aspects are concise annotations, while the background context takes place in paragraph-long overviews. For the bibliographic essay, the exciting challenge is to share your expertise with those who may be new to something, helping them to see the whole and establish a plan for further reading.

Following directions. Planning. Context. Summary. Evaluation. Your best writing. Those are the fundamentals. Book reviewing, like book writing, is a lot of work. But it matters to writers, readers, and publishers, and it is well worth the effort. Even in the dog days of summer.

Image Credit: “Library” by Stewart Butterfield. CC BY 2.0 via Flickr .

Edwin L. Battistella teaches linguistics and writing at Southern Oregon University in Ashland, where he has served as a dean and as interim provost. He is the author of Sorry About That: The Language of Public Apology   (OUP, 2014),  Do You Make These Mistakes in English? (OUP, 2009), Bad Language (OUP, 2005), and The Logic of Markedness (OUP, 1996).

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17 book review examples to help you write the perfect review.

It’s an exciting time to be a book reviewer. Once confined to print newspapers and journals, reviews now dot many corridors of the Internet — forever helping others discover their next great read. That said, every book reviewer will face a familiar panic: how can you do justice to a great book in just a thousand words?

As you know, the best way to learn how to do something is by immersing yourself in it. Luckily, the Internet (i.e. Goodreads and other review sites , in particular) has made book reviews more accessible than ever — which means that there are a lot of book reviews examples out there for you to view!

In this post, we compiled 17 prototypical book review examples in multiple genres to help you figure out how to write the perfect review . If you want to jump straight to the examples, you can skip the next section. Otherwise, let’s first check out what makes up a good review.

Are you interested in becoming a book reviewer? We recommend you check out Reedsy Discovery , where you can earn money for writing reviews — and are guaranteed people will read your reviews! To register as a book reviewer, sign up here.

Pro-tip : But wait! How are you sure if you should become a book reviewer in the first place? If you're on the fence, or curious about your match with a book reviewing career, take our quick quiz:

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What must a book review contain?

Like all works of art, no two book reviews will be identical. But fear not: there are a few guidelines for any aspiring book reviewer to follow. Most book reviews, for instance, are less than 1,500 words long, with the sweet spot hitting somewhere around the 1,000-word mark. (However, this may vary depending on the platform on which you’re writing, as we’ll see later.)

In addition, all reviews share some universal elements, as shown in our book review templates . These include:

• A review will offer a concise plot summary of the book. 
• A book review will offer an evaluation of the work. 
• A book review will offer a recommendation for the audience. 

If these are the basic ingredients that make up a book review, it’s the tone and style with which the book reviewer writes that brings the extra panache. This will differ from platform to platform, of course. A book review on Goodreads, for instance, will be much more informal and personal than a book review on Kirkus Reviews, as it is catering to a different audience. However, at the end of the day, the goal of all book reviews is to give the audience the tools to determine whether or not they’d like to read the book themselves.

Keeping that in mind, let’s proceed to some book review examples to put all of this in action.

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Book review examples for fiction books

Since story is king in the world of fiction, it probably won’t come as any surprise to learn that a book review for a novel will concentrate on how well the story was told .

That said, book reviews in all genres follow the same basic formula that we discussed earlier. In these examples, you’ll be able to see how book reviewers on different platforms expertly intertwine the plot summary and their personal opinions of the book to produce a clear, informative, and concise review.

Note: Some of the book review examples run very long. If a book review is truncated in this post, we’ve indicated by including a […] at the end, but you can always read the entire review if you click on the link provided.

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an "invisible man". People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing. The boy's dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison's first novel, but he has complete control of his story and his style. Watch it.

Lyndsey reviews George Orwell’s 1984 on Goodreads:

YOU. ARE. THE. DEAD. Oh my God. I got the chills so many times toward the end of this book. It completely blew my mind. It managed to surpass my high expectations AND be nothing at all like I expected. Or in Newspeak "Double Plus Good." Let me preface this with an apology. If I sound stunningly inarticulate at times in this review, I can't help it. My mind is completely fried.

This book is like the dystopian Lord of the Rings, with its richly developed culture and economics, not to mention a fully developed language called Newspeak, or rather more of the anti-language, whose purpose is to limit speech and understanding instead of to enhance and expand it. The world-building is so fully fleshed out and spine-tinglingly terrifying that it's almost as if George travelled to such a place, escaped from it, and then just wrote it all down.

I read Fahrenheit 451 over ten years ago in my early teens. At the time, I remember really wanting to read 1984, although I never managed to get my hands on it. I'm almost glad I didn't. Though I would not have admitted it at the time, it would have gone over my head. Or at the very least, I wouldn't have been able to appreciate it fully. […]

The New York Times reviews Lisa Halliday’s Asymmetry :

Three-quarters of the way through Lisa Halliday’s debut novel, “Asymmetry,” a British foreign correspondent named Alistair is spending Christmas on a compound outside of Baghdad. His fellow revelers include cameramen, defense contractors, United Nations employees and aid workers. Someone’s mother has FedExed a HoneyBaked ham from Maine; people are smoking by the swimming pool. It is 2003, just days after Saddam Hussein’s capture, and though the mood is optimistic, Alistair is worrying aloud about the ethics of his chosen profession, wondering if reporting on violence doesn’t indirectly abet violence and questioning why he’d rather be in a combat zone than reading a picture book to his son. But every time he returns to London, he begins to “spin out.” He can’t go home. “You observe what people do with their freedom — what they don’t do — and it’s impossible not to judge them for it,” he says.

The line, embedded unceremoniously in the middle of a page-long paragraph, doubles, like so many others in “Asymmetry,” as literary criticism. Halliday’s novel is so strange and startlingly smart that its mere existence seems like commentary on the state of fiction. One finishes “Asymmetry” for the first or second (or like this reader, third) time and is left wondering what other writers are not doing with their freedom — and, like Alistair, judging them for it.

Despite its title, “Asymmetry” comprises two seemingly unrelated sections of equal length, appended by a slim and quietly shocking coda. Halliday’s prose is clean and lean, almost reportorial in the style of W. G. Sebald, and like the murmurings of a shy person at a cocktail party, often comic only in single clauses. It’s a first novel that reads like the work of an author who has published many books over many years. […]

Emily W. Thompson reviews Michael Doane's The Crossing on Reedsy Discovery :

In Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl.

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

The Narrator initially sticks to the highways, trying to make it to the West Coast as quickly as possible. But a hitchhiker named Duke convinces him to get off the beaten path and enjoy the ride. “There’s not a place that’s like any other,” [39] Dukes contends, and The Narrator realizes he’s right. Suddenly, the trip is about the journey, not just the destination. The Narrator ditches his truck and traverses the deserts and mountains on his bike. He destroys his phone, cutting off ties with his past and living only in the moment.

As he crosses the country, The Narrator connects with several unique personalities whose experiences and views deeply impact his own. Duke, the complicated cowboy and drifter, who opens The Narrator’s eyes to a larger world. Zooey, the waitress in Colorado who opens his heart and reminds him that love can be found in this big world. And Rosie, The Narrator’s sweet landlady in Portland, who helps piece him back together both physically and emotionally.

This supporting cast of characters is excellent. Duke, in particular, is wonderfully nuanced and complicated. He’s a throwback to another time, a man without a cell phone who reads Sartre and sleeps under the stars. Yet he’s also a grifter with a “love ‘em and leave ‘em” attitude that harms those around him. It’s fascinating to watch The Narrator wrestle with Duke’s behavior, trying to determine which to model and which to discard.

Doane creates a relatable protagonist in The Narrator, whose personal growth doesn’t erase his faults. His willingness to hit the road with few resources is admirable, and he’s prescient enough to recognize the jealousy of those who cannot or will not take the leap. His encounters with new foods, places, and people broaden his horizons. Yet his immaturity and selfishness persist. He tells Rosie she’s been a good mother to him but chooses to ignore the continuing concern from his own parents as he effectively disappears from his old life.

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

The Book Smugglers review Anissa Gray’s The Care and Feeding of Ravenously Hungry Girls :

I am still dipping my toes into the literally fiction pool, finding what works for me and what doesn’t. Books like The Care and Feeding of Ravenously Hungry Girls by Anissa Gray are definitely my cup of tea.

Althea and Proctor Cochran had been pillars of their economically disadvantaged community for years – with their local restaurant/small market and their charity drives. Until they are found guilty of fraud for stealing and keeping most of the money they raised and sent to jail. Now disgraced, their entire family is suffering the consequences, specially their twin teenage daughters Baby Vi and Kim.  To complicate matters even more: Kim was actually the one to call the police on her parents after yet another fight with her mother. […]

Examples of children’s and YA fiction book reviews

The Book Hookup reviews Angie Thomas’ The Hate U Give :

♥ Quick Thoughts and Rating: 5 stars! I can’t imagine how challenging it would be to tackle the voice of a movement like Black Lives Matter, but I do know that Thomas did it with a finesse only a talented author like herself possibly could. With an unapologetically realistic delivery packed with emotion, The Hate U Give is a crucially important portrayal of the difficulties minorities face in our country every single day. I have no doubt that this book will be met with resistance by some (possibly many) and slapped with a “controversial” label, but if you’ve ever wondered what it was like to walk in a POC’s shoes, then I feel like this is an unflinchingly honest place to start.

In Angie Thomas’s debut novel, Starr Carter bursts on to the YA scene with both heart-wrecking and heartwarming sincerity. This author is definitely one to watch.

♥ Review: The hype around this book has been unquestionable and, admittedly, that made me both eager to get my hands on it and terrified to read it. I mean, what if I was to be the one person that didn’t love it as much as others? (That seems silly now because of how truly mesmerizing THUG was in the most heartbreakingly realistic way.) However, with the relevancy of its summary in regards to the unjust predicaments POC currently face in the US, I knew this one was a must-read, so I was ready to set my fears aside and dive in. That said, I had an altogether more personal, ulterior motive for wanting to read this book. […]

The New York Times reviews Melissa Albert’s The Hazel Wood :

Alice Crewe (a last name she’s chosen for herself) is a fairy tale legacy: the granddaughter of Althea Proserpine, author of a collection of dark-as-night fairy tales called “Tales From the Hinterland.” The book has a cult following, and though Alice has never met her grandmother, she’s learned a little about her through internet research. She hasn’t read the stories, because her mother, Ella Proserpine, forbids it.

Alice and Ella have moved from place to place in an attempt to avoid the “bad luck” that seems to follow them. Weird things have happened. As a child, Alice was kidnapped by a man who took her on a road trip to find her grandmother; he was stopped by the police before they did so. When at 17 she sees that man again, unchanged despite the years, Alice panics. Then Ella goes missing, and Alice turns to Ellery Finch, a schoolmate who’s an Althea Proserpine superfan, for help in tracking down her mother. Not only has Finch read every fairy tale in the collection, but handily, he remembers them, sharing them with Alice as they journey to the mysterious Hazel Wood, the estate of her now-dead grandmother, where they hope to find Ella.

“The Hazel Wood” starts out strange and gets stranger, in the best way possible. (The fairy stories Finch relays, which Albert includes as their own chapters, are as creepy and evocative as you’d hope.) Albert seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth and the world as it appears is false, where just about anything can happen, particularly in the pages of a very good book. It’s a captivating debut. […]

James reviews Margaret Wise Brown’s Goodnight, Moon on Goodreads:

Goodnight Moon by Margaret Wise Brown is one of the books that followers of my blog voted as a must-read for our Children's Book August 2018 Readathon. Come check it out and join the next few weeks!

This picture book was such a delight. I hadn't remembered reading it when I was a child, but it might have been read to me... either way, it was like a whole new experience! It's always so difficult to convince a child to fall asleep at night. I don't have kids, but I do have a 5-month-old puppy who whines for 5 minutes every night when he goes in his cage/crate (hopefully he'll be fully housebroken soon so he can roam around when he wants). I can only imagine! I babysat a lot as a teenager and I have tons of younger cousins, nieces, and nephews, so I've been through it before, too. This was a believable experience, and it really helps show kids how to relax and just let go when it's time to sleep.

The bunny's are adorable. The rhymes are exquisite. I found it pretty fun, but possibly a little dated given many of those things aren't normal routines anymore. But the lessons to take from it are still powerful. Loved it! I want to sample some more books by this fine author and her illustrators.

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

This funny, thoroughly accomplished debut opens with two words: “I’m moving.” They’re spoken by the title character while she swoons across her family’s ottoman, and because Geraldine is a giraffe, her full-on melancholy mode is quite a spectacle. But while Geraldine may be a drama queen (even her mother says so), it won’t take readers long to warm up to her. The move takes Geraldine from Giraffe City, where everyone is like her, to a new school, where everyone else is human. Suddenly, the former extrovert becomes “That Giraffe Girl,” and all she wants to do is hide, which is pretty much impossible. “Even my voice tries to hide,” she says, in the book’s most poignant moment. “It’s gotten quiet and whispery.” Then she meets Cassie, who, though human, is also an outlier (“I’m that girl who wears glasses and likes MATH and always organizes her food”), and things begin to look up.

Lilly’s watercolor-and-ink drawings are as vividly comic and emotionally astute as her writing; just when readers think there are no more ways for Geraldine to contort her long neck, this highly promising talent comes up with something new.

Examples of genre fiction book reviews

Karlyn P reviews Nora Roberts’ Dark Witch , a paranormal romance novel , on Goodreads:

4 stars. Great world-building, weak romance, but still worth the read.

I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle. Sure, there IS a romance in this novel. Sprinkled throughout the book are a few scenes where Iona and Boyle meet, chat, wink at each, flirt some more, sleep together, have a misunderstanding, make up, and then profess their undying love. Very formulaic stuff, and all woven around the more important parts of this book.

The meat of this book is far more focused on the story of the Dark witch and her magically-gifted descendants living in Ireland. Despite being weak on the romance, I really enjoyed it. I think the book is probably better for it, because the romance itself was pretty lackluster stuff.

I absolutely plan to stick with this series as I enjoyed the world building, loved the Ireland setting, and was intrigued by all of the secondary characters. However, If you read Nora Roberts strictly for the romance scenes, this one might disappoint. But if you enjoy a solid background story with some dark magic and prophesies, you might enjoy it as much as I did.

I listened to this one on audio, and felt the narration was excellent.

Emily May reviews R.F. Kuang’s The Poppy Wars , an epic fantasy novel , on Goodreads:

“But I warn you, little warrior. The price of power is pain.”

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

That's a basic list, but this book is all of that and SO MUCH MORE. I know 100% that The Poppy War will be one of my best reads of 2018.

Isn't it just so great when you find one of those books that completely drags you in, makes you fall in love with the characters, and demands that you sit on the edge of your seat for every horrific, nail-biting moment of it? This is one of those books for me. And I must issue a serious content warning: this book explores some very dark themes. Proceed with caution (or not at all) if you are particularly sensitive to scenes of war, drug use and addiction, genocide, racism, sexism, ableism, self-harm, torture, and rape (off-page but extremely horrific).

Because, despite the fairly innocuous first 200 pages, the title speaks the truth: this is a book about war. All of its horrors and atrocities. It is not sugar-coated, and it is often graphic. The "poppy" aspect refers to opium, which is a big part of this book. It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking.

Crime Fiction Lover reviews Jessica Barry’s Freefall , a crime novel:

In some crime novels, the wrongdoing hits you between the eyes from page one. With others it’s a more subtle process, and that’s OK too. So where does Freefall fit into the sliding scale?

In truth, it’s not clear. This is a novel with a thrilling concept at its core. A woman survives plane crash, then runs for her life. However, it is the subtleties at play that will draw you in like a spider beckoning to an unwitting fly.

Like the heroine in Sharon Bolton’s Dead Woman Walking, Allison is lucky to be alive. She was the only passenger in a private plane, belonging to her fiancé, Ben, who was piloting the expensive aircraft, when it came down in woodlands in the Colorado Rockies. Ally is also the only survivor, but rather than sitting back and waiting for rescue, she is soon pulling together items that may help her survive a little longer – first aid kit, energy bars, warm clothes, trainers – before fleeing the scene. If you’re hearing the faint sound of alarm bells ringing, get used to it. There’s much, much more to learn about Ally before this tale is over.

Kirkus Reviews reviews Ernest Cline’s Ready Player One , a science-fiction novel :

Video-game players embrace the quest of a lifetime in a virtual world; screenwriter Cline’s first novel is old wine in new bottles.

The real world, in 2045, is the usual dystopian horror story. So who can blame Wade, our narrator, if he spends most of his time in a virtual world? The 18-year-old, orphaned at 11, has no friends in his vertical trailer park in Oklahoma City, while the OASIS has captivating bells and whistles, and it’s free. Its creator, the legendary billionaire James Halliday, left a curious will. He had devised an elaborate online game, a hunt for a hidden Easter egg. The finder would inherit his estate. Old-fashioned riddles lead to three keys and three gates. Wade, or rather his avatar Parzival, is the first gunter (egg-hunter) to win the Copper Key, first of three.

Halliday was obsessed with the pop culture of the 1980s, primarily the arcade games, so the novel is as much retro as futurist. Parzival’s great strength is that he has absorbed all Halliday’s obsessions; he knows by heart three essential movies, crossing the line from geek to freak. His most formidable competitors are the Sixers, contract gunters working for the evil conglomerate IOI, whose goal is to acquire the OASIS. Cline’s narrative is straightforward but loaded with exposition. It takes a while to reach a scene that crackles with excitement: the meeting between Parzival (now world famous as the lead contender) and Sorrento, the head of IOI. The latter tries to recruit Parzival; when he fails, he issues and executes a death threat. Wade’s trailer is demolished, his relatives killed; luckily Wade was not at home. Too bad this is the dramatic high point. Parzival threads his way between more ’80s games and movies to gain the other keys; it’s clever but not exciting. Even a romance with another avatar and the ultimate “epic throwdown” fail to stir the blood.

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

Nonfiction books are generally written to inform readers about a certain topic. As such, the focus of a nonfiction book review will be on the clarity and effectiveness of this communication . In carrying this out, a book review may analyze the author’s source materials and assess the thesis in order to determine whether or not the book meets expectations.

Again, we’ve included abbreviated versions of long reviews here, so feel free to click on the link to read the entire piece!

The Washington Post reviews David Grann’s Killers of the Flower Moon :

The arc of David Grann’s career reminds one of a software whiz-kid or a latest-thing talk-show host — certainly not an investigative reporter, even if he is one of the best in the business. The newly released movie of his first book, “The Lost City of Z,” is generating all kinds of Oscar talk, and now comes the release of his second book, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film rights to which have already been sold for $5 million in what one industry journal called the “biggest and wildest book rights auction in memory.”

Grann deserves the attention. He’s canny about the stories he chases, he’s willing to go anywhere to chase them, and he’s a maestro in his ability to parcel out information at just the right clip: a hint here, a shading of meaning there, a smartly paced buildup of multiple possibilities followed by an inevitable reversal of readerly expectations or, in some cases, by a thrilling and dislocating pull of the entire narrative rug.

All of these strengths are on display in “Killers of the Flower Moon.” Around the turn of the 20th century, oil was discovered underneath Osage lands in the Oklahoma Territory, lands that were soon to become part of the state of Oklahoma. Through foresight and legal maneuvering, the Osage found a way to permanently attach that oil to themselves and shield it from the prying hands of white interlopers; this mechanism was known as “headrights,” which forbade the outright sale of oil rights and granted each full member of the tribe — and, supposedly, no one else — a share in the proceeds from any lease arrangement. For a while, the fail-safes did their job, and the Osage got rich — diamond-ring and chauffeured-car and imported-French-fashion rich — following which quite a large group of white men started to work like devils to separate the Osage from their money. And soon enough, and predictably enough, this work involved murder. Here in Jazz Age America’s most isolated of locales, dozens or even hundreds of Osage in possession of great fortunes — and of the potential for even greater fortunes in the future — were dispatched by poison, by gunshot and by dynamite. […]

Stacked Books reviews Malcolm Gladwell’s Outliers :

I’ve heard a lot of great things about Malcolm Gladwell’s writing. Friends and co-workers tell me that his subjects are interesting and his writing style is easy to follow without talking down to the reader. I wasn’t disappointed with Outliers. In it, Gladwell tackles the subject of success – how people obtain it and what contributes to extraordinary success as opposed to everyday success.

The thesis – that our success depends much more on circumstances out of our control than any effort we put forth – isn’t exactly revolutionary. Most of us know it to be true. However, I don’t think I’m lying when I say that most of us also believe that we if we just try that much harder and develop our talent that much further, it will be enough to become wildly successful, despite bad or just mediocre beginnings. Not so, says Gladwell.

Most of the evidence Gladwell gives us is anecdotal, which is my favorite kind to read. I can’t really speak to how scientifically valid it is, but it sure makes for engrossing listening. For example, did you know that successful hockey players are almost all born in January, February, or March? Kids born during these months are older than the others kids when they start playing in the youth leagues, which means they’re already better at the game (because they’re bigger). Thus, they get more play time, which means their skill increases at a faster rate, and it compounds as time goes by. Within a few years, they’re much, much better than the kids born just a few months later in the year. Basically, these kids’ birthdates are a huge factor in their success as adults – and it’s nothing they can do anything about. If anyone could make hockey interesting to a Texan who only grudgingly admits the sport even exists, it’s Gladwell. […]

Quill and Quire reviews Rick Prashaw’s Soar, Adam, Soar :

Ten years ago, I read a book called Almost Perfect. The young-adult novel by Brian Katcher won some awards and was held up as a powerful, nuanced portrayal of a young trans person. But the reality did not live up to the book’s billing. Instead, it turned out to be a one-dimensional and highly fetishized portrait of a trans person’s life, one that was nevertheless repeatedly dubbed “realistic” and “affecting” by non-transgender readers possessing only a vague, mass-market understanding of trans experiences.

In the intervening decade, trans narratives have emerged further into the literary spotlight, but those authored by trans people ourselves – and by trans men in particular – have seemed to fall under the shadow of cisgender sensationalized imaginings. Two current Canadian releases – Soar, Adam, Soar and This One Looks Like a Boy – provide a pointed object lesson into why trans-authored work about transgender experiences remains critical.

To be fair, Soar, Adam, Soar isn’t just a story about a trans man. It’s also a story about epilepsy, the medical establishment, and coming of age as seen through a grieving father’s eyes. Adam, Prashaw’s trans son, died unexpectedly at age 22. Woven through the elder Prashaw’s narrative are excerpts from Adam’s social media posts, giving us glimpses into the young man’s interior life as he traverses his late teens and early 20s. […]

Book Geeks reviews Elizabeth Gilbert’s Eat, Pray, Love :

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

“Eat Pray Love” is so popular that it is almost impossible to not read it. Having felt ashamed many times on my not having read this book, I quietly ordered the book (before I saw the movie) from amazon.in and sat down to read it. I don’t remember what I expected it to be – maybe more like a chick lit thing but it turned out quite different. The book is a real story and is a short journal from the time when its writer went travelling to three different countries in pursuit of three different things – Italy (Pleasure), India (Spirituality), Bali (Balance) and this is what corresponds to the book’s name – EAT (in Italy), PRAY (in India) and LOVE (in Bali, Indonesia). These are also the three Is – ITALY, INDIA, INDONESIA.

Though she had everything a middle-aged American woman can aspire for – MONEY, CAREER, FRIENDS, HUSBAND; Elizabeth was not happy in her life, she wasn’t happy in her marriage. Having suffered a terrible divorce and terrible breakup soon after, Elizabeth was shattered. She didn’t know where to go and what to do – all she knew was that she wanted to run away. So she set out on a weird adventure – she will go to three countries in a year and see if she can find out what she was looking for in life. This book is about that life changing journey that she takes for one whole year. […]

Emily May reviews Michelle Obama’s Becoming on Goodreads:

Look, I'm not a happy crier. I might cry at songs about leaving and missing someone; I might cry at books where things don't work out; I might cry at movies where someone dies. I've just never really understood why people get all choked up over happy, inspirational things. But Michelle Obama's kindness and empathy changed that. This book had me in tears for all the right reasons.

This is not really a book about politics, though political experiences obviously do come into it. It's a shame that some will dismiss this book because of a difference in political opinion, when it is really about a woman's life. About growing up poor and black on the South Side of Chicago; about getting married and struggling to maintain that marriage; about motherhood; about being thrown into an amazing and terrifying position.

I hate words like "inspirational" because they've become so overdone and cheesy, but I just have to say it-- Michelle Obama is an inspiration. I had the privilege of seeing her speak at The Forum in Inglewood, and she is one of the warmest, funniest, smartest, down-to-earth people I have ever seen in this world.

And yes, I know we present what we want the world to see, but I truly do think it's genuine. I think she is someone who really cares about people - especially kids - and wants to give them better lives and opportunities.

She's obviously intelligent, but she also doesn't gussy up her words. She talks straight, with an openness and honesty rarely seen. She's been one of the most powerful women in the world, she's been a graduate of Princeton and Harvard Law School, she's had her own successful career, and yet she has remained throughout that same girl - Michelle Robinson - from a working class family in Chicago.

I don't think there's anyone who wouldn't benefit from reading this book.

Hopefully, this post has given you a better idea of how to write a book review. You might be wondering how to put all of this knowledge into action now! Many book reviewers start out by setting up a book blog. If you don’t have time to research the intricacies of HTML, check out Reedsy Discovery — where you can read indie books for free and review them without going through the hassle of creating a blog. To register as a book reviewer , go here .

And if you’d like to see even more book review examples, simply go to this directory of book review blogs and click on any one of them to see a wealth of good book reviews. Beyond that, it's up to you to pick up a book and pen — and start reviewing!

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Organizing Academic Research Papers: Multiple Book Review Essay

• Purpose of Guide
• Design Flaws to Avoid
• Glossary of Research Terms
• Narrowing a Topic Idea
• Broadening a Topic Idea
• Extending the Timeliness of a Topic Idea
• Academic Writing Style
• Choosing a Title
• Making an Outline
• Paragraph Development
• Executive Summary
• Background Information
• The Research Problem/Question
• Theoretical Framework
• Citation Tracking
• Content Alert Services
• Evaluating Sources
• Primary Sources
• Secondary Sources
• Tertiary Sources
• What Is Scholarly vs. Popular?
• Qualitative Methods
• Quantitative Methods
• Using Non-Textual Elements
• Limitations of the Study
• Common Grammar Mistakes
• Avoiding Plagiarism
• Footnotes or Endnotes?
• Further Readings
• Annotated Bibliography
• Dealing with Nervousness
• Using Visual Aids
• Grading Someone Else's Paper
• How to Manage Group Projects
• Multiple Book Review Essay
• Reviewing Collected Essays
• About Informed Consent
• Writing Field Notes
• Writing a Policy Memo
• Writing a Research Proposal
• Acknowledgements

A multiple book essay involves writing a review of two or generally no more than six books that cover the same overall subject area [e.g., analysis of European debt crisis] or that are related to each other in a particular way [e.g., applying grounded theory methods to study student access to education]. The reviews are written in the form of a short scholarly paper [essay] rather than as a descriptive review of the books. The purpose is to compare and contrast the works under review, identifying key themes and critical issues and assessing each writer's contributions to understanding the general topics discussed in each book. Professors assign reviews of multiple books to help students gain experience in evaluating the ways in which different researchers examine and interpret issues related to a specific research problem.

How to Approach Writing Your Review

Developing an Assessment Strategy

As with reviewing a work of collected essays, you must think critically about the research problem under study by multiple authors before you begin writing. The challenge is to develop an argument about each book you are reviewing and then clearly compare, contrast, and ultimately sythesize the themes into an well organized and well supported essay.

Think of a multiple book review essay as a type of compare and contrast paper similar to what you may have written for a general issue-oriented composition class . As you read through each book, write down the following questions and answer them as you read [remember to note the page numbers and from which book you got the information from so you can refer back it later!]. Which questions are most useful will depend upon the type of books you are reviewing and how they are related to each other.

Here are a series of questions to focus your thinking:

• What is the thesis—or main argument—of each book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of each book? 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 is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author of each book support his or her argument? What evidence does each author use to prove his or her point? Do you find that evidence convincing? Why or why not? Does any of the author's information [or conclusions] conflict with other books you've read, courses you've taken, or just previous assumptions you had about the research problem under study?
• How does the author structure his or her argument? What are the parts that make up the whole? Does the argument make sense to you? Does it persuade you? Why or why not?
• How has each book helped you understand the subject? 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 circumstances of the text's production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the author is affiliated with a particular organization? What difference would it make if the author participated in the events he or she writes about? What other topics has the author written about? Does this work build on prior research or does it seem to represent a new area of research?
• 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.

Bazerman, Charles.  Comparing and Synthesizing Sources . The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting . The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Walk, Kerry. How to Write a Compare-and-Contrast Paper. Writing Center. Princeton Writing Program; Rhetorical Strategies: Comparison and Contrast . The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick; Writing a Compare/Contrast Essay. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay . CLRC Writing Center. Santa Barbara City College.

Structure and Writing Style

I. Bibliographic Information

Provide the essential information about each book using the writing style asked for by your professor [e.g., APA, MLA, Chicago, etc.]. Depending on how your professor wants you to organize your review, the bibliographic information represents the heading of your review. In general, they would be arranged alphabetically by title and look like this:

Racing the Storm: Racial Implications and Lessons Learned from Hurricane Katrina .  Hillary Potter, ed. (Lanham, MD: Lexington Books, 2007. 320 pp) The Sociology of Katrina: Perspectives on a Modern Catastrophe . David L. Brunsma, David Overfelt, and J. Steven Picou, eds. (Lanham, MD: Rowman and Littlefield, 2007. 288 pp.) Through the Eye of Katrina: Social Justice in the United States . Kristin A. Bates and Richelle S. Swan, eds. (Durham, NC: Carolina Academic Press, 2007. 440 pp.) Reviewed by [your name]

II. Thesis Statement

The thesis statement of an essay that compares and contrasts multiple works should contain an idea or claim that unites a discussion of the texts under review . It should include the argument that will be advanced in support of the claims that is being made. To begin, ask yourself: "What is the overarching subject or issue that ties together all of the books?" Why is it important?" In most scholarly works, the author(s) will state the purpose of their book in the preface or in an introductory chapter.

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. For a book review essay, this thesis statement will vary in length depending on the number and complxity of books. Regardless of length, it must be succinct, accurate, unbiased, and clear.

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 believe it to be a deficiency], you may arrive at an understanding of the purpose by asking yourself a the following questions:

• 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? Review related literature from other books and journal articles to familiarize yourself with the field, if necessary.
• 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, correct use of technical words, conciseness, fullness of development, and fluidity.
• Scan the Table of Contents because it can help you understand how the book is organized and will aid in determining the author's main ideas and how they are developed [e.g., chronologically, topically, etc.]
• How did the book affect you? Were any prior assumptions you had on the subject changed, abandoned, or reinforced due to this book? How is the book related to your own course or personal agenda? What personal experiences have you had that relate to the subject?
• How well has the book achieved its goal(s)?
• Would you recommend this book to others? Why or why not?

NOTE : Be sure that your thesis statement includes the rationale behind why your choice of what points to compare and contrast were deliberate and meaningful and not random!

III. Methods of Organization

Organization is critical to writing an essay that compares and contrasts multiple works because you will most likely be discussing a variety of evidence and you must be certain that the logic and narrative flow of your paper can be understood by the reader. Here are some general guidelines to consider:

• If your professor asks you to choose the books to review, identify works that are closely related in some way so they can be easily compared or contrasted.
• Compare according to a single organized idea.
• Choose a method of development [see below] that works well with your organizing idea.
• Use specific and relevant examples to support your analysis.
• Use transitional words or phrases to help the reader understand the similarities and differences in your subject.
• Conclude your paper by restating your thesis, summarizing the main points, and give the reader the final "so what" of the major similarities and/or differences that you discussed. Why are they important?

There are two general methods of organizing your book review essay. If you believe one work extends another, you'll probably use a block method; if you find that two or more works are essentially engaged in a debate, a point-by-point method will help draw attention to the conflict. However, the point-by-point method can come off as a rhetorical ping-pong match. You can avoid this effect by grouping more than one point together, thereby cutting down on the number of times you alternate from one work to another. No matter which method you choose, you do not need to give equal time to similarities and differences. In fact, your paper will be more interesting if you state your main argument(s) as quickly as possible. For example, a book review essay evaluating three research studies that examine different interpretations of conflict resolution among nations in the Middl East might have as few as two or three sentences in the introduction regarding similarities and only a paragraph or two to set up the contrast between the author’s positions. The rest of the essay, whether organized by block method or point-by-point, will be your analysis of the key differences among the books.

The Block Method Present all the information about A, and then present parallel information about B. This pattern tends to work better for shorter book review essays, and those with few sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce the significance of the overall subject matter     B. Thesis Statement         --First supporting point         --Second supporting point         --Third supporting point II. First book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point III. Second book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point IV. Third book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point V. Conclusion     A. Restate thesis     B. Summarize how you proved your argument The Point-by-Point Method Present one point about A, and then go to the parallel point about B. Move to the next point, and do the same thing. This pattern tends to work better for long book review essays and those with many sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce significance of overall subject matter     B. Thesis statement II. Brief explanation of first book III. Brief explanation of second book IV. First comparative point     A. Relation of point to first book     B. Relation of point to second book V. Second comparative point     A. Relation of point to first book     B. Relation of point to second book VI. Third comparative point     A. Relation of point to first book     B. Relation of point to second book VII. Conclusion     A. Restate thesis     B. Summarize how your proved your argument

IV.  Critically Evaluate the Contents

Regardless of whether you choose the block method or the point-by-point method, critical comments should form the bulk of your book review essay . 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 contribution does the book make to the field?
• Is the treatment of the subject matter objective?
• 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 alternate ends?
• Is the writing style clear and effective?
• Does the book raise important or provocative issues or topics for discussion and further research?
• What has been left out?

Support your evaluation with evidence from each text and, when possible, in relation to other sources. If relevant, make note of each book's format, such as, layout, binding, typography, etc. Are there maps, illustrations? Do they aid in understanding the research problem? This is particular important in books that contain a lot of non-textual elements, such as tables, charts, and illustrations.

NOTE : It is important to carefully distinguish your views from those of the authors, so that you don’t confuse your reader.

V.  Examine the Front Matter and Back Matter

Back matter refers to any information included after the final chapter of the book. Front matter refers to anything before the first chapter. 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 or there is something that is particularly helpful in understanding the book's contents.

The following back matter may be included in a book and should be considered for evaluation when reviewing the overall quality of the book:

• Table of contents --is it clear? Does it reflect the true contents of the book?
• 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 can be a factor in helping the reader determine the overall validity of work [i.e., are they associated with a research center devoted to studying the research problem under investigation].
• Foreword --in a scholarly books, a foreword may be written by the author or an expert on the subject of the book. The purpose of a foreword is to introduce the reader to the author as well as the book itself, and attempt to establish credibility for both. A foreword does not contribute any additional information about the book's subject matter, but it serves as a means of validating the book's existence. Later editions of a book sometimes have a new foreword prepended [appearing before an older foreword if there was one], which might explain in what respects that edition differs from previous ones.
• 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 complerte the study. Is the preface helpful in understanding the study? Does it effectively provide a framework for what's to follow?
• Chronology --also found as back matter, a chronology is generally included to highlight key events related to the subject of the book. Does it contribute to the overall work? Is it detailed or very general?
• List of non-textual elements --if a book contains a lot of charts, photographs, maps, etc., they will often be listed in the front.
• 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, 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 --is the index thorough and accurate? Are there elements such as bold text, to help identify specific parts of the book?
• Glossary --are the definitions clearly written? Is the glossary comprehensive or are key terms missing?
• Endotes/Footnotes --check any end notes or footnotes 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?
• Bibliography/Further Readings --review any bibliography or further readings the author may have included. What kinds of sources [e.g., primary or secondary, recent or old, scholarly or popular, etc.] appear in the bibliography? How does the author make use of them? Make note of important omissions.

NOTE :  In reviewing multiple works, compare and contrast the quality of the back and front matter. Be sure to highlight works where the front or back matter is particularly well-organized or effective in supplementing the main content.

VI.  Summarize and Comment

Your conclusion should synthesize the key similarities and differences among the books. Avoid stating restating your assessment word for word; your goal is to provide a sense of closure and to leave the reader with a final perspective about the overall subject under review and whether you believe each book has effectively contributed to the overall research literature on the subject. Do not introduce new information or ideas in the conclusion.

Bazerman, Charles. Comparing and Synthesizing Sources . The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting . The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Rhetorical Strategies: Comparison and Contrast . The Reading/Writing Center. Hunter College; Hooker, Fran and Kate James. Apples to Oranges: Writing a Compare and Contrast Paper. The Writing Center. Webster University; Visvis, Vikki and Jerry Plotnick. The Comparative Essay . The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay . CLRC Writing Center. Santa Barbara City College.

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• Comparative Analysis

What It Is and Why It's Useful

Comparative analysis asks writers to make an argument about the relationship between two or more texts. Beyond that, there's a lot of variation, but three overarching kinds of comparative analysis stand out:

• Coordinate (A ↔ B): In this kind of analysis, two (or more) texts are being read against each other in terms of a shared element, e.g., a memoir and a novel, both by Jesmyn Ward; two sets of data for the same experiment; a few op-ed responses to the same event; two YA books written in Chicago in the 2000s; a film adaption of a play; etc. 
• Subordinate (A  → B) or (B → A ): Using a theoretical text (as a "lens") to explain a case study or work of art (e.g., how Anthony Jack's The Privileged Poor can help explain divergent experiences among students at elite four-year private colleges who are coming from similar socio-economic backgrounds) or using a work of art or case study (i.e., as a "test" of) a theory's usefulness or limitations (e.g., using coverage of recent incidents of gun violence or legislation un the U.S. to confirm or question the currency of Carol Anderson's The Second ).
• Hybrid [A  → (B ↔ C)] or [(B ↔ C) → A] , i.e., using coordinate and subordinate analysis together. For example, using Jack to compare or contrast the experiences of students at elite four-year institutions with students at state universities and/or community colleges; or looking at gun culture in other countries and/or other timeframes to contextualize or generalize Anderson's main points about the role of the Second Amendment in U.S. history.

"In the wild," these three kinds of comparative analysis represent increasingly complex—and scholarly—modes of comparison. Students can of course compare two poems in terms of imagery or two data sets in terms of methods, but in each case the analysis will eventually be richer if the students have had a chance to encounter other people's ideas about how imagery or methods work. At that point, we're getting into a hybrid kind of reading (or even into research essays), especially if we start introducing different approaches to imagery or methods that are themselves being compared along with a couple (or few) poems or data sets.

Why It's Useful

In the context of a particular course, each kind of comparative analysis has its place and can be a useful step up from single-source analysis. Intellectually, comparative analysis helps overcome the "n of 1" problem that can face single-source analysis. That is, a writer drawing broad conclusions about the influence of the Iranian New Wave based on one film is relying entirely—and almost certainly too much—on that film to support those findings. In the context of even just one more film, though, the analysis is suddenly more likely to arrive at one of the best features of any comparative approach: both films will be more richly experienced than they would have been in isolation, and the themes or questions in terms of which they're being explored (here the general question of the influence of the Iranian New Wave) will arrive at conclusions that are less at-risk of oversimplification.

For scholars working in comparative fields or through comparative approaches, these features of comparative analysis animate their work. To borrow from a stock example in Western epistemology, our concept of "green" isn't based on a single encounter with something we intuit or are told is "green." Not at all. Our concept of "green" is derived from a complex set of experiences of what others say is green or what's labeled green or what seems to be something that's neither blue nor yellow but kind of both, etc. Comparative analysis essays offer us the chance to engage with that process—even if only enough to help us see where a more in-depth exploration with a higher and/or more diverse "n" might lead—and in that sense, from the standpoint of the subject matter students are exploring through writing as well the complexity of the genre of writing they're using to explore it—comparative analysis forms a bridge of sorts between single-source analysis and research essays.

Typical learning objectives for single-sources essays: formulate analytical questions and an arguable thesis, establish stakes of an argument, summarize sources accurately, choose evidence effectively, analyze evidence effectively, define key terms, organize argument logically, acknowledge and respond to counterargument, cite sources properly, and present ideas in clear prose.

Common types of comparative analysis essays and related types: two works in the same genre, two works from the same period (but in different places or in different cultures), a work adapted into a different genre or medium, two theories treating the same topic; a theory and a case study or other object, etc.

How to Teach It: Framing + Practice

Framing multi-source writing assignments (comparative analysis, research essays, multi-modal projects) is likely to overlap a great deal with "Why It's Useful" (see above), because the range of reasons why we might use these kinds of writing in academic or non-academic settings is itself the reason why they so often appear later in courses. In many courses, they're the best vehicles for exploring the complex questions that arise once we've been introduced to the course's main themes, core content, leading protagonists, and central debates.

For comparative analysis in particular, it's helpful to frame assignment's process and how it will help students successfully navigate the challenges and pitfalls presented by the genre. Ideally, this will mean students have time to identify what each text seems to be doing, take note of apparent points of connection between different texts, and start to imagine how those points of connection (or the absence thereof)

• complicates or upends their own expectations or assumptions about the texts
• complicates or refutes the expectations or assumptions about the texts presented by a scholar
• confirms and/or nuances expectations and assumptions they themselves hold or scholars have presented
• presents entirely unforeseen ways of understanding the texts

—and all with implications for the texts themselves or for the axes along which the comparative analysis took place. If students know that this is where their ideas will be heading, they'll be ready to develop those ideas and engage with the challenges that comparative analysis presents in terms of structure (See "Tips" and "Common Pitfalls" below for more on these elements of framing).

Like single-source analyses, comparative essays have several moving parts, and giving students practice here means adapting the sample sequence laid out at the " Formative Writing Assignments " page. Three areas that have already been mentioned above are worth noting:

• Gathering evidence : Depending on what your assignment is asking students to compare (or in terms of what), students will benefit greatly from structured opportunities to create inventories or data sets of the motifs, examples, trajectories, etc., shared (or not shared) by the texts they'll be comparing. See the sample exercises below for a basic example of what this might look like.
• Why it Matters: Moving beyond "x is like y but also different" or even "x is more like y than we might think at first" is what moves an essay from being "compare/contrast" to being a comparative analysis . It's also a move that can be hard to make and that will often evolve over the course of an assignment. A great way to get feedback from students about where they're at on this front? Ask them to start considering early on why their argument "matters" to different kinds of imagined audiences (while they're just gathering evidence) and again as they develop their thesis and again as they're drafting their essays. ( Cover letters , for example, are a great place to ask writers to imagine how a reader might be affected by reading an their argument.)
• Structure: Having two texts on stage at the same time can suddenly feel a lot more complicated for any writer who's used to having just one at a time. Giving students a sense of what the most common patterns (AAA / BBB, ABABAB, etc.) are likely to be can help them imagine, even if provisionally, how their argument might unfold over a series of pages. See "Tips" and "Common Pitfalls" below for more information on this front.

Sample Exercises and Links to Other Resources

• Common Pitfalls
• Advice on Timing
• Try to keep students from thinking of a proposed thesis as a commitment. Instead, help them see it as more of a hypothesis that has emerged out of readings and discussion and analytical questions and that they'll now test through an experiment, namely, writing their essay. When students see writing as part of the process of inquiry—rather than just the result—and when that process is committed to acknowledging and adapting itself to evidence, it makes writing assignments more scientific, more ethical, and more authentic. 
• Have students create an inventory of touch points between the two texts early in the process.
• Ask students to make the case—early on and at points throughout the process—for the significance of the claim they're making about the relationship between the texts they're comparing.
• For coordinate kinds of comparative analysis, a common pitfall is tied to thesis and evidence. Basically, it's a thesis that tells the reader that there are "similarities and differences" between two texts, without telling the reader why it matters that these two texts have or don't have these particular features in common. This kind of thesis is stuck at the level of description or positivism, and it's not uncommon when a writer is grappling with the complexity that can in fact accompany the "taking inventory" stage of comparative analysis. The solution is to make the "taking inventory" stage part of the process of the assignment. When this stage comes before students have formulated a thesis, that formulation is then able to emerge out of a comparative data set, rather than the data set emerging in terms of their thesis (which can lead to confirmation bias, or frequency illusion, or—just for the sake of streamlining the process of gathering evidence—cherry picking). 
• For subordinate kinds of comparative analysis , a common pitfall is tied to how much weight is given to each source. Having students apply a theory (in a "lens" essay) or weigh the pros and cons of a theory against case studies (in a "test a theory") essay can be a great way to help them explore the assumptions, implications, and real-world usefulness of theoretical approaches. The pitfall of these approaches is that they can quickly lead to the same biases we saw here above. Making sure that students know they should engage with counterevidence and counterargument, and that "lens" / "test a theory" approaches often balance each other out in any real-world application of theory is a good way to get out in front of this pitfall.
• For any kind of comparative analysis, a common pitfall is structure. Every comparative analysis asks writers to move back and forth between texts, and that can pose a number of challenges, including: what pattern the back and forth should follow and how to use transitions and other signposting to make sure readers can follow the overarching argument as the back and forth is taking place. Here's some advice from an experienced writing instructor to students about how to think about these considerations:

a quick note on STRUCTURE

     Most of us have encountered the question of whether to adopt what we might term the “A→A→A→B→B→B” structure or the “A→B→A→B→A→B” structure.  Do we make all of our points about text A before moving on to text B?  Or do we go back and forth between A and B as the essay proceeds?  As always, the answers to our questions about structure depend on our goals in the essay as a whole.  In a “similarities in spite of differences” essay, for instance, readers will need to encounter the differences between A and B before we offer them the similarities (A d →B d →A s →B s ).  If, rather than subordinating differences to similarities you are subordinating text A to text B (using A as a point of comparison that reveals B’s originality, say), you may be well served by the “A→A→A→B→B→B” structure.  

     Ultimately, you need to ask yourself how many “A→B” moves you have in you.  Is each one identical?  If so, you may wish to make the transition from A to B only once (“A→A→A→B→B→B”), because if each “A→B” move is identical, the “A→B→A→B→A→B” structure will appear to involve nothing more than directionless oscillation and repetition.  If each is increasingly complex, however—if each AB pair yields a new and progressively more complex idea about your subject—you may be well served by the “A→B→A→B→A→B” structure, because in this case it will be visible to readers as a progressively developing argument.

As we discussed in "Advice on Timing" at the page on single-source analysis, that timeline itself roughly follows the "Sample Sequence of Formative Assignments for a 'Typical' Essay" outlined under " Formative Writing Assignments, " and it spans about 5–6 steps or 2–4 weeks. 

Comparative analysis assignments have a lot of the same DNA as single-source essays, but they potentially bring more reading into play and ask students to engage in more complicated acts of analysis and synthesis during the drafting stages. With that in mind, closer to 4 weeks is probably a good baseline for many single-source analysis assignments. For sections that meet once per week, the timeline will either probably need to expand—ideally—a little past the 4-week side of things, or some of the steps will need to be combined or done asynchronously.

What It Can Build Up To

Comparative analyses can build up to other kinds of writing in a number of ways. For example:

• They can build toward other kinds of comparative analysis, e.g., student can be asked to choose an additional source to complicate their conclusions from a previous analysis, or they can be asked to revisit an analysis using a different axis of comparison, such as race instead of class. (These approaches are akin to moving from a coordinate or subordinate analysis to more of a hybrid approach.)
• They can scaffold up to research essays, which in many instances are an extension of a "hybrid comparative analysis."
• Like single-source analysis, in a course where students will take a "deep dive" into a source or topic for their capstone, they can allow students to "try on" a theoretical approach or genre or time period to see if it's indeed something they want to research more fully.
• DIY Guides for Analytical Writing Assignments

• Types of Assignments
• Unpacking the Elements of Writing Prompts
• Formative Writing Assignments
• Single-Source Analysis
• Research Essays
• Multi-Modal or Creative Projects
• Giving Feedback to Students

Assignment Decoder

How to Write a Book Review: Awesome Guide

A book review allows students to illustrate the author's intentions of writing the piece, as well as create a criticism of the book — as a whole. In other words, form an opinion of the author's presented ideas. Check out this guide from EssayPro — book review writing service to learn how to write a book review successfully.

What Is a Book Review?

You may prosper, “what is a book review?”. Book reviews are commonly assigned students to allow them to show a clear understanding of the novel. And to check if the students have actually read the book. The essay format is highly important for your consideration, take a look at the book review format below.

Book reviews are assigned to allow students to present their own opinion regarding the author’s ideas included in the book or passage. They are a form of literary criticism that analyzes the author’s ideas, writing techniques, and quality. A book analysis is entirely opinion-based, in relevance to the book. They are good practice for those who wish to become editors, due to the fact, editing requires a lot of criticism.

Book Review Template

The book review format includes an introduction, body, and conclusion.

• Introduction
• Describe the book cover and title.
• Include any subtitles at this stage.
• Include the Author’s Name.
• Write a brief description of the novel.
• Briefly introduce the main points of the body in your book review.
• Avoid mentioning any opinions at this time.
• Use about 3 quotations from the author’s novel.
• Summarize the quotations in your own words.
• Mention your own point-of-view of the quotation.
• Remember to keep every point included in its own paragraph.
• In brief, summarize the quotations.
• In brief, summarize the explanations.
• Finish with a concluding sentence.
• This can include your final opinion of the book.
• Star-Rating (Optional).

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How to Write a Book Review: Step-By-Step

Writing a book review is something that can be done with every novel. Book reviews can apply to all novels, no matter the genre. Some genres may be harder than others. On the other hand, the book review format remains the same. Take a look at these step-by-step instructions from our professional writers to learn how to write a book review in-depth.

Step 1: Planning

Create an essay outline which includes all of the main points you wish to summarise in your book analysis. Include information about the characters, details of the plot, and some other important parts of your chosen novel. Reserve a body paragraph for each point you wish to talk about.

Consider these points before writing:

• What is the plot of the book? Understanding the plot enables you to write an effective review.
• Is the plot gripping? Does the plot make you want to continue reading the novel? Did you enjoy the plot? Does it manage to grab a reader’s attention?
• Are the writing techniques used by the author effective? Does the writer imply factors in-between the lines? What are they?
• Are the characters believable? Are the characters logical? Does the book make the characters are real while reading?
• Would you recommend the book to anyone? The most important thing: would you tell others to read this book? Is it good enough? Is it bad?
• What could be better? Keep in mind the quotes that could have been presented better. Criticize the writer.

Step 2: Introduction

Presumably, you have chosen your book. To begin, mention the book title and author’s name. Talk about the cover of the book. Write a thesis statement regarding the fictitious story or non-fictional novel. Which briefly describes the quoted material in the book review.

Step 3: Body

Choose a specific chapter or scenario to summarise. Include about 3 quotes in the body. Create summaries of each quote in your own words. It is also encouraged to include your own point-of-view and the way you interpret the quote. It is highly important to have one quote per paragraph.

Step 4: Conclusion

Write a summary of the summarised quotations and explanations, included in the body paragraphs. After doing so, finish book analysis with a concluding sentence to show the bigger picture of the book. Think to yourself, “Is it worth reading?”, and answer the question in black and white. However, write in-between the lines. Avoid stating “I like/dislike this book.”

Step 5: Rate the Book (Optional)

After writing a book review, you may want to include a rating. Including a star-rating provides further insight into the quality of the book, to your readers. Book reviews with star-ratings can be more effective, compared to those which don’t. Though, this is entirely optional.

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Dive into literary analysis with EssayPro . Our experts can help you craft insightful book reviews that delve deep into the themes, characters, and narratives of your chosen books. Enhance your understanding and appreciation of literature with us.

Writing Tips

Here is the list of tips for the book review:

• A long introduction can certainly lower one’s grade: keep the beginning short. Readers don’t like to read the long introduction for any essay style.
• It is advisable to write book reviews about fiction: it is not a must. Though, reviewing fiction can be far more effective than writing about a piece of nonfiction
• Avoid Comparing: avoid comparing your chosen novel with other books you have previously read. Doing so can be confusing for the reader.
• Opinion Matters: including your own point-of-view is something that is often encouraged when writing book reviews.
• Refer to Templates: a book review template can help a student get a clearer understanding of the required writing style.
• Don’t be Afraid to Criticize: usually, your own opinion isn’t required for academic papers below Ph.D. level. On the other hand, for book reviews, there’s an exception.
• Use Positivity: include a fair amount of positive comments and criticism.
• Review The Chosen Novel: avoid making things up. Review only what is presented in the chosen book.
• Enjoyed the book? If you loved reading the book, state it. Doing so makes your book analysis more personalized.

Writing a book review is something worth thinking about. Professors commonly assign this form of an assignment to students to enable them to express a grasp of a novel. Following the book review format is highly useful for beginners, as well as reading step-by-step instructions. Writing tips is also useful for people who are new to this essay type. If you need a book review or essay, ask our book report writing services ' write paper for me ' and we'll give you a hand asap!

We also recommend that everyone read the article about essay topics . It will help broaden your horizons in writing a book review as well as other papers.

Book Review Examples

Referring to a book review example is highly useful to those who wish to get a clearer understanding of how to review a book. Take a look at our examples written by our professional writers. Click on the button to open the book review examples and feel free to use them as a reference.

Book review

Kenneth Grahame’s ‘The Wind in the Willows’

Kenneth Grahame’s ‘The Wind in the Willows’ is a novel aimed at youngsters. The plot, itself, is not American humor, but that of Great Britain. In terms of sarcasm, and British-related jokes. The novel illustrates a fair mix of the relationships between the human-like animals, and wildlife. The narrative acts as an important milestone in post-Victorian children’s literature.

Book Review

Dr. John’s ‘Pollution’

Dr. John’s ‘Pollution’ consists of 3 major parts. The first part is all about the polluted ocean. The second being about the pollution of the sky. The third part is an in-depth study of how humans can resolve these issues. The book is a piece of non-fiction that focuses on modern-day pollution ordeals faced by both animals and humans on Planet Earth. It also focuses on climate change, being the result of the global pollution ordeal.

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What to include in a book review, what is a book review, related articles.

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• Knowledge Base
• Comparing and contrasting in an essay | Tips & examples

Comparing and Contrasting in an Essay | Tips & Examples

Published on August 6, 2020 by Jack Caulfield . Revised on July 23, 2023.

Comparing and contrasting is an important skill in academic writing . It involves taking two or more subjects and analyzing the differences and similarities between them.

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Table of contents

When should i compare and contrast, making effective comparisons, comparing and contrasting as a brainstorming tool, structuring your comparisons, other interesting articles, frequently asked questions about comparing and contrasting.

Many assignments will invite you to make comparisons quite explicitly, as in these prompts.

• Compare the treatment of the theme of beauty in the poetry of William Wordsworth and John Keats.
• Compare and contrast in-class and distance learning. What are the advantages and disadvantages of each approach?

Some other prompts may not directly ask you to compare and contrast, but present you with a topic where comparing and contrasting could be a good approach.

One way to approach this essay might be to contrast the situation before the Great Depression with the situation during it, to highlight how large a difference it made.

Comparing and contrasting is also used in all kinds of academic contexts where it’s not explicitly prompted. For example, a literature review involves comparing and contrasting different studies on your topic, and an argumentative essay may involve weighing up the pros and cons of different arguments.

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As the name suggests, comparing and contrasting is about identifying both similarities and differences. You might focus on contrasting quite different subjects or comparing subjects with a lot in common—but there must be some grounds for comparison in the first place.

For example, you might contrast French society before and after the French Revolution; you’d likely find many differences, but there would be a valid basis for comparison. However, if you contrasted pre-revolutionary France with Han-dynasty China, your reader might wonder why you chose to compare these two societies.

This is why it’s important to clarify the point of your comparisons by writing a focused thesis statement . Every element of an essay should serve your central argument in some way. Consider what you’re trying to accomplish with any comparisons you make, and be sure to make this clear to the reader.

Comparing and contrasting can be a useful tool to help organize your thoughts before you begin writing any type of academic text. You might use it to compare different theories and approaches you’ve encountered in your preliminary research, for example.

Let’s say your research involves the competing psychological approaches of behaviorism and cognitive psychology. You might make a table to summarize the key differences between them.

Or say you’re writing about the major global conflicts of the twentieth century. You might visualize the key similarities and differences in a Venn diagram.

These visualizations wouldn’t make it into your actual writing, so they don’t have to be very formal in terms of phrasing or presentation. The point of comparing and contrasting at this stage is to help you organize and shape your ideas to aid you in structuring your arguments.

When comparing and contrasting in an essay, there are two main ways to structure your comparisons: the alternating method and the block method.

The alternating method

In the alternating method, you structure your text according to what aspect you’re comparing. You cover both your subjects side by side in terms of a specific point of comparison. Your text is structured like this:

Mouse over the example paragraph below to see how this approach works.

One challenge teachers face is identifying and assisting students who are struggling without disrupting the rest of the class. In a traditional classroom environment, the teacher can easily identify when a student is struggling based on their demeanor in class or simply by regularly checking on students during exercises. They can then offer assistance quietly during the exercise or discuss it further after class. Meanwhile, in a Zoom-based class, the lack of physical presence makes it more difficult to pay attention to individual students’ responses and notice frustrations, and there is less flexibility to speak with students privately to offer assistance. In this case, therefore, the traditional classroom environment holds the advantage, although it appears likely that aiding students in a virtual classroom environment will become easier as the technology, and teachers’ familiarity with it, improves.

The block method

In the block method, you cover each of the overall subjects you’re comparing in a block. You say everything you have to say about your first subject, then discuss your second subject, making comparisons and contrasts back to the things you’ve already said about the first. Your text is structured like this:

• Point of comparison A
• Point of comparison B

The most commonly cited advantage of distance learning is the flexibility and accessibility it offers. Rather than being required to travel to a specific location every week (and to live near enough to feasibly do so), students can participate from anywhere with an internet connection. This allows not only for a wider geographical spread of students but for the possibility of studying while travelling. However, distance learning presents its own accessibility challenges; not all students have a stable internet connection and a computer or other device with which to participate in online classes, and less technologically literate students and teachers may struggle with the technical aspects of class participation. Furthermore, discomfort and distractions can hinder an individual student’s ability to engage with the class from home, creating divergent learning experiences for different students. Distance learning, then, seems to improve accessibility in some ways while representing a step backwards in others.

Note that these two methods can be combined; these two example paragraphs could both be part of the same essay, but it’s wise to use an essay outline to plan out which approach you’re taking in each paragraph.

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If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

• Choosing Essay Topic
• Write a College Essay
• Write a Diversity Essay
• College Essay Format & Structure
• Comparing and Contrasting in an Essay

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Some essay prompts include the keywords “compare” and/or “contrast.” In these cases, an essay structured around comparing and contrasting is the appropriate response.

Comparing and contrasting is also a useful approach in all kinds of academic writing : You might compare different studies in a literature review , weigh up different arguments in an argumentative essay , or consider different theoretical approaches in a theoretical framework .

Your subjects might be very different or quite similar, but it’s important that there be meaningful grounds for comparison . You can probably describe many differences between a cat and a bicycle, but there isn’t really any connection between them to justify the comparison.

You’ll have to write a thesis statement explaining the central point you want to make in your essay , so be sure to know in advance what connects your subjects and makes them worth comparing.

Comparisons in essays are generally structured in one of two ways:

• The alternating method, where you compare your subjects side by side according to one specific aspect at a time.
• The block method, where you cover each subject separately in its entirety.

It’s also possible to combine both methods, for example by writing a full paragraph on each of your topics and then a final paragraph contrasting the two according to a specific metric.

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How to Compare and Contrast Two Books

Debbie mccarson.

Compare-contrast essays require students to analyze texts and draw conclusions based on similarities and differences between elements within the texts. This type of analysis is challenging, because it requires multiple levels of thinking. However, by comparing literary works, students will uncover universal themes in surprising places.

Explore this article

• Choose Your Books and Develop Your Purpose
• Gather Facts. Use Graphic Organizers
• Choose a Structure: Point by Point
• Choose a Structure: Subject by Subject

1 Choose Your Books and Develop Your Purpose

For a compare and contrast essay, you will need to find elements within the books that have some type of similarity, such as the characters or themes. For example, you could compare Mary Shelley’s Victor Frankenstein with Robert Louis Stevenson’s Mr. Hyde or Oscar Wilde’s Dorian Grey. All these “monsters” in some way represent the conflict of good and evil within man. A close analysis of the similarities and differences of the “monsters” will suggest causes of this conflict. The ideas you uncover will help you form your thesis. Does man have inherent good and evil tendencies? Do we misbehave because of conflicting societal messages? How much are we influenced by external forces? Does each author seem to lean one way or another?

2 Gather Facts. Use Graphic Organizers

Once you have chosen your books and your elements for analysis, you will need to closely study the texts, particularly the elements you will be comparing. Use graphic organizers to organize your thoughts, listing things the elements have in common and things that are different. A Venn diagram works well for this as it offers a quick visual display of similarities and differences. As you begin to separate the similarities and differences in the work, you will begin to see patterns forming on which you can draw conclusions. For instance, Dorian Gray and Victor Frankenstein both have secrets. What is similar about their secrecy? What is different? What are they hiding and why? The answers to these questions will help support your thesis.

3 Choose a Structure: Point by Point

A compare-contrast essay can be organized in two ways: You can compare subjects point by point or subject by subject. In the point-by-point method, discuss the different points as they are presented by each character. For instance, on the issue of secrecy, discuss Gray’s hidden portrait and Frankenstein’s hidden monster. You could then discuss the transformation of character in both stories. Both Frankenstein and Dorian Gray transform from innocence to culpability. How and why? You could discuss the idea of grotesque appearance in both stories. What does it symbolize in each work?

4 Choose a Structure: Subject by Subject

If you were to structure your essay to compare elements subject by subject, you would list all the relevant details of one subject first. For instance, in the Frankenstein-Mr. Hyde comparison, make all the points you wish to about Frankenstein and then make all the points you wish to about Mr. Hyde. If you choose a subject-by-subject approach, include a paragraph that ties the ideas together. The compare-contrast paper is analytical, and should not simply sound like a list of points.

• 1 The University of North Carolina and Chapel Hill: The Writing Center

About the Author

Debbie McCarson is a former English teacher and school business administrator. Her articles have appeared in "School Librarians’ Journal" and "The Encyclopedia of New Jersey." A South Jersey native, she is a regular contributor to "South Jersey MOM" magazine.

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Write a Book Review

From the university of north carolina writing lab.

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

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

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

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

Becoming an Expert Reviewer

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

Developing an assessment: before you write

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

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

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

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

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

Writing the Review

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

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

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience.  In general, you should include:

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

Summary of content

• This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.
• The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as an class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument.

Analysis and evaluation of the book

• Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly.
• You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book.
• If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight.
• Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.
• Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis.
• This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to?

Finally, a few general considerations:

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

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License . You may reproduce it for non-commercial use and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Finding comparable books.

When you’re trying to interest an agent or publisher in your book, you’re often asked to provide “comps” — other books that could be compared to yours, or books that might compete with yours. A good book proposal always has a “Competition” or “Comparable Books” section, and even if you’re self-publishing, it helps if you give readers a frame of reference in the form of similar books.

One of the most common questions I’m regularly asked is, “How do I figure out what books to include in my comps?” People get all hung up on it, especially with fiction. Do I look for books with the same premise or plot? Same time period? Same writing style? How do I know what to include?

I’m going to make it easy for you.

Ask yourself, “Who are my readers? What are they reading right now?” Those are your comparable books.

Keep this line in mind:

“People who enjoy the following books are likely to enjoy my book.”

You can use that line in a proposal, then follow it with the comparable books, and for each one, a brief explanation of why your book would appeal to those same readers. This approach frees you from trying to decipher what an agent is looking for, and instead, use those comps to identify your audience.

If you can’t readily identify six to ten books or authors whom your potential readers are already reading, then you need to stop what you’re doing and get a lot more educated about what’s already out in the marketplace, and who your potential audience is. If you can’t identify your audience, then how will you or a publisher sell your book to them?

Providing “comps” is all about helping your agent, your editors, your marketing team, and your readers to capture a vision for your book.

Too often, writers tell me, “I’ve looked and looked, and I can’t find anything quite like my book.” You and I both know that’s a cop-out. Think about your potential readers, and figure out what they are already reading. It’s that simple.

To read a little more about how to create a strong Competition section for your book proposal, click HERE .

Do you know what books your potential readers are already enjoying? How do you research this?

If you should decide to invest in some personalized counsel, I offer coaching for unpublished authors here: My Coaching Services

Rachelle Gardner

11 comments.

Such simple advice but such a huge help! Thank you. I self-published my first novel and did not have to worry about comparison. My next novel will be in the Christian series and all the Christian books I read were by Harlequin. They had simple plots, mainly about finding love. While the stories and characters were good, I wasn’t sure how to compare mine to theirs. Based on your article, I realize I don’t have to compare exact stories like I was thinking.

Great post! I need all the help I can get with comp titles! My challenge is that I live in Switzerland but I write in English, and there are no English-language libraries near me. Thank goodness for e-books! But one can spend a lot of money trying to see if a book “fits.” Your suggestions will help me to figure out what to look for. Thank you!

[…] Finding Comparable Books (Rachelle Gardner) – How authors can figure out what books to compare theirs to, for proposals. “Do I look for books with the same premise or plot? Same time period? Same writing style? How do I know what to include?  I’m going to make it easy for you…” […]

[…] I read a lot, but I couldn’t think of the perfect comparison (Check out this for comparisons: http://rachellegardner.flywheelsites.com/finding-comparable-books/ ). Then of course my queries were falling flat. I was […]

[…] referencia, puede que en algún momento del proceso sea útil para el agente y editoriales identificar los libros comparables (comps), es decir, saber qué […]

I already thought of one comparable and mention it in the introduction to my memoir where I write “I often thought I had something better than the like of say, ‘Love Story’… That’s presumptuous, yes, but worse: a 46 year old book (1970) – and my story is set in 1964! Who’s reading “Love Story” today? Now I gotta find a modern Erich Segal.

Interesting point; and the “how to” isn’t all that difficult. I write historical fiction, a genre that Amazon Best Sellers covers, inter alia, with other genres in their Kindle eBooks – Literature & Fiction. This yields the comps.

This perspective on comparable titles is a big help. Especially that one line: “People who enjoy the following books….” I’m already coming up with comps I hadn’t thought to include. Thanks!

You won’t be impressed, but…

Defo the hardest question to answer, especially if like me, you shy away from putting yourself up there with more established writers. Eeek…who’s got that much front. Not me. I think I’ll stick with the cop out wail of ‘I don’t know’. *reaches for Prosac*

Will it still work even if the comps aren’t in the same genres? I write cyberpunk pulp. My closest comps are in mystery and urban fantasy and a couple in SF.

Great post. I’ve bookmarked it.

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The Ultimate Guide to Comparison Authors, Genres and Tropes

• July 26, 2021

“Comps” as they are known help readers, writers, publishers, distributors and booksellers understand what kind of book we're dealing with. Today's post dives into the nitty gritty of comparable authors and titles–and why they are key to effective publishing. This is the Alliance of Independent Author's ultimate guide to comparison authors, titles, genres and tropes.

A trade publisher will always ask about comparable authors and titles in a book proposal because knowing a book's comparable authors and titles is an important part of publishing well.

As the books' author, you know your book and the world you’ve created really well, but your reader doesn’t. Comp titles help them to understand what kind of book it is and what sort of promise it's making.

A good comp title lets a reader know what that book is about. It’s shorthand for describing your book, and leaves the reader in no doubt about what kind of book this is.

As writers, comps help us to understand what readers value about our work, as well as what we share in common with other writers. And as publishers, we use comps in advertising, promotion and positioning. To please readers means doing sufficient research to understand what the market wants, and that requires comparisons.

As well as providing a guide to writing style, point of view, and so on, knowing your comps will help you to find book reviewers in your genre, give you examples of trends in your genre and help you find joint promotional activities with other authors that can help build your email list and sell more books.

What Are Comparable Authors and Titles?

Comparable authors are the authors shelved in a physical bookshop near your books, or deemed by an online store algorithm to be similar to some aspect of your books, but finding your best “comps” is not always simple. Comparable titles may be in the same genre, have similar plots, use similar tropes, be written in a similar style, and/or have a common thread such as the setting, or subject matter. Your “comps” should always be books which have seen success in their niche.

This is not about how good or bad another writer is, compared to you, but about understanding the patterns and expectations in your corner of the book market. For example:

• Are you pricing comparably to other authors who have similar offerings?
• Are you including the right tropes for readers to recognise whether they enjoy books like yours?
• Does your cover look similar to others in the genre? In what ways? Is this a good thing? Why aren't other people doing what you're doing?
• Do your blurb sound similar or different? What can you learn from their blurb?
• Is the tone/theme/atmosphere of the book similar or different? How?

Comparable Authors and Titles: Genre

While two thriller authors are both writing in a comparable genre, there will be differences to note, as well as similarities. For example, if you write thrillers, your books might be comparable to James Patterson,  or John Banville, and readers who most like one of these authors might not read the others. Medical thrillers won't be filed in exactly the same spot as psychological thrillers as historical thrillers.

Or take fantasy. A high fantasy book aimed at an adult and a contemporary fantasy for middle graders will ve very different in tone and feel. If you’re writing for adult readers your book's tone and feel will be different to that of a middle-grade author. While every fantasy author might like to be compared to a great classic like Lord of the Rings, your comp type may actually be more like Harry Potter and the Philosopher’s Stone. Even though they’re quite close in terms of the fantasy genre, they're a mile apart in terms of how you brand and market them.

That said, you begin with genre, using one thriller author or one fantasy authors as a starting point to see what comparable authors are doing, and what comparable titles pop up in also-boughts lists. In poetry, comps tend to circle around subject matter and category, the nationality of the poet, and use of language — whether it is formal or freestyle, dense or popular poetry.

In non-fiction, it’s usually subject related but again there will be matters of tone to attend to. You might be publishing a “how-to” book but does it a have a textbook feel? Or is it more of a self-help, popular commuter read?

Comparable titles should be a close match for effective marketing. This is usually best done by checking the niche or smallest category they fall into. But with comparable authors, an author might match with some of your titles, but they might also write in other genres which wouldn't be suitable. 

That distinction is important when doing market research around your books and author brand. When the alignment is correct, you're clear about the points of comparison you're promoting, and how that fits your overall positioning.

Comparable Authors and Titles: Nuance and Niche

So when looking at comp authors, consider the whole package. Review:

• The tone of the writing
• Invisible qualities of the prose
• Subject matter

Then test and see.

Our assumptions can lead us astray in this area. When you’re starting out as a publisher in the early stages, you should question all your assumptions about everything, because publishing is very creative and individual. Strange things happen, you can’t be sure, and each author is different.  It’s really important to experiment. So try using different points of comparison and do it with a spirit of play and enjoyment, giving yourself time to .

Whatever value you’re offering the reader, whether it’s non-fiction, poetry, or fiction, underneath ;you’re making them feel something; feel informed, feel amused, feel entertained, feel good about themselves, feel uplifted, feel broken-hearted. Learn what that underlying feeling is. That’s your value. That’s a significant point of comparison for all books.

 Comparison Authors and Identifying Readership

Getting to know your comps is a learning process. At first, you have a vague sense and an idea of who your  “ comps ”  are, as you do more research and exploration, you become much  clearer . You also learn a lot about your yourself as an author and where you fit in, that stands to you when writing the next book.

Some authors are very good at this from the get go, a lot struggle with it at first. One reason why is they think it’s about authors they like to read, or authors that they would like to be compared to, but actually it’s about the authors that you share a readership with. 

It’s the readers who decide who your comps should be.

So as ever, get reader focused. What kind of readership do you share with this particular author for that particular brand of books? Or what readership does a particular books share with a particular title?

Then you need to ask yourself why: in what ways am I like this other author that I share this readership with?  What are the specific overlaps? What is it about their books that would appeal to my readers, and vice versa? 

We’re not comparing ourselves to people who are very new in the business or unknown. We are comparing our author brand to other brands that have achieved influence and impact, popularity and renown. Our aim is to get some of the readership they have interested built in our books. 

Author and Title Comparison: Mindset and Resistance

Comparison can sometimes be a negative experience for authors. It can create doubt, anxiety, worries over not being good enough. Sometimes authors can have internal resistance to comparing themselves to others.

But this isn't about directly comparing your words to another person's words or deciding who is the better writer.  It isn't about about them being better or worse publishers than you. It's about ensuring you put the best book and product out on the market. It's about finding the right readers and getting clear about what they like.

The tough talk: you’ll need to set aside the view that your book is completely unique and your voice is nothing like anyone else’s. You may already know some writers who are comparable, you may not have a clue. It doesn’t matter. You can easily find them. The important thing is being willing to do the work on this, to analyze what makes your books appealing to readers.

How to Find Comp Authors and Titles

When looking for comp authors, the perfect place to start is with the bestseller lists and ‘Also Boughts’ on the online retail stores. These are books that stores suggest. Look for phrasing like “If you liked this you might like…” “Because you enjoyed X you'll love Y”.

Everyone has access to these, and they are purely based on sales i.e. what buyers are buying.

Bestseller lists in newspapers and other trade publications don’t count Amazon sales (because they get their sales figures from BookScan, and Amazon don’t release their sales figures) and usually exclude self-published books.

Look for trends and repeats across the stores to get the most accurate picture of which books people are buying and responding to in your particular niche.

Once you know you share an audience with another author, click on any of their books and examine their ‘Also Boughts’ too. You are likely to find new authors who will feed the process. It might also be worth creating a list of these authors and the titles of their books for later use in targeting ads.

Another method for finding comparison authors—if say, your also bought section hasn't populated yet—is to drill down into super niche categories. For example, if you are looking in the fantasy section and not finding many books, try refining your search:

• Books > Young Adult > Literature and Fiction > Social and Family Issues > Death and Dying
• Books > Young Adult > Historical Fiction > Ancient Civilizations

Having a dig around those two categories (if you write in them) will produce far greater results and comparisons than trying to find books in larger categories.

Examine Covers 

Examining comp authors’ cover designs, including titles and typography, is always informative. Shortlist the ones that you like best, or dislike most, and think through your reasons. Make notes.

• What colors/palettes do they use?
• Are there figures on the front and what type of clothing are they wearing? Or do the covers stray away from people entirely?
• Are the covers photo manipulation, illustration, cutout art, graphics or something else?
• Or are there repeating images, patterns, symbols or otherwise on the covers?
• What types of fonts are used?
• Is there a pattern or rhythm to the book titles? For example, psychological thrillers are often 3-4 words long and include a personal pronoun like “Her Last Tomorrow”
• Do they use blurb quotes on the covers or are they blank?
• Is there series information on the cover?

Compile the information until you have a good understanding of what a “standard” cover in your genre would look like. What 4-5 things would you expect to see on a cover in your genre?

Ask, Ask, Ask 

In your newsletter, ask your readers what other books they enjoy reading that are most like yours. Ask librarians, ask in bookstores for books like the books on the list of comps you've compiled. If you're on bookstagram, try asking that community. There's often “recommendations” threads and posts to be found.

Read Reviews

Everyone knows it can be painful reading your own reviews, but you can always read the reviews of comparable books instead. Reading them will show you how their readers actually responded–you can literally get inside the heads of your readers. (Tip: As you research reviews, add the most insightful reviewers to your review list, and approach them for a review. You're specifically looking for:

• Key phrases you see repeated across multiple reviews
• Words that explain the emotional pull the reader experienced. Did they cry? What it gripping? Were they afraid?
• Words that point out issues or things they didn't like
• Phrases that explain the tone
• Phrases that tell you what they got out of it

There are lots of elements of a blurb that you can learn about by comparing genre blurbs. Look out for:

• Blurb length
• The emotional pull, is it all about romance? Vengeance? A journey?
• Do multiple blurbs in the same genre use

Comparing Marketing Ps

The marketing Ps are:

• Positioning
• Partnership

Let's start with platform . You need to look at the author's presence on a holistic, global level. How do they locate themselves and their books in the marketplace? Are they wide or exclusive? Do they have multiple social media accounts or are they visible only on one? Do they write in multiple pen names or are they strictly one genre only? In that genre are they hardcore stuck to that one niche or do they branch into adjacent-but-still-genre-relevant niches?What's the most obvious way readers connect with them? Is it via a podcast, a blog, a newsletter or paid advertising?

On to positioning . How do they present their books so they can be found by readers? What categories and keywords do they use? What design elements are tailored to their market? What approach and tone do they use in their marketing copy, and why does that resonate well with readers? What branding and colors do they use? Do they swear or are they “clean”? How do they present themselves in interviews? Does that match their book brand?

Promotion next. What promotion tools and strategies work well for them? Is their readership especially responsive to free books, 99-cent deals? Or do the readers want free short stories and background material about the books and characters? Do they have merchandise? Are they targeting other industries like gaming, movies or something else? Do they use author swaps as a promotional tool or perhaps a free first in series?

Purchasing.  Do they sell through social media? Are they Amazon only? Do they sell direct on their own websites? Are they using Facebook advertising or Bookbub? Or maybe they only use newsletter promotions or perhaps just AMS ads. What is their promotional strategy?

And last, partnership . As you’re serving the same audience, could you join forces for events, cross-promotions in each other’s newsletters, competitions, social media campaigns? Could you reach out and offer to help promote their upcoming launch? Could you tell your readers, subscribers and followers about a book of theirs you enjoyed reading? Acts of kindness go a long way in the indie community.

Using Comp Author Information in Your Ads

When you’re ready to invest in advertising, knowing your “comps” will save you a lot of money. If you've already done that  research and have a big comprehensive (and accurate) list of authors who are like you, then you can use this list of names and titles as your keywords for your adverts.

NAME OF AUTHOR and NAME OF AUTHOR are comp authors because your readers also enjoy their work. What that means for advertising is that the audiences of NAME OF AUTHOR and NAME OF AUTHOR may be optimal targets for your ads.

And, crucially, you can test this and see whether your book marketing delivers for those readers. Today’s advertising tools in particular will allow you to actually figure it out.

You can develop a better marketing strategy when you marry your gut feelings about this with tests and experiments that can tell you more about who your readers are, and what they value.

Using Comp Titles for Pitching Rights buyers and Influencers

Using comps like this when pitching agents or publishers is also useful to quickly convey the concept of your book e.g. “Harry Potter meets The Avengers” has become an entire niche.

Most agents and publishers want you to name five or so comparable titles, each from a different author.

While you may use titles that have topped bestseller lists and/or been adapted into movies for self-publishing purposes, when pitching agents and publishers, it's best to avoid these, as they have broken out of their genre, so aren’t truly comparable. It looks like you don't know your niche very well and that you may have delusions of grandeur.

Comparable Titles and Authors: Meet Your Promise

Whether you're using comps to reach rights buyers or readers, be sure your books keep the promise you've set up. If you’re using a popular title to describe your book, it must match that comparison and have the same implied elements.

It is useful information, I have researched it and saved it, will be interested in the next sharing

Thank you, ALLi friends! I’m just beginning my first book and these tools sound very useful.

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Get Lit! Festival back for another year to ‘celebrate the written word’

The 26th edition of Eastern Washington University’s Get Lit! Festival kicks off this week, offering several days of writing workshops, meet the author events and panel discussions. The headliner this year is Carmen Maria Machado, best known for her short story collection titled “Her Body and Other Parties” and her memoir, “In the Dream House.”

Kate Peterson, director of the Get Lit! program, said the festival’s goal is to amplify diversity and encourage creativity while gathering together enthusiasts of reading and writing. A big part of what they do is try to inspire people to write, she said.

“We celebrate the written word,” she said.

Peterson said she has wanted to feature Machado for years, ever since she published her short story collection in 2017.

“She is a very important voice in fiction and nonfiction right now,” she said.

The events featuring dozens of authors will be held in several venues in downtown Spokane. Venues include Spokane Central Library, the Magic Lantern and the Montvale Event Center. Among the authors scheduled to attend is Spokane native Jess Walter, who has written several bestselling novels, including “The Cold Millions” and “Beautiful Ruins.” Spokane author Sharma Shields, known for her short stories and “The Sasquatch Hunter’s Almanac,” will also be in attendance.

“This year is even more regional than usual, which we like,” Peterson said of the participating authors. “We have lots of events for people to take part in.”

A popular part of the festival is the Pie & Whiskey night at 8 p.m. Thursday at the Washington Cracker Building. The night will be hosted by authors Samuel Ligon and Kate Lebo, who published the cookbook “Pie School.” A dozen authors will read a variety of fiction and poetry inspired by a love of pie and whiskey. Admission is $5 at the door and seating is limited to those 21 and older. Doors open at 7:29 p.m.

The headline event, a reading by Carmen Maria Machado and discussion with Shields, is set for Saturday at 7 p.m. at the Bing Crosby Theater. Tickets are $25.

The festival includes three craft classes focused on non-fiction, poetry and fiction, but they have sold out. EWU’s Writers in the Community will host a free writing workshop at 5:30 p.m. Thursday at Spark Central, 1214 W. Summit Parkway. Spokane Poet Laureate Mery Smith will host a community open mic event at 2:30 p.m. Friday at Spokane Central Library, 916 W. Main Ave.

New this year is a partnership with Saranac Art Projects. Participating artists were asked to choose a writer from previous festival attendees to inspire a piece of art, which will be presented during a reception at 7 p.m. Friday at Saranac, 25 W. Main Ave. Admission is free and refreshments will be provided. A discussion with the artists will follow at 8 p.m.

The festival’s Book Fair will be held from 9 a.m. to 5 p.m. Saturday at the Montvale Event Center. It will feature more than two dozen local and regional booksellers, small presses and other “bookish” organizations. Doma Coffee Roasting Company will serve free coffee from 9 a.m. to noon and Skewers will sell lunch.

A Book Fair pass is $25 and must be purchased in advance. In addition to the Book Fair, the pass also gives people access to all 10 events taking place at the Montvale Event Center on Saturday. The events include a panel discussion with Machado, readings, workshops, a live D&D game, a silent reading party and open mic sessions.

Sunday’s events are all virtual and will be posted on the Get Lit! YouTube Channel. All the sessions are pre-recorded, except for one live session at 12:30 p.m.

Offering online sessions is one way to still offer a diverse group of authors while keeping the cost down, Peterson said. Get Lit! depends on grants, donations and sponsors to keep the popular festival running. “We’re having to downsize every year just because of lack of support,” she said. “Overall, it’s just been tough, especially since the pandemic. We need a presenting sponsor pretty badly.”

Tickets to all events, with the exception of the Pie & Whiskey event, can be purchased online at https://inside.ewu.edu/getlit/get-lit-2024 . The web site also lists a full schedule of the free and ticketed events.

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Similarities and Differences — Two Books (Years 3-4)

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Develop children’s comparison skills with this handy table which directly compares two books they have read. It gives children space to write about the similarities and differences in the books’ characters, settings, stories and endings.

• Key Stage: Key Stage 2
• Subject: English
• Topic: Comprehension
• Topic Group: Reading
• Year(s): Years 3-4
• Media Type: PDF
• Resource Type: Worksheet
• Last Updated: 22/11/2021
• Resource Code: E2WAE125
• Curriculum Point(s): Participate in discussion about both books that are read to them and those they can read for themselves, taking turns and listening to what others say.

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New York and Hollywood Lore by Amor Towles (Martini Optional)

“Table for Two” is a collection of six stories and a novella set in two very different cultural capitals.

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Hamilton Cain is a book critic and the author of “This Boy’s Faith: Notes From a Southern Baptist Upbringing.”

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TABLE FOR TWO: Fictions , by Amor Towles

Few literary stylists not named Ann Patchett attain best-sellerdom, but Amor Towles makes the cut. His three lauded novels — “Rules of Civility,” “A Gentleman in Moscow” and “The Lincoln Highway” — hung around on lists for months, if not years. But Towles’s commercial brio belies the care and craft he lavishes on each piece, evidenced now in “Table for Two,” a knockout collection of six stories and a longish novella.

The book spans the 20th century, bringing characters from a range of backgrounds into tableaus of deceit and desire. Beneath his coifed prose Towles is a master of the shiv, the bait and switch; we see the flash of light before the shock wave strikes, often in the final sentence.

“Table for Two” is a tale of two cities, New York and Los Angeles, cultural capitals on opposite ends of the continent but forever tracking the other’s trends and deals, a mutual voyeurism. Towles devotes the first section to New York, its wealthy and famous shuffling against strivers and innocents in La Guardia terminals, musty bookstores or immigrant communities.

“The Bootlegger” depicts a woman’s epiphany after a Carnegie Hall concert. In “The Line,” a naïve Communist builds a lucrative business that steers him to Manhattan, where con games lurk on every corner. In “The Ballad of Timothy Touchett,” an allegory of 1990s excess, a rare-books dealer with the Dickensian name of Pennybrook manipulates the sympathies of his young assistant, who forges autographs of eminent authors until he’s busted by one. “Hasta Luego” tells the unnerving story of an alcoholic snowbound in a Midtown bar on the cusp of the millennium; Towles can’t resist mentions of Motorola and Nokia flip phones, reminding us how far away the near past really is.

But the Oscar goes to “Eve in Hollywood,” a novella that unfolds during the filming of “Gone With the Wind.” Towles tricks out the Tinseltown lore in a homage to the heyday of studio moguls and the hard-boiled fiction of Dashiell Hammett and Raymond Chandler, even alluding to actual legends like Errol Flynn’s use of two-way mirrors and peepholes.

Towles plucks a character from “Rules of Civility,” Evelyn Ross, who’d vanished on a Chicago-bound train, picking up her narrative as she’s traveling to California. In the dining car she meets Charlie, a retired L.A.P.D. officer who will later prove an asset. She checks into the Beverly Hills Hotel, where she befriends an eclectic crew: a portly, has-been actor; a chauffeur with stuntman aspirations; and the rising star Olivia de Havilland. Lithe and blond, sporting an upper-class air and a distinctive facial scar, Eve is fearless, equally at home among poolside cabanas and seedy clubs where the music’s loud and the booze flows.

“From across the room you could see that no one had a leash on her,” one petty crook observes. “With the narrowed eyes of a killer, she was sussing out the place, and she liked what she saw. She liked the band, the tempo, the tequila — the whole shebang. If Dehavvy was bandying about with the likes of this one, you wouldn’t have long to wait for the wrong place and the wrong time to have their tearful reunion.”

When nude photos of de Havilland go missing, part of a larger tabloid plot, Eve vows to save her friend’s reputation. She’s a femme fatale turned inside out, matching wits amid an array of villains, including a former cop with a double cross up his sleeve. Towles is clearly enjoying himself, nodding to noir classics such as “The Postman Always Rings Twice,” “Chinatown” and “L.A. Confidential.” The period details are nearly airtight, although I did notice tiny anachronisms about Elizabeth Taylor and the slang term “easy peasy.”

“Table for Two” delivers the kick of a martini served in the Polo Lounge — the cover art is a cropped image of a couple at a bar, dressed in black tie — but there’s more here than high gloss. Both coasts are ideal settings for morality plays about power, as Towles cunningly weaves in themes of exploitation, an allusion to Shelley’s “Ozymandias,” a bust of Julius Caesar glimpsed by Eve on the Ides of March. Whether we’re living in the era of late-stage capitalism is beside the point; money, Towles suggests, will simply mutate into another form, preying on the vulnerable. “When it moves, it moves quickly, without a sound, a second thought, or the slightest hint of consequence,” he writes. “Like the wind that spins a windmill, money comes out of nowhere, sets the machinery in motion, then disappears without a trace.” It’s on us to summon our better angels.

Sharp-edged satire deceptively wrapped like a box of Neuhaus chocolates, “Table for Two” is a winner.

TABLE FOR TWO : Fictions | By Amor Towles | Viking | 451 pp. | $32

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