how to site a book review

APA Citation Guide (7th edition) CGS

• Advertisments
• Books & e-Books
• Book Reviews
• Class Notes, Class Lectures and Presentations
• Encyclopedias & Dictionaries
• Generative AI
• Government Documents
• Images, Charts, Graphs, Maps & Tables
• Journal Articles
• Magazine Articles
• Newspaper Articles
• Personal Communication (Interviews, Emails)
• Social Media
• Videos & DVDs
• When Creating Digital Assignments
• When Information Is Missing
• Works Cited in Another Source
• Paraphrasing
• Reference List & Sample Writing
• Annotated Bibliography

Book Review From Library Database (No Title)

Author of Review's Last Name, First Initial. (Year of Publication). [Review of the book  Title of Book: Subtitle if Any , by Book Author's First Initial. Second Initial if Given Last Name].  Name of Journal ,  Volume Number (Issue Number), first page number-last page number. https://doi.org/DOI-number  (if given)

For more information on how to cite Book Reviews in APA 7, refer to pages 334-335 of the Publication Manual of the APA located at the circulation desk.

Book Review from a Website (with Title)

Author of Review's Last Name, First Initial. (Year of Publication). Title of Review. [Review of the book  Title of Book: Subtitle if Any , by Book Author's First Initial. Second Initial if Given Last Name].  Title of Website , URL

• << Previous: Books & e-Books
• Next: Class Notes, Class Lectures and Presentations >>
• Last Updated: Sep 1, 2023 10:43 AM
• URL: https://guides.library.uwm.edu/c.php?g=1007936

MLA Citation Guide (9th Edition): Book Reviews

• What Kind of Source Is This?
• Advertisements
• Books, eBooks & Pamphlets
• Book Reviews
• Class Handouts, Presentations, and Readings
• Encyclopedias & Dictionaries
• Government Documents
• Images, Artwork, Charts, Graphs & Tables
• Interviews and Emails (Personal Communications)
• Journal Articles
• Magazine Articles
• Newspaper Articles
• Primary Sources
• Religious Texts
• Social Media
• Videos & DVDs
• In-Text Citation
• Works Quoted in Another Source
• No Author, No Date etc.
• Works Cited List & Sample Paper
• Annotated Bibliography
• Powerpoint Presentations

On This Page: Book Reviews

Book review - no title, book review - title refers to book being reviewed, book review - title doesn't refer to book being reviewed, abbreviating months.

In your works cited list, abbreviate months as follows: 

January = Jan. February = Feb. March = Mar. April = Apr. May = May June = June July = July August = Aug. September = Sept. October = Oct. November = Nov. December = Dec.

Spell out months fully in the body of your paper. 

Note : For your Works Cited list, all citations should be double spaced and have a hanging indent.

A "hanging indent" means that each subsequent line after the first line of your citation should be indented by 0.5 inches.

Author's Last Name, First Name. Review of  Title of Book: Subtitle if Any , by Book Author's First Name Last Name.  Name of Journal , vol. Volume Number, no. Issue Number, Date of Publication, pp. First Page Number-Last Page Number.  Name of Database . https://doi.org/DOI Number if Given.

 Note : If the book review is from a source other than an article in the library's database, view the appropriate section on the MLA guide to determine how to cite the source after the name of the book's author.

Author's Last Name, First Name. "Title of Review." Name of Journal , vol. Volume Number, no. Issue Number, Date of Publication, pp. First Page Number-Last Page Number.  Name of Database . https://doi.org/DOI Number if Given.

 Note : If the book review is from a source other than an article in the library's database, view the appropriate section on the MLA guide to determine how to cite the source.

Author's Last Name, First Name. "Title of Review." Review of  Title of Book: Subtitle if Any,  by Book Author's First Name Last Name .   Name of Journal , vol. Volume Number, no. Issue Number, Date of Publication, pp. First Page Number-Last Page Number. Name of Database . https://doi.org/DOI Number if Given. 

• << Previous: Books, eBooks & Pamphlets
• Next: Class Handouts, Presentations, and Readings >>
• Last Updated: Apr 15, 2024 11:24 AM
• URL: https://columbiacollege-ca.libguides.com/MLA9

APA Citation Guide (7th edition) : Book Reviews

• Advertisements
• Books & eBooks
• Book Reviews
• Class Notes, Class Lectures and Presentations
• Encyclopedias & Dictionaries
• Government Documents
• Images, Charts, Graphs, Maps & Tables
• Indigenous Resources
• Journal Articles
• Magazine Articles
• Newspaper Articles
• Personal Communication (Interviews, Emails)
• Social Media
• Videos & DVDs
• When Creating Digital Assignments
• Works Cited in Another Source
• Works by the same author with the same year
• Paraphrasing
• No author, no date etc
• Sample Paper
• Annotated Bibliography

On This Page

Book review from library database (no title).

• Book Review From Library Database (with Title)

Hanging Indents:

All citations should be double-spaced and have a hanging indent in a Reference list.

A "hanging indent" means that each subsequent line after the first line of your citation should be indented by 0.5 inches.

Hyperlinks:

Both blue underlined (live) hyperlinks and black without underlining are both acceptable.

All hyperlinks must include https://

Do not put a period after DOIs or hyperlinks.

Author of Review's Last Name, First Initial. (Year of Publication). [Review of the book  Title of Book: Subtitle if Any , by Book Author's First Initial. Second Initial if Given Last Name].  Name of Journal , Volume Number (Issue Number), first page number-last page number. DOI Number if Given

For more information on how to cite Book Reviews in APA 7, refer to pages 334-335 of the Publication Manual of the APA.

Book Review from a Website (with Title)

Author of Review's Last Name, First Initial. (Year of Publication). Title of Review. [Review of the book  Title of Book: Subtitle if Any , by Book Author's First Initial. Second Initial if Given Last Name]. Title of Website , URL

• << Previous: Books & eBooks
• Next: Class Notes, Class Lectures and Presentations >>
• Last Updated: Apr 30, 2024 1:58 PM
• URL: https://libguides.capilanou.ca/apa

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

Make a Gift

• EXPLORE Random Article

How to Cite a Review

Last Updated: October 11, 2022 References

This article was co-authored by wikiHow staff writer, Jennifer Mueller, JD . Jennifer Mueller is a wikiHow Content Creator. She specializes in reviewing, fact-checking, and evaluating wikiHow's content to ensure thoroughness and accuracy. Jennifer holds a JD from Indiana University Maurer School of Law in 2006. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been viewed 1,732 times.

When you're writing a research paper, you might want to use a review of a book as a source. Articles reviewing movies or other productions are cited the same way as an article in the same format However, review citations for books include additional information that isn't included in a normal article citation. The specific format differs depending on whether you're using the Modern Language Association (MLA), American Psychological Association (APA), or Chicago style citation method.

• Example: Potter, Harry.

• Example: Potter, Harry. Review of Break with a Banshee , by Gilderoy Lockhart.
• If the book review has its own title that refers to the title of the book reviewed and the name of the author, simply include the title of the review in quotation marks, using title case.

• Example: Potter, Harry. Review of Break with a Banshee , by Gilderoy Lockhart. The Leaky Cauldron Digest , 18 Mar. 2012, p. 44.

• Example: Potter, Harry. Review of Break with a Banshee , by Gilderoy Lockhart. The Leaky Cauldron Digest , 18 Mar. 2012, p. 44. www.leakycauldrondigest.org/reviews/lockhart/break

MLA Works Cited Entry:

AuthorLast, First. Review of Book Title , by First Last. Publication , Day Mo. Year, p. #. DOI/URL.

• For example, you might write: Experience with a banshee would demonstrate that they aren't fond of tea, as Lockhart suggests (Potter 44).

• Example: Weasley, R.

• Example: Weasley, R. (2020, May 4).

• Example: Weasley, R. (2020, May 4). Making sense of the senseless [Review of the book Gadding with Ghouls by G. Lockhart].

• Example: Weasley, R. (2020, May 4). Making sense of the senseless [Review of the book Gadding with Ghouls by G. Lockhart]. Hogwarts Literary Journal, 7 (2), 22-38.

• Example: Weasley, R. (2020, May 4). Making sense of the senseless [Review of the book Gadding with Ghouls by G. Lockhart]. Hogwarts Literary Journal, 7 (2), 22-38. https://hogwarts.edu/lit/reviews/weasley_lockhart

APA Reference List Entry:

AuthorLast, A. (Year, Month Day). Title of review [Review of the book Book title by A. Author]. Journal title, volume number (issue number), first page-last page. DOI/URL

• For example, you might write: Despite that Lockhart claimed his numerous published works were nonfiction, the reality was that the wizard had never encountered most of the creatures discussed therein (Weasley, 2020).
• If you include the name of the author in the text of your paper, simply place a parenthetical with the year of publication immediately after the author's name.
• If you quoted the review directly, type a comma after the year in your parenthetical citation and include the page number or page range where the quoted material can be found, using the abbreviation "p." or "pp."

• Example: Granger, Hermione.

• Example: Granger, Hermione. Review of Holidays with Hags , by Gilderoy Lockhart.

• Example: Granger, Hermione. Review of Holidays with Hags , by Gilderoy Lockhart. The Modern Witch 2, no. 4 (December, 2019): 399-432.

• Example: Granger, Hermione. Review of Holidays with Hags , by Gilderoy Lockhart. The Modern Witch 2, no. 4 (December, 2019): 399-432. https://modernwitch.org/2-4/reviews/lockhart_granger.

Chicago Bibliography Format:

AuthorLast, First. Review of Book Title , by AuthorFirst Last. Periodical Title #, no. # (Month Year): ###-###. URL/DOI.

• Example: Hermione Granger, review of Holidays with Hags , by Gilderoy Lockhart, The Modern Witch 2, no. 4 (December, 2019): 399-432, https://modernwitch.org/2-4/reviews/lockhart_granger.

Expert Q&A

• If any element of a citation isn't available, simply skip that element and move onto the next. There's generally no need to indicate that the element isn't available. The only exception is in APA style, when you would use "n.d." if the source doesn't have a date of publication. [17] X Research source Thanks Helpful 0 Not Helpful 0

You Might Also Like

• ↑ https://libguides.css.edu/c.php?g=41682&p=265044
• ↑ https://columbiacollege-ca.libguides.com/mla/reviews
• ↑ https://library.rit.edu/citations/apa/book-review-apa
• ↑ https://bowvalleycollege.libanswers.com/faq/202826
• ↑ https://library.ulethbridge.ca/chicagostyle/articles/review
• ↑ https://guides.library.uq.edu.au/referencing/chicago17/book-review
• ↑ https://apastyle.apa.org/style-grammar-guidelines/references/missing-information

About this article

Did this article help you?

• About wikiHow
• Terms of Use
• Privacy Policy
• Do Not Sell or Share My Info
• Not Selling Info

APA 7th Edition Citation Examples

• Volume and Issue Numbers
• Page Numbers
• Undated Sources
• Citing a Source Within a Source
• In-Text Citations
• Academic Journals
• Encyclopedia Articles
• Book, Film, and Product Reviews

Format for book, film, and product reviews

Library database.

• Online Classroom Materials
• Conference Papers
• Technical + Research Reports
• Court Decisions
• Treaties and Other International Agreements
• Federal Regulations: I. The Code of Federal Regulations
• Federal Regulations: II. The Federal Register
• Executive Orders
• Charter of the United Nations
• Federal Statutes
• Dissertations and Theses
• Interviews, E-mail Messages + Other Personal Communications
• Social Media
• Business Sources
• PowerPoints
• AI: ChatGPT, etc.

Author last name, first initial. (Date). Article title. [Review of the book/film/product  Book/film/product title ].  Journal Title, volume (issue), page numbers. URL  

• Author:  List the last name, followed by the first initial (and second initial). See  Authors  for more information.
• Date:  List the date between parentheses, followed by a period.
• Article title:  Capitalize the first word of the title, subtitle, and proper nouns, followed by a period.
• Review of: Include words "Review of the [book/film/product]" before title. Italicize the title. Capitalize the first word of the title, subtitle, and proper nouns, followed by a period.
• Journal title:  In italics. Capitalize all important words.
• Volume and issue number:  Volume number in italics. Issue number in parentheses, no italics.
• Page number(s):  If from a database, list page numbers followed by a period.
• URL:  If from the free web, use a URL. 

See specific examples below.

A titled book, film, or product review:

Grimes, W. (2006, December 13). Beyond Mandalay, the road to isolation and xenophobia [Review of the book The river of lost footsteps: Histories of Burma, by T. Myint-U]. New York Times , pp. E8, E10.

An untitled book, film, or product review (for example, a review covering multiple works):

Guha, M. (2006). [Review of the books Fleeting pleasures: A history of intoxicants, by M. London and Dirty: A search for answers inside America's teenage drug epidemic , by M. Maran]. Journal of Mental Health, 15 , 713-716. http://www.informaworld.com/smpp/title~content=t713432595

Follow the correct formatting for the type of publication (e.g. a newspaper, a scholarly journal) the review is taken from, including the DOI if one is available.

Cohen, P. (2007, May 9). Love, honor, cherish, and buy [Review of the book One perfect day: The selling of the American wedding, by R. Mead]. New York Times . http://www.nytimes.com/2007/05/09/books/09bride.html

See  Publication Manual , 10.7.

• << Previous: Encyclopedia Articles
• Next: Websites >>
• Last Updated: Mar 18, 2024 12:55 PM
• URL: https://libguides.umgc.edu/apa-examples

• Study and research support
• Referencing
• Leeds Harvard referencing examples

Book review

Leeds harvard: book review, reference examples.

If referencing a book review that has been published in a journal or magazine, use the following format:

Family name, INITIAL(S). Year. Title of book review. Journal Title . Volume (issue number), page numbers.

Smith, G. 2014. A second anthology by Kathy Lette. Yorkshire Review . 51 (1), pp.88-89.

If the book review has been published in a book, use the following format:

Family name, INITIAL(S). Year. Title of book review. In: Family name, INITIAL(S) (of editor). ed(s). Title of book . Place of publication: Publisher, page numbers.

Smith, G. 2014. A second anthology by Kathy Lette. In: Jones, B. ed. The bumper book of reviews . Baltimore: Johns Hopkins Press, pp.3-14.

Citation examples

In the citation use the name of the author of the book review.

When the author name is not mentioned in the text, the citation consists of the author’s name and the year of publication in brackets.

Lette's anthology received praise for including a diverse range of authors (Smith, 2014).

If you have already named the author in the text, only the publication year needs to be mentioned in brackets.

Smith (2014) praised Lette’s anthology for including a diverse range of authors.

When to include page numbers

You should include page numbers in your citation if you quote directly from the text, paraphrase specific ideas or explanations, or use an image, diagram, table, etc. from a source.

"It was emphasised that citations in a text should be consistent" (Jones, 2017, p.24).

When referencing a single page, you should use p. For a range of pages, use pp.

p.7 or pp.20-29.

If the page numbers are in Roman numerals, do not include p. before them.

(Amis, 1958, iv)

Common issues

When you're referencing with Leeds Harvard you may come across issues with missing details, multiple authors, edited books, references to another author's work or online items, to name a few. Here are some tips on how to deal with some common issues when using Leeds Harvard.

Skip straight to the issue that affects you:

• Online items
• URL web addresses
• Multiple authors
• Corporate author(s) or organisation(s)
• Multiple publisher details
• Editions and reprints
• Missing details
• Multiple sources with different authors
• Sources written by the same author in the same year
• Sources with the same author in different years
• Two authors with the same surname in the same year
• The work of one author referred to by another
• Anonymising sources for confidentiality
• Identifying the authors’ family name (surname)

How to Write a Book Review: The Complete Guide

by Sue Weems | 23 comments

Want to Become a Published Author? In 100 Day Book, you’ll finish your book guaranteed. Learn more and sign up here.

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?

Join 100 Day Book

Enrollment closes May 14 at midnight!

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

Trackbacks/Pingbacks

• Professional Development -> accessiblity – Live love and learn - […] https://thewritepractice.com/how-to-write-a-book-review/?hvid=2AUcFm […]

Submit a Comment Cancel reply

Your email address will not be published. Required fields are marked *

Submit Comment

Join over 450,000 readers who are saying YES to practice. You’ll also get a free copy of our eBook 14 Prompts :

Popular Resources

Book Writing Tips & Guides Creativity & Inspiration Tips Writing Prompts Grammar & Vocab Resources Best Book Writing Software ProWritingAid Review Writing Teacher Resources Publisher Rocket Review Scrivener Review Gifts for Writers

Books By Our Writers

You've got it! Just us where to send your guide.

Enter your email to get our free 10-step guide to becoming a writer.

You've got it! Just us where to send your book.

Enter your first name and email to get our free book, 14 Prompts.

Want to Get Published?

Enter your email to get our free interactive checklist to writing and publishing a book.

Organizing Your Social Sciences Research Assignments

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

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

There are two general approaches to reviewing a book:

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

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

How to Approach Writing Your Review

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

I.  Common Features

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

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

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

II.  Developing a Critical Assessment Strategy

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

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

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

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

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

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

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

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

Structure and Writing Style

I.  Bibliographic Information

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

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

Reviewed by [your full name].

II.  Scope/Purpose/Content

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

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

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

III.  Note the Method

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

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

IV.  Critically Evaluate the Contents

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

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

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

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

V.  Examine the Front Matter and Back Matter

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

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

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

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

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

VI.  Summarize and Comment

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

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

Writing Tip

Always Read the Foreword and/or the Preface

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

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

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

Locating Book Reviews

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

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

Some Language for Evaluating Texts

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

• account for
• demonstrate
• distinguish
• investigate

Examples of usage

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

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

• << Previous: Leading a Class Discussion
• Next: Multiple Book Review Essay >>
• Last Updated: May 7, 2024 9:45 AM
• URL: https://libguides.usc.edu/writingguide/assignments

Join Discovery, the new community for book lovers

Trust book recommendations from real people, not robots 🤓

Blog – Posted on Wednesday, Apr 03

How to write a book review in 3 steps.

If the idea of reading for free — or even getting paid to read — sounds like a dream come true, remember that it isn’t a pipe dream. There are many places aspiring book reviewers can read books for free, such as Reedsy Discovery — a new platform for reviewing indie books. Of course, if you’re giving serious thought to becoming a book reviewer, your first step should be learning how to write a book review. To that end, this post covers all the basics of literary criticism. Let’s get started!

The three main steps of writing a book review are simple:

• Provide a summary: What is story about? Who are the main characters and what is the main conflict? 
• Present your evaluation: What did you think of the book? What elements worked well, and which ones didn’t? 
• Give your recommendation: Would you recommend this book to others? If so, what kinds of readers will enjoy it?

You can also download our free book review templates and use it as a guide! Otherwise, let’s take a closer look at each element.

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:

Should you become a book reviewer?

Find out the answer. Takes 30 seconds!

How to write a review of a book

Step 1. provide a summary.

Have you ever watched a movie only to realize that all the good bits were already in the trailer? Well, you don’t want the review to do that. What you do want the summary to do is reveal the genre, theme, main conflict, and main characters in the story — without giving away spoilers or revealing how the story ends.

A good rule of thumb is not to mention anything that happens beyond the midpoint. Set the stage and give readers a sense of the book without explaining how the central issue is resolved.

Emily W. Thompson's review of The Crossing :

In [Michael] 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. Read more...

Here are a few more reviews with well-written summaries for you to check out. The summary tend to be the longest part of the book review, so we won’t turn this post into a novel itself by pasting them all here: Le Cirque Navire reviewed by Anna Brill, The Heart of Stone reviewed by Kevin R. Dickinson, Fitting Out: The Friendship Experiment reviewed by Lianna Albrizio.

Non-fiction summary tip: The primary goal of a non-fiction summary is to provide context: what problems or issues has the book spotted, and how does it go about addressing them? Be sure to mention the authors of the title and what experience or expertise they bring to the title. Check Stefan Kløvning’s review of Creativity Cycling for an example of a summary that establishes the framework of the book within the context of its field.

Step 2. Present your evaluation

While you should absolutely weave your own personal take of a book into the review, your evaluation shouldn’t only be based on your subjective opinion. Along with presenting how you reacted to the story and how it affected you, you should also try to objectively critique the stronger and weaker elements of the story, and provide examples from the text to back up your points.

To help you write your evaluation, you should record your reactions and thoughts as you work your way through a novel you’re planning on reviewing. Here are some aspects of the book to keep in mind as you do.

Your evaluation might focus heartily on the book’s prose:

Donald Barker's review of Mercenary : 

Such are the bones of the story. But, of course, it is the manner in which Mr Gaughran puts the bones back together and fills them with life that makes “Mercenary” such a great read. The author’s style seems plain; it seems straightforward and even simple. But an attempt at imitation or emulation quickly proves that simple it is not. He employs short, punchy sentences that generate excellent dialogue dripping with irony, deadpan humour and wit. This, mixed with good descriptive prose, draws the characters – and what characters they are – along with the tumultuous events in which they participated amidst the stinking, steaming heat of the South American jungle, out from the past to the present; alive, scheming, drinking, womanising and fighting, onto the written page.

You can give readers a sense of the book by drawing comparisons to other well-known titles or authors:

Laura Hartman's review of The Mystery of Ruby's Mistletoe :

Reading Ms. Donovan’s book is reminiscent to one of my favorite authors, Dame Agatha Christie. Setting up the suspects in a snowbound house, asking them to meet in the drawing room and the cleverly satisfying conclusion was extremely gratifying. I can picture Miss Marple and Hercule Poirot nodding at Ms. Donovan saying “Well done!”

Not everyone’s tastes are the same, and you can always acknowledge this by calling out specific story elements in your evaluation: 

Kevin R. Dickinson's review of The Heart of Stone :

Whether you enjoy Galley’s worldbuilding will depend heavily on preference. Galley delivers information piecemeal, letting the characters, not the author, navigate the reader through Hartlund. A notable example is the magic system, an enigmatic force that lacks the ridge structures of, say, a Brandon Sanderson novel. While the world’s magical workings are explained, you only learn what the characters know and many mysteries remain by the end. Similar choices throughout make the world feel expansive and authentic.

Non-fiction evaluation tip: A book’s topic is only as compelling as its supporting arguments. Your evaluation of a nonfiction book should address that: how clearly and effectively are the points communicated? Turn back to Stefan’s critique for an example of a non-fiction critique that covers key takeaways and readability, without giving away any “big reveals.”

Step 3. Give your recommendation 

At the end of the day, your critique needs to answer this question: is this a book you would (or wouldn’t) recommend to other readers? You might wrap up by comparing it to other books in the same genre, or authors with similar styles, such as: “Fans of so-and-so will enjoy this book.” 

Let’s take a look at a few more tips:

You don’t need to write, “I recommend this book” — you can make it clear by highlighting your favorable opinion:

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.

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.

Add more punch to your rating by mentioning what kind of audience will or won’t enjoy the book:

Charleigh Aleyna Reid's review of The King of FU :

I would recommend this book to anyone who grew up in the 90’s and would like to reminisce about the time, someone who is interested to see what it was like to be a 90’s kid, or perhaps anyone who is looking for a unique, funny story about someone’s life.

Unless you found the title absolutely abhorrent, a good way to balance out a less favorable book review it to share what you did like about the book — before ultimately stating why you wouldn’t recommend the novel:

Nicola O's review of Secrets of the Sea Lord :

Overall, there are plenty of enjoyable elements in this story and fans of Atlantis and mer mythology should give it a try. Despite this, it does not rise above a three-star rating, and while I had some difficulty pinning down why this is, I concluded that it comes from a surprisingly unsophisticated vocabulary. There are a couple of graphic sex scenes, which is absolutely fine in a paranormal romance, but if they were removed, I could easily imagine this as an appealing story for middle-schoolers.

Non-fiction recommendation tip: As with fiction book reviews, share why you did or didn’t enjoy the title. However, in one of the starkest divergences from fiction book reviews it’s more important than ever that you mention your expectations coming into the non-fiction book. For instance, if you’re a cow farmer who’s reading a book on the benefits of becoming a vegetarian, you’re coming in with a large and inherent bias that the book will struggle to alter. So your recommendation should cover your thoughts about the book, while clearly taking account your perspective before you started reading. Let’s look once more at Stefan’s review for an example of a rating that includes an explanation of the reviewer’s own bias.

Bonus tips for writing a book review

Let’s wrap up with a few final tips for writing a compelling review.

• Remember, this isn’t a book report. If someone wants the summary of a book, they can read the synopsis. People turn to book reviews for a fellow reader’s take on the book. And for that reason...
• Have an opinion. Even if your opinion is totally middle-of-the-line — you didn’t hate the book but you didn’t love it either — state that clearly, and explain why.
• Make your stance clear from the outset. Don’t save your opinion just for the evaluation/recommendation. Weave your thoughts about the book into your summary as well, so that readers have an idea of your opinion from the outset.
• Back up your points. Instead of just saying, “the prose was evocative” — show readers by providing an actual passage that displays this. Same goes for negative points — don’t simply tell readers you found a character unbelievable, reference a certain (non-spoiler) scene that backs this up.
• Provide the details. Don’t forget to weave the book’s information into the review: is this a debut author? Is this one installment of a series? What types of books has the author written before? What is their background? How many pages does the book have? Who published the book? What is the book’s price?
• Follow guidelines. Is the review you’re writing for Goodreads? For The New York Times ? The content and tone of your review will vary a good deal from publication to publication.
• Learn from others. One of the best ways to learn how to write a great review is to read other reviews! To help you out with that, we’ve published a post all about book review examples .

Writing book reviews can be a rewarding experience! As a book-lover yourself, it’s a great opportunity to help guide readers to their next favorite title. If you’re just getting started as a reviewer and could use a couple more tips and nudges in the right direction, check out our comprehensive blog post on how to become a book reviewer . And if you want to find out which review community is the right fit for you, we recommend taking this quick quiz:

Which review community should you join?

Find out which review community is best for your style. Takes 30 seconds!

Finally, if you feel you've nailed the basics of how to write a book review, we recommend you check out Reedsy Discovery , where you can review books for free and are guaranteed people will read them. To register as a book reviewer, simply go here !

Continue reading

More posts from across the blog.

The Ultimate Guide to Reading the Star Wars Books In Order

Say you decided you’d like to read all the Star Wars books in existence. You would find yourself reading for a long, long time. In other words, you wouldn’t have time to finish them all by the time Rogue Squadron hits theaters in 2023. The...

The 12 Best Epic Fantasy Books like Game of Thrones

We get it: it’s been a long time since the last installment of A Song of Ice and Fire was released, and there is a voi...

How to Get Started on Bookstagram in 2024

If you love to read, love a gorgeous book cover, or just love giving your opinion on what you’ve read, there’s no better place to be on than Bookstagram!

Heard about Reedsy Discovery?

Trust real people, not robots, to give you book recommendations.

Or sign up with an

Or sign up with your social account

• Submit your book
• Reviewer directory

Want to be a book reviewer?

Review new books and start building your portfolio.

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!

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

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

Order Original Papers & Essays

Your First Custom Paper Sample is on Us!

Timely Deliveries

No Plagiarism & AI

100% Refund

Try Our Free Paper Writing Service

Related blogs.

Connections with Writers and support

Privacy and Confidentiality Guarantee

Average Quality Score

WordPress Developer Blog

Building a book review site with Block Bindings, part 1: Custom fields and block variations

Imagine your agency just picked up a new client. This client runs a book review website that needs a complete overhaul. They need to add some custom fields to associate with each book like a rating, author, length, and a fancy link to Goodreads.

Your agency is also transitioning from classic-based WordPress development to fully embracing everything the Block Editor has to offer. But the job parameters aren’t going to let you build custom blocks for every bit of metadata and customization the client needs. You need a solution that’s a bit more efficient.

That’s where the Block Bindings API comes in. I covered a basic introduction to this API in two previous posts:

• Introducing Block Bindings, part 1: Connecting custom fields
• Introducing Block Bindings, part 2: Working with custom binding sources

But the true power of Block Bindings is in combination with various other APIs and systems within WordPress, such as Block Variations, Patterns, and more. Once you start piecing them together, the potential for what you can achieve atop the block system feels nearly limitless.

So let’s build the foundation of your client’s book review site together. Then, I’ll let you take over and fine tune it.

Table of Contents

Prerequisites

This tutorial will cover a lot of ground, and I cannot explain every line of code in detail without it becoming overly complex. Therefore, you’ll need at least a cursory understanding of the following concepts. The goal of this series is to show how the various APIs in WordPress can be used in unison.

• Node and npm: You must have Node.js and npm installed on your local machine to follow this tutorial.
• JavaScript programming: You should have some baseline knowledge necessary to read, write, and understand intermediate JavaScript.
• Block Editor development: You should feel comfortable building code that runs in the WordPress Block Editor .
• Theme development: You should be able to build a block theme , work from its functions.php file, and set up a build process .
• Build tools: You must know how to write commands from a Command Line Interface (CLI), such as npm run <command> .

Setting up your project

For this project, you will create a child theme for Twenty Twenty-Four named TT4 Book Reviews. This is so that you don’t have to recreate every part of the theme just to get things rolling. You can view the fully built example via its repository .

I suggest importing the example content directly into a clean development install. Note that the meta keys used for the posts have the themeslug_ prefix as used throughout this tutorial.

There is also a live demo using WordPress Playground if you want to see the final result:

File structure

Create a new folder named tt4-book-reviews in your /wp-content/themes directory. Also, go ahead and add the following sub-folders and files within your theme:

• variations.js
• functions.php
• package.json
• webpack.config.js

This may seem like a lot, but most of the files that you’ll add have very little code. They will just be separated for their specific purpose.

The main stylesheet and functions file

Because you’re building this as a child theme of the default Twenty Twenty-Four theme, you first need to create your style.css file in your theme folder and add a file header so WordPress recognizes it.

Add this code to your style.css file:

You’ll also be working with functions.php throughout this tutorial, so it’s a good idea to get this file set up too.

Add this code to your theme’s functions.php file:

Now visit the Appearance  > Themes screen in your WordPress admin, locate your new TT4 Book Reviews theme, and activate it.

Build scripts

This tutorial requires some JavaScript, so it’s also a good idea to set up a build process at this early stage. This process has been previously covered in depth in Beyond block styles, part 1: using the WordPress scripts package with themes . It is also described in the Build Process documentation in the Theme Handbook.

Open your theme’s package.json file to add a project name and these scripts:

Now, navigate to your wp-content/themes/tt4-book-reviews directory on your computer via its command line program and type the following command to install the necessary packages:

Your package.json file should now look like this:

There’s one more step that you’ll need to take to get the build process working with your theme, and that is setting up your theme’s webpack configuration file. For this tutorial, you’ll only need this for building editor scripts.

Open your theme’s webpack.config.js file and add this code to it:

Registering custom fields

Before even thinking about connecting custom fields to blocks, you must first register each meta key that you want to use. For this book review site, let’s stick to four fields that your client would need:

• themeslug_book_author : The book’s author name.
• themeslug_book_rating : The user’s star rating for the book.
• themeslug_book_length : The number of pages in the book.
• themeslug_book_goodreads_url : The URL to the book’s page on Goodreads.com.

With the meta keys decided, it’s time to register them via the standard register_meta() function. Add this code to your theme’s functions.php file:

For these fields to work alongside the Block Bindings API, you need to ensure that each registered meta key of both of these arguments is set to true :

• show_in_rest : This is necessary for the custom fields to be usable over the REST API, which the Block Editor uses.
• single : Multiple meta values for a single key are not currently supported by the Block Bindings API, so this needs to be set to a single value.

The keen-eyed among you may have noticed that a couple of the meta keys that are integers are defined as strings: themeslug_book_rating and themeslug_book_length . This is an unfortunate limitation of getting the values to appear in the editor when used with blocks that require stringed attributes. We’ll work around this later when we get into the meta input controls.

Problems and solutions: Connecting custom fields to blocks

WordPress 6.5+ supports connecting custom fields to blocks via the core/post-meta binding source by default. This means that you don’t have to worry about registering anything via the Block Bindings API.

But, as described in Introducing Block Bindings, part 1: connecting custom fields , the only way to insert a bound block into the editor is by manually switching to the Code Editor view and typing out the block markup.

For example, here is what the markup looks like when binding the themeslug_book_author custom field to the Paragraph block:

And the only way to input custom meta values is by enabling the Custom Fields panel and manually typing the keys and values:

As a reputable developer, you would never want to hand this experience over to a client and ask them to put in all that work. But these limitations were expected for the first version of the Block Bindings API. There wasn’t enough time to build a UI and perfect the user experience before the WordPress 6.5 launch.

A more fine-tuned user experience is expected for the Block Bindings API in the future, but it will happen over multiple WordPress releases. Subscribe to the Block Bindings API tracking ticket to follow along or get involved with the process.

As a developer, what can you do to start using—I mean really using—this API for real-world projects that you will pass over to clients? That’s the question that I seek to answer with this tutorial series, and the following sections will dive into solutions.

Using block variations to insert bound blocks

What if you could insert the bound blocks like any other block with no code editing involved? You can absolutely do this by registering a variation via the Block Variations API .

A block variation is nothing more than an alternative version of a block with a different set of default attributes than the original block. And a bound block is simply a block with a defined metadata.bindings attribute.

That means that it’s possible to combine these two concepts. For example, you can see variations that represent the custom fields you registered earlier in this screenshot:

Instead of manually typing block markup each time you want to bind a block’s attributes, you can set up a variation for inserting it just like any other block. That will be much less of a headache for both you and your client.

Registering variations for bound blocks

To integrate bindings and variations, you must register your variations via JavaScript (the PHP registration method doesn’t support the isActive() check needed for this technique).

If you haven’t already done so, kick-start the build process by typing the following in your command line program:

This will generate the build files needed for the project under the /public folder that you created earlier.

Before diving into JavaScript, you must first enqueue your newly generated /public/js/editor.js file in the editor. Add this code to your functions.php file:

Now add this code to your editor.js file in /resources/js to import the empty variations.js script:

With this code in place, you can begin registering custom variations for any block that you want to bind to a custom field. For this tutorial, you will bind each of your custom fields to a single block attribute:

Of course, you can bind your custom fields to any number of blocks that you need for your project.

First, open your variations.js file and add the following code to import the dependencies you’ll need and to define a Goodreads icon:

From this point, you must register variations for each of the bound blocks. Start by creating a variation for the Paragraph block named “Book Author”:

For the most part, you can define this variation however you like, but there are two properties that you need to pay special attention to:

• metadata : You must set the bindings property in the same way that you’d define it at the block level with the core/post-meta source and the associated post meta key ( themeslug_book_author for the above variation).
• placeholder : (Optional) When setting a placeholder, the text will appear in the editor whenever the user hasn’t yet set a meta value.
• isActive() : This callback checks if the block has the current variation. Therefore, it checks if the defined metadata.bindings.content.args.key value exists and matches the post meta key.

Now repeat the same process for the Book Length, Book Rating, and Book Goodreads Button variations:

From this point forward, you no longer need to manually type block bindings into the Code Editor. You can insert them just like you would any other block.

Adding meta input controls

There’s still one major problem to solve. To enter custom field values, users must know how to turn on the Custom Fields panel in the editor and correctly type both the key and value fields.

Let’s fix that by adding custom controls in the sidebar like this:

First, add this code to your editor.js file in /resources/js to import the empty meta.js script:

Then open your meta.js file and import the following dependencies:

The above code uses a few experimental components, which are needed to add the custom controls for meta input. There is currently an open tracking ticket that would remove the experimental designation from each of those that we’re using. If you’re uncomfortable using experimental components, you can always create the inputs using custom components.

To add controls to the post sidebar, the best option is to use the registerPlugin() JavaScript function and its render callback property. Don’t worry, you’re not registering a plugin that users must install and activate. You’re creating an editor plugin.

Open meta.js and add the following code:

From this point forward, your remaining code will go inside of the render callback.

Since you wouldn’t want your custom controls to be output for every instance of the editor, you first need to check the current post type to determine if this is the correct editor. You can do this with the useSelect() hook. In this case, you only want the controls to appear when post is the current post type. If it’s not, the render callback will return null . 

You’ll also need to use the useEntityProp() hook to get and set meta values by assigning a couple of constants: meta and setMeta .

Add this code inside your render callback:

From this point, it’s just a matter of returning the components to output the meta controls. The most important thing is to use the PluginDocumentSettingsPanel SlotFill so that they are added to the correct location in the editor. 

For this sidebar panel, you’ll use the following components and associate them with your meta keys:

• <RangeControl> : themeslug_book_rating
• <InputControl> : themeslug_book_author
• <NumberControl> : themeslug_book_length
• <InputControl> : themeslug_book_goodreads_url

Add the following code inside your render callback:

There are two values I want you to pay attention to in the above code for the Rating and Total Pages controls:

Those controls handle integer values but pass strings back when setting the meta. Take a look at how these are handled for the Rating:

Note that it uses parseInt() for the value property to pass an integer to the control. For the onChange property, the value variable is passed a template literal so that it’s treated as a string. This is necessary for the value to show in the editor and be saved correctly.

As you add data to the meta fields, you should see them automatically appear for any bound blocks in the content area of the editor:

The next steps

I would consider what we’ve accomplished thus far to be the “hard” part. You now have all the pieces in place to do the fun stuff like front-end design work.

Stay tuned into the Developer Blog for the next post in this series. Some items I’ll cover next include:

• Displaying posts via the Query Loop block by meta.
• Integrating custom fields into your theme templates.
• Building patterns for displaying custom fields.

Props to @ bph and @ ndiego for reviewing this tutorial and @ welcher for code examples.

12 responses to “Building a book review site with Block Bindings, part 1: Custom fields and block variations”

This is a complete learning package about the Block Bindings API feature. Great!

Thank you for the article, it’s really useful! Using block variations seems user-friendly for normal users for binding blocks. I have a couple of questions:

1. Doesn’t using block variations with metadata make it plugin territory? 2. Can we include CSS/JavaScript specifically for the block variation or binding we’re using?

1. Block Variations are not generally considered either plugin or theme territory. They’re just variations of the existing block attributes. As for non-design meta, it’s usually considered plugin territory if you’re building a publicly-distributed theme. Because this post is specifically discussing client work, I thought it’d be best to not attempt to teach both plugin and theme dev in a single post.

2. I don’t think there’s a built-in mechanism for per-variation assets, but you could always hook into render_{block_name}_block , check its attributes, and enqueue only if those attributes match on the front end.

Thank you for responding. I’ve also observed that block-binding changes are only visible on the front end and within the editor, they’re merely represented as placeholders with no editing access.

I’d have to see your code (feel free to DM me on Slack), but that’s usually when there’s either a type conflict between the meta and the block attribute or something that needs to be set when registering the meta.

I’m reading your book Professional WordPress Plugin Development.

I get to the last chapter where you listed this as one of the places the reader should check out.

Very first post i see is from the author. 👍🏽

Block binding sounds quite promising, but I don’t think it is helping the mess the block-editor still is. It is a good thing that some things are possible with it be ‘configuration’ rather than by programming a new block from scratch. Still, this nothing an amateur will likely to be able to work with. And programmers (like me) won’t want to use it, simply because the block-editor basically isn’t really usable for commercial projects — at least not for me and for plenty of colleagues — at least not in an economically sensible way. The reason is simply that locking down templates/patterns is more or less impossible. My clients want a consistently designed website, that is easy to update and maintain, even for less tech-savvy people. That was rather easy to implement with the classic editor, custom post-types and (advanced-)custom-fields. The editor entered all the necessary data-fields, and the theme took care of the design. Granted, with in Tiny-MCE they could make some mess, but usually that wasn’t a problem. The way templates and patterns are supposed to work, the editor con mess up everything — either accidentally, or deliberately. There is no easy way to disable the toolbar of a block in favor of a default setting as given by the designer. So I either have to make sure that my CSS and output HTML can deal with unwanted/forbidden layout options, or I have to ignore user choices, offered by the UI.

My point is, that while you might be doing an impressive job in enabling ‘professional’ options for blocks, trying to remedy the inherent shortcomings of page-builder; all this is worth nothing (to me and others) as long as we have to go through the annoying process of building a new block every time we need to secure structure and design.

Take the mentioned block-variations, for example: It is not possible to deactivate them via PHP, as would be expected, it only works at the front end (and it does not really half of the time). And that they have no inherent way to use different CSS is unbelievable. Your suggestion to use a render hook will surely work, but makes for an even greater mess than the whole react based block system already is.

Please excuse my rant, but I’m really frustrated with the situation.

This is a discussion that’s probably best suited to the #outreach channel on Making WordPress Slack. I encourage you to join everyone there to kick-start these larger conversations.

I’ll avoid the overly opinionated things, which have not been consistent with my experience, but I’ll try my best to respond to any technical issues.

The reason is simply that locking down templates/patterns is more or less impossible.

There are multiple ways to lock templates/patterns down or curate the experience. Without knowing the specifics of the scenario, I usually recommend starting with Block Locking .

There is no easy way to disable the toolbar of a block in favor of a default setting as given by the designer. So I either have to make sure that my CSS and output HTML can deal with unwanted/forbidden layout options, or I have to ignore user choices, offered by the UI.

Block Locking might come in handy here too. You can also control UI tools through theme.json settings . Again, this really depends on the specifics of the situation.

Take the mentioned block-variations, for example: It is not possible to deactivate them via PHP, as would be expected, it only works at the front end (and it does not really half of the time).

You can unregister them via JavaScript with one line of code.

And that they have no inherent way to use different CSS is unbelievable. Your suggestion to use a render hook will surely work, but makes for an even greater mess than the whole react based block system already is.

My suggestion above was related to loading custom scripts or stylesheets for variations. You can absolutely use variation-specific CSS. You can just pass a custom class to attributes.className for your variation and style it. Personally, I prefer to couple that with Block Styles , but that’s not a hard requirement.

Thank you for your answer and tolerating my criticism. All of your answers above are correct, and I knew of them beforehand, but actually none of those solutions really work:

Block or theme-locking have a lot of issues, some of them being ignored for years. ( https://github.com/WordPress/gutenberg/issues/11681 , https://github.com/WordPress/gutenberg/issues/44231 ) And even if the ones existing would work as expected (which they often don’t), there still is no mechanism for something basic as “at least one, at most five”

In theme.json you can only disable very few options for most blocks and there is no simple way to lock/enforce presets like alignment…

Unregistering block-variations only works via JavaScript, and that might be one reason why it doesn’t work really. I have a group (default) in my template, I unregister group row and column and I cannot add new ones of those, but the one that is generated from my template can still be switched to row or column.

My point still being that there are too many half-baked solutions and concepts, and I don’t see any real efforts to address or even acknowledge those. The whole lacks a consistent architecture in my opinion and is way overcomplicated. (I’m convinced that react is an important cause of that problem.)

But I will consider joining the #outreach channel and stop pestering you with my frustrations.

I forgot: custom-fields are really a superpower of WordPress in my opinion and there are plenty of good reasons to utilize them. But every custom field has one value for one post. So any block that would handle ‘themeslug_book_rating’ on that post’s page would show the same data. It would be very useful therefore to limit the use of that block to one instance, but even so, there is a mechanism for that it requires (as far as I understand) implementation in the block.json? And therefore a specially programmed block? Moreover, you did (logically) put the inputs for the field values in the sidebar, but also suggested that it might be a solution to handle that in a custom block. (I’d guess in pace would be the obvious approach.) That, however, makes it even more necessary to have a well-working flexible template locking/restricting system. My point again: the longstanding obvious shortcomings and half-baked basic concepts need to be fixed for block-binding to be of real use.

But every custom field has one value for one post. So any block that would handle ‘themeslug_book_rating’ on that post’s page would show the same data. It would be very useful therefore to limit the use of that block to one instance, but even so, there is a mechanism for that it requires (as far as I understand) implementation in the block.json? And therefore a specially programmed block?

If you need to build a block with only a single instance, you can set supports.multiple in block.json to false . But, yes, that’s something that’s defined at the block level itself.

I’d probably want to go with a Block Locking approach again here if you want to limit it alongside variations. Or even a template lock at the post type level.

Moreover, you did (logically) put the inputs for the field values in the sidebar, but also suggested that it might be a solution to handle that in a custom block. (I’d guess in pace would be the obvious approach.)

We also have a post here on the Developer Blog that explains that approach: Creating a custom block that stores post meta .

Actually trying something similar is the cause of my current surge of frustration. Only one of a myriad of combinations of template lock and block-locking made it possible to get at least halfway to my goal of fixing that custom-field block on the top of the template; without getting the annoying unhelpful message ( https://github.com/WordPress/gutenberg/issues/11681 ) I combined it with a group that should hold various other flexible contents inside, but even locked down as good as it gets, both blocks always showed the toolbar with useless (or unwanted) options.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Notify me of follow-up comments by email.

Notify me of new posts by email.

To revisit this article, visit My Profile, then View saved stories .

• Backchannel
• Newsletters
• WIRED Insider
• WIRED Consulting

Kate Knibbs

There’s Nothing Revolutionary About Morning After the Revolution

In Morning After the Revolution: Dispatches From the Wrong Side of History , media entrepreneur and journalist Nellie Bowles fashions herself as a dissident chafing against orthodoxies in pursuit of truth. Despite her efforts, this posturing achieves a different effect: Bowles has produced a book hewing so wholly to her own movement’s shibboleths, it functions as a primer on “heterodox” groupthink, conforming to dogma rather than puncturing it. Readers who finish Morning After will, if nothing else, walk away knowing precisely what to say if they find themselves at a dinner party with Bill Maher.

Bowles argues that American politics “went berserk” in 2020 (a bold claim about a country that went through an actual Civil War, several presidential assassinations, and the year 1968), and her book is a compendium of reporting on moments she finds particularly indicative of this contemporary crack-up.

Morning After the Revolution focuses on a specific ideological slice of American berserk, so there’s no worry over issues like the rollback of abortion rights or book bans . Instead, it revisits the same subject matter frequently examined by The Free Press, the media outlet she founded with her wife, Bari Weiss, a few years ago after they left The New York Times: the excesses and inanities of what she calls the New Progressive moment.

This is not an inherently bad or unworthy topic for Bowles or any other journalist to tackle. Her basic thesis is correct: Progressives can be corny, sanctimonious, flat-out wrong, or all three at once. Sometimes, these blunders are funny. In fact, clowning on naive or hypocritical youth and protest movements is a time-honored and much-lauded writerly tradition. (One of the odder themes of this book is how insistent Bowles is that it’s difficult or unpopular to make fun of goofy leftists.)

Iconic touchstones of New Journalism, Tom Wolfe’s Radical Chic and Joan Didion’s Slouching Towards Bethlehem , fall into this category. (Indeed, Weiss has described Bowles as the “love child” of Didion and Wolfe.)

Reading talented journalists interrogate and mock nascent cultural movements, even if one agrees with the principles espoused by those movements, can be great fun. Radical Chic , for example, is an acidic, vituperative takedown of well-intentioned limousine liberalism that details absurd exchanges at a fundraiser held by upper-crust Manhattanites Leonard and Felicia Bernstein on behalf of the Black Panther party. It is a classic for a reason, swaggering and hilarious. (A standout moment: when a young Barbara Walters asks if the Panthers really mean they want to get rid of rich people like her.) The Bernsteins—whose commitment to civil liberties was sincere—were devastated by Wolfe’s portrayal. That doesn’t make reading Radical Chic any less thrilling. One doesn’t need to find a writer morally correct to enjoy or appreciate their work, or to agree with a piece of nonfiction thesis whole cloth to find it valuable as literature, if the writing is good enough and the thinking is sharp.

Bowles has a talent for identifying forthrightly goofy Woke Mind Virus momentS, like when an organic cleaning product company announced that it supported defunding the police or when the multinational bank HSBC pitched itself to the queer community in an ad about how gender is “too fluid for borders.” They exemplify how an atmosphere in which people and organizations feel social pressure to endorse progressive values can result in hollow gestures from institutions and individuals alike.

Jared Keller

Lauren Goode

Brendan I. Koerner

Reece Rogers

At its most entertaining, Morning After the Revolution hoMes in on this hollowness. In a chapter where Bowles attends a multiday course called The Toxic Trends of Whiteness, where participants are encouraged to pillory each other for making inadvertently racist remarks, Bowles captures farcical details like being asked to massage her feet until she can physically feel the whiteness infecting each toe. (Afterward, the instructor tries to sell participants on an additional two-day workshop.)

However, the writing in Morning After is, too often, simply not good enough. Bowles strives for a wry affect, but the result is often flat or irritatingly blogger-voiced. She describes a police officer killing George Floyd as a person “doing what sure looks like a murder.”

Perhaps she could get away with it were the prose more entertaining—but as it stands, Bowles’ arguments often do not stand up to scrutiny, and there are no stylistic victories to distract from how muddled her theses are. “It sounded wild. It sounded pie in the sky. But cities actually passed resolutions to defund or, in some cases, abolish their police departments. It was all really happening,” she writes in a chapter on how absurd and damaging she finds the Defund the Police movement. It’s the opening of a section that suggests that American cities are increasingly crime-addled because the Defund movement led to drastic reductions in police presence. In it, Bowles describes how she became so terrified of crime while pregnant that she went to the store to buy a gun, implying that the progressive movement against police brutality has left her in a position where she has no choice but vigilantism. (She summarizes her view of the progressive argument as such: “The real white supremacy is not buying a gun.”)

The chapter is one of the book’s most revealing, because it elides facts in favor of a tidy narrative. Crime is a valid concern for Los Angelenos, now as it has been for the city’s entire history, but the premise that the protests in 2020 led to rapid reductions in law enforcement that then led to rapid spikes in violence and mayhem is fathoms too pat.

While some major cities in the US did reduce police spending, many others actually increased spending. No city abolished its police force in the wake of the 2020 protest movement. In Los Angeles, where Bowles describes herself as fretting about rapists jumping through the windows of her Echo Park home, the police budget increased more than 9 percent between 2019 and 2022. While the LAPD did shrink in size, it didn’t evaporate. Statewide, the drop in law enforcement staffing in 2021 was 2 percent, for example, which is noteworthy . (There have been concentrated recruitment efforts to bolster those numbers.) But it also makes Bowles describing how she pays for private security guards so she can “live as though there are police” come off as remarkably hyperbolic. Also: remarkably rude to the police!

Misleading anecdotes are threaded throughout the book. In its introduction, Bowles rattles off a list of silly repercussions of the New Progressivism. “Pepe le Pew was cut from the Space Jam movie for normalizing rape culture” she writes. This would, of course, be absurd—if it were true. The rumor that the horny cartoon skunk Pepe le Pew was deemed too problematic for the Space Jam sequel took off on social media in 2021, after New York Times columnist Charles M. Blow wrote about how the Looney Tunes character, along with several other popular childhood cartoons of yore, was problematic. But as a Deadline report noted, Pepe le Pew’s scenes had actually been cut when the film changed directors, way before Blow’s column went viral. It’s easy to fact-check this kind of tidbit, and Bowles' opening her book with a fudged example like this speaks to Morning After ’s larger failing. It’s not the work of a skeptic slashing against convention. It’s a book meant to confirm biases rather than complicate them.

Morning After the Revolution hopscotches across familiar intellectual dark web talking points in this way, mashing flatly written first-person reporting with sloppily gathered factoids and blending until the narrative sounds plausible enough if you don’t stop to consult Google: DEI is stupid, “gender ideology” is a dangerous fad, calls to defund the police are naive, kids these days are too damn sensitive, asexuals are fake and just want attention. Any reader with even a glancing familiarity with these talking points need not read this book for new information. But this book is not meant, I suspect, to persuade the uncommitted. An enchiridion for an in-group, Morning After the Revolution is sure to comfort the already comfortable. It’s Chicken Soup for the Anti-Woke Soul .

You Might Also Like …

In your inbox: Will Knight's Fast Forward explores advances in AI

He emptied a crypto exchange onto a thumb drive —then disappeared

The real-time deepfake romance scams have arrived

Boomergasms are booming

Heading outdoors? Here are the best sleeping bags for every adventure

Sofia Barnett

Madeline Ashby

Angela Watercutter

Brian Barrett

C. Brandon Ogbunu

Geek's Guide to the Galaxy

Jennifer M. Wood

Advertisement

Supported by

A Loving Daughter, Obsessed With Her Parents’ Misery, Seeks Its Roots

Inspired by her own family’s past, Claire Messud’s “This Strange Eventful History” unfolds over seven decades and two wars.

• Share full article

By Joan Silber

Joan Silber’s most recent books of fiction are “Secrets of Happiness” and “Improvement.” Her novel “Mercy” will be out in 2025.

• Barnes and Noble
• Books-A-Million

When you purchase an independently reviewed book through our site, we earn an affiliate commission.

THIS STRANGE EVENTFUL HISTORY, by Claire Messud

“Maman and Papa had always talked about how much they loved Algiers, how much a part of them it was … the most beautiful city on earth.” So thinks 8-year-old François, a French diplomat’s kid who’s lived all over, as he, his mother, little sister and aunt flee Europe ahead of the invading German Army in 1940 to shelter with relatives in Algeria, his family’s homeland but one new to him.

Readers of Claire Messud’s other superbly written novels will recognize the agile precision of her prose in her newest one, “This Strange Eventful History,” and some will nod at the mention of North Africa. A French household with Algerian roots is at the center of her second novel, “ The Last Life ” (1999), and tales of the pied-noir branch of her family are folded into her essays on Albert Camus in “ Kant’s Little Prussian Head and Other Reasons Why I Write ” (2020) .

After a prologue citing her new novel’s sources in her own family history, the narrative moves along from 1940 to 2010, across three generations and five points of view, channeling the intimacy of fiction. We begin with young François in 1940, dutifully trying to watch over his whiny little sister, and then get a chapter with a more well-informed set of worries from his father, Gaston, a naval attaché who’s being sent to Beirut (still under French control) and is desolate in wartime without his wife. The book then leaps ahead 13 years to François’s arrival at an American college. Each section is absorbing, and the leap has our attention; we want to know who François turns out to be.

Family members keep relocating across the globe — Buenos Aires, Sydney, the French Mediterranean coast, Connecticut — and their thoughts (largely unspoken) are filled with disappointments, bearable and unbearable. Denise, François’s fragile sister, is elated by an intense crush and then gutted by it. Barbara, the Canadian wife François loves but never quite understands, mocks her own failure to be a Frenchwoman and hates hosting her in-laws — “three-course meals, the linen napkins, the bloody siesta, the rituals as ineluctable as Catholic Mass. The agony of it.” Gaston, the family patriarch, knows by the time he’s in his 50s that “the world had transformed around him, and he couldn’t seem to adapt.” His granddaughter, Chloe, who, we’re led to think, grows up to be the writer of this saga, watches her parents with rueful love — “I felt the burden of their misery like a magnet at once drawing me home.”

As the book moves over seven decades, our sympathies are dispersed — no single character owns the story and no one crisis governs the plot; our eye is on the group. It’s a risky but solid structure, ambitiously packed with material. What’s striking is the way Messud manages to let time’s passage itself supply great feeling.

How sorry we are to see François, whom we knew as a staunch child, become a man lonely in his marriage. How dismayed we are to see Barbara, his wife, happiest as a stylish young mother in law school, lapsing into an older woman confused by dementia.

For much of the novel, no one speaks of Algeria. I kept wondering if the book had opted to cover only private sorrows. Early on, in a chapter set in Algiers in 1953, Denise is sideswiped by a car and, recalling the incident a few years later, thinks the car may have been driven by an anti-French insurgent. But this memory is quickly dropped.

Only after 300 pages is there a fierce discussion of the Algerian war for independence — the long and bloody conflict, from 1954 to 1962, in which France’s atrocities against Algerians eventually lost it international support. François’ daughter, Chloe, a young woman in her 20s, utters the familiar “truism” that the French should not have been in Algeria in the first place, enraging her aunt, Denise, and her otherwise placid grandfather, Gaston.

Denise is still angry that the fleeing French and harkis — Algerians loyal to the French — were treated badly in France. Gaston’s defense of the more than 100 years of occupation is darker. He points out that the United States and Australia, where Chloe has happily lived without shame, “are simply more successful examples of settler colonialism — no less unjust, no less brutal, simply with a fuller obliteration of the native cultures.” He argues against “the danger of hypocrisy” as he cites the abundant company France has in historical shame.

A final chapter, flashing back to 1927, reveals a shocking fact about Gaston and his wife, dating to their time as a young couple. We’ve had hints of this secret but not ones we could have deciphered. Messud makes a point of tying the hidden scandal to the truth that “the country” in which the couple’s rule-breaking love — I won’t give away any more — was forged “does not belong to them, has never belonged to them.”

I wasn’t entirely persuaded by the link to political entitlement and was hungry for a longer comment on the meaning of the couple’s secret. This lingering wish was a mark of how attached I had become to this family, how mysteriously resonant my time with them had been.

THIS STRANGE EVENTFUL HISTORY | By Claire Messud | Norton | 428 pp. | $29.99

Explore More in Books

Want to know about the best books to read and the latest news start here..

As book bans have surged in Florida, the novelist Lauren Groff has opened a bookstore called The Lynx, a hub for author readings, book club gatherings and workshops , where banned titles are prominently displayed.

Eighteen books were recognized as winners or finalists for the Pulitzer Prize, in the categories of history, memoir, poetry, general nonfiction, fiction and biography, which had two winners. Here’s a full list of the winners .

Montreal is a city as appealing for its beauty as for its shadows. Here, t he novelist Mona Awad recommends books  that are “both dreamy and uncompromising.”

The complicated, generous life  of Paul Auster, who died on April 30 , yielded a body of work of staggering scope and variety .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

Chemical Society Reviews

Controllable synthesis of high-entropy alloys.

* Corresponding authors

a The Institute for Advanced Studies, Wuhan University, Wuhan 430072, China

b College of Chemistry and Molecular Sciences, Wuhan University, Wuhan 430072, China E-mail: [email protected] , [email protected]

High-entropy alloys (HEAs) involving more than four elements, as emerging alloys, have brought about a paradigm shift in material design. The unprecedented compositional diversities and structural complexities of HEAs endow multidimensional exploration space and great potential for practical benefits, as well as a formidable challenge for synthesis. To further optimize performance and promote advanced applications, it is essential to synthesize HEAs with desired characteristics to satisfy the requirements in the application scenarios. The properties of HEAs are highly related to their chemical compositions, microstructure, and morphology. In this review, a comprehensive overview of the controllable synthesis of HEAs is provided, ranging from composition design to morphology control, structure construction, and surface/interface engineering. The fundamental parameters and advanced characterization related to HEAs are introduced. We also propose several critical directions for future development. This review can provide insight and an in-depth understanding of HEAs, accelerating the synthesis of the desired HEAs.

Article information

Download citation, permissions.

J. Liang, G. Cao, M. Zeng and L. Fu, Chem. Soc. Rev. , 2024, Advance Article , DOI: 10.1039/D4CS00034J

To request permission to reproduce material from this article, please go to the Copyright Clearance Center request page .

If you are an author contributing to an RSC publication, you do not need to request permission provided correct acknowledgement is given.

If you are the author of this article, you do not need to request permission to reproduce figures and diagrams provided correct acknowledgement is given. If you want to reproduce the whole article in a third-party publication (excluding your thesis/dissertation for which permission is not required) please go to the Copyright Clearance Center request page .

Read more about how to correctly acknowledge RSC content .

Social activity

Search articles by author.

This article has not yet been cited.

Advertisements

voco Leicester, an IHG Hotel

101 Welford Road, Leicester, LE2 7QS, United Kingdom – Excellent location - show map

Cleanliness

Value for money

voco Leicester, an IHG Hotel Reserve now

Lock in a great price for voco Leicester, an IHG Hotel - rated 8.9 by recent guests.

Enter dates to get started.

• Pets allowed
• 24-hour front desk
• Key card access
• Daily housekeeping
• Non-smoking rooms
• Safety deposit box
• Luggage storage

Located in Leicester, 1.3 km from University of Leicester, voco Leicester, an IHG Hotel provides accommodation with a shared lounge, private parking, a restaurant and a bar. With free WiFi, this 4-star hotel offers room service and a 24-hour front desk. The property is non-smoking and is situated less than 1 km from De Montfort University. Leicester Railway Station is 1.1 km from the hotel, while Belgrave Road is 3.4 km away. The nearest airport is East Midlands Airport, 36 km from voco Leicester, an IHG Hotel.

Couples particularly like the location — they rated it 9.0 for a two-person trip.

Distance in property description is calculated using © OpenStreetMap

• Private parking
• Family rooms
• Facilities for disabled guests
• Room service
• Very good breakfast

Property highlights

Top location: Highly rated by recent guests (9.0)

Private parking at the hotel

Saved to 2510 lists

Availability

Select dates to see this property's availability and prices

Property practices

Categories:, see what guests loved the most:.

Hotel surroundings

Restaurants 1 restaurant on site.

• Cuisine American • British • Asian

Facilities of voco Leicester, an IHG Hotel Great facilities! Review score, 9.2

• Live sport events (broadcast)
• Themed dinner nights Additional charge
• Stand-up comedy Additional charge Off-site
• Coffee house on site
• Wine/champagne Additional charge
• Kid meals Additional charge
• Special diet menus (on request)
• Breakfast in the room
• Parking garage
• Electric vehicle charging station
• Accessible parking
• Invoice provided
• Private check-in/check-out
• Concierge service
• Express check-in/check-out
• Board games/puzzles
• Trouser press
• Ironing service Additional charge
• Dry cleaning Additional charge
• Laundry Additional charge
• Fax/photocopying Additional charge
• Business centre Additional charge
• Meeting/banquet facilities Additional charge
• Fire extinguishers
• CCTV outside property
• CCTV in common areas
• Smoke alarms
• Security alarm
• 24-hour security
• Shared lounge/TV area
• Designated smoking area
• Air conditioning
• Non-smoking throughout
• Allergy-free room
• Packed lunches
• Soundproof rooms
• Auditory guidance
• Visual aids: Tactile signs
• Visual aids: Braille
• Emergency cord in bathroom
• Lower bathroom sink
• Higher level toilet
• Toilet with grab rails
• Wheelchair accessible

See availability House rules

From 15:00 to 00:00

From 06:00 to 11:00

Cancellation/ prepayment

Cancellation and prepayment policies vary according to accommodation type. Please enter the dates of your stay and check the conditions of your required room.

Children and beds

Child policies

Children of any age are welcome.

Children 18 years and above will be charged as adults at this property.

To see correct prices and occupancy information, please add the number of children in your group and their ages to your search.

Cot and extra bed policies

Cots and extra beds are not available at this property.

Age restriction

The minimum age for check-in is 18

Pets are allowed on request. Charges may be applicable.

Accepted payment methods

Cash is not accepted voco Leicester, an IHG Hotel accepts these cards and reserves the right to temporarily hold an amount prior to arrival.

The fine print Need-to-know information for guests at this property

Please note that when booking 9 rooms or more, the booking is subject to contract and payment before arrival.

FAQs about voco Leicester, an IHG Hotel

Does voco leicester, an ihg hotel have a restaurant on site.

• Restaurant #1

How much does it cost to stay at voco Leicester, an IHG Hotel?

The prices at voco Leicester, an IHG Hotel may vary depending on your stay (e.g. dates you select, hotel's policy etc.). See the prices by entering your dates.

What are the check-in and check-out times at voco Leicester, an IHG Hotel?

Check-in at voco Leicester, an IHG Hotel is from 15:00, and check-out is until 11:00.

What type of room can I book at voco Leicester, an IHG Hotel?

How far is voco leicester, an ihg hotel from the centre of leicester.

voco Leicester, an IHG Hotel is 0.8 miles from the centre of Leicester. All distances are measured in straight lines. Actual travel distances may vary.

What is there to do at voco Leicester, an IHG Hotel?

• Stand-up comedy
• Themed dinner nights

The best of Leicester

Attractions.

• National Space Centre

Conference centres

• St Martins House Conference Centre
• The Platinum Suite

Institutions

• De Montfort University
• University of Leicester
• Leicester Royal Infirmary
• Leicester General Hospital
• Glenfield Hospital
• Leicester Castle
• Kirby Muxloe Castle
• Newarke Houses Museum
• King Richard III Visitor Centre
• Abbey Pumping Station
• Stonehurst Family Farm and Motor Museum
• Victoria Park Leicester
• University of Leicester Botanic Garden
• Swithland Wood and The Brand

Popular areas

• Belgrave Road

Service stations

• Leicester Forest East Services M1

Shopping areas

• Leicester Market
• Highcross Shopping Centre

Stadiums and arenas

• Welford Road Stadium
• King Power Stadium
• East Midlands Airport (EMA) 16.4 miles
• Coventry Airport (CVT) 23 miles
• Sywell Aerodrome (ORM) 26.3 miles

Railway stations

• Leicester Railway Station

Most popular cities

• Northampton

Stay in the know

Error: Please enter a valid email address

Error: Sorry. An error has occurred.

Thanks! We've sent you an email so you can complete your subscription

Personalised recommendations

We provide personalised recommendations based on your activity on our platform. If you prefer, you can opt-out of this option. Keep in mind, opting-out only affects your current device. You must therefore adjust this setting on each device as necessary to reflect your preference.

Verified reviews from real guests.

We have more than 70 million property reviews, and they're all from real, verified guests .

How does it work?

It starts with a booking.

The only way to leave a review is to first make a booking. That's how we know our reviews come from real guests who have stayed at the property.

Followed by a trip

When guests stay at the property they check out how quiet the room is, how friendly the staff are and more.

And finally, a review

After their trip, guests tell us about their stay. We check for naughty words and verify the authenticity of all guest reviews before adding them to our site.

If you booked through us and want to leave a review, please sign in first.

Check-in date

Check-out date

Save big in Leicester

Get exclusive access to member-only deals by email.

For a limited time only

Hooray, you're now subscribed!