how to write introduction of book review

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How to Write a Book Review: Introduction

• Introduction

Steps to Write a Book Review

• Other Resources on Writing Reviews

Writing Book Reviews

Academic book reviews are helpful in enabling people to decide if they want to read a given book. A book review is not a book report, which you may hae done in elementary school. A book report describes the basic contents. Book reviews go far deeper than that. This guide will explain what an academic book review is and how to write one well.

Introduction to Writing Book Reviews

• What is a Book Review?
• Benefits of Writing Book Reviews

 What is a Book Review?

• Describes the purpose of the book
• Describes the contents of the book (subject of each chapter)
• Analyzes the approach/argument(s) of the book: Does it seem accurate? Does it make sense? Is the argument strong or weak?
• Assesses whether the book did what the author said it would do
• Suggests potential audiences for the book (pastors, students, professors, lay people) and potential uses, such as a textbook
• Based upon a careful reading of the entire book
• Uses a structured, formal, academic tone
• Most often appears in academic journals, though more informal versions may appear in magazines and blogs
• May include comparisons to other works in the same subject, e.g., if you are reviewing a book on Paul's theology, it would help to compare it briefly to another book on Paul's theology
• In an academic setting, a review assumes an academic audience

A book review requires the reviewer to read the book carefully and reflect on its contents. The review should tell a reader what the book seeks to do and offer an appraisal of how well the author(s) accomplished this goal. That is why this is a "critical" book review. You are analyzing the book, not simply describing it. A review assumes that the readers know the vocabulary of the discipline. For example, a reviewer of a book on the Gospel of Matthew could use "Q" and not need to explain it because it is assumed that the audience knows what Q is in the context of talking about the canonical gospels.

A book review does not

• Seek to be entertaining and/or engaging
• Describe your feelings regarding the book, e.g., “I loved it,” “it was terrible,” or “I disagree completely.”
• Superficial treatment similar to the blurb on the back of the book
• Offers an ad hominem (against the person) attack on the author

Here are two examples of typical academic book reviews:

https://search.ebscohost.com/login.aspx?direct=true&db=lsdar&AN=ATLAiFZU171223002713&site=eds-live&authtype=ip,sso&custid=s8984749

https://search.ebscohost.com/login.aspx?direct=true&db=lsdar&AN=ATLAi9KZ180630003303&site=eds-live&authtype=ip,sso&custid=s8984749

You may see non-academic book reviews that are more inform al or use humor but that is not appropriate for an academic book review.

Why would you write a book review? There are a few reasons.

• Meet a course requirement
• Understand a book better and grow as a scholar
• Write reviews for publications in the future, such as magazines

1. Your professor assigned it. You are probably reading this page because a professor gave you an assignment to write a review. This is straightforward. Your professor may have a specific set of requirements or directions and you need to follow those, even if they differ from what you read here. In either case, assume that your review is for a large audience. 

2. Writing a review will help you understand a book better. When you are going to write a good book review, you need to read the entire book carefully. By assigning a book review, the professor is seeking to help you understand the book better. A book review is a critical assessment of a book. “Critical” here means analytical. What did the author seek to do and how convincing was it? Your professor wants you to read the book carefully enough to explain both. A critical assessment recognizes that the status of an author/scholar is no guarantee that the book accomplishes its goal. The skill of critical assessment is valuable in all your research work, both now and after graduation.

3. You may have an opportunity in the future to write a book review for a denominational publication, a magazine like Christianity Today , a church newsletter, or in a blog post, which is very common.

So, a book review can fulfill a course requirement, make you better at critical assessment of the views of others, and create opportunities to use that skill for various publications.

Step 1: Read the book carefully.

Step 2: Write the basics.

Step 3: Fill in the details.

These steps are explained in the next tab of this research guide.

This is not for Book Reflections

If you have a (personal) reflection on a book assigned, what this guide says, besides step #1, likely does not apply to your assignment. You need to ask your professor for guidance on writing a reflection. There are two reasons.

1. A book reflection is not a standard, academic type of document. Therefore, general help based upon reading book reviews is not relevant.

2. Book reflections are heavily dependent upon exactly what a professor asks for. These frequently require comparing good and bad points of the book. That is not a feature of book reviews as such and reviews do not include your personal reflections.

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• Last Updated: Jun 20, 2022 4:36 PM
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How to Write a Book Review: A Comprehensive Tutorial With Examples

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

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

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

What is a Book Review?

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

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

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

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

Table of Contents

Book Review Template

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

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

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

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

Choosing Your Literature

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

Crafting the Master Plan

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

The Devil is in the Details

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

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

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

The Key Questions to Ponder

When planning your book review, consider the following questions:

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

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

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

Identify Your Book and Author

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

Ponder the Title

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

Judge the Book by Its Cover (Just a Little)

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

Present Your Thesis

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

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

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

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

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

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

Summarize Without Spoilers

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

Support Your Viewpoint with Quotes

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

Analyze the Quotes

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

Structure Your Body Paragraphs

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

For example:

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

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

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

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

Summarize Your Analysis

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

Offer Your Final Conclusion

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

Address the Book’s Appeal

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

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

Be Subtle and Balanced

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

Bringing It All Together

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

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

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

Why Rate the Book?

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

How to Rate the Book

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

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

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

Tips for Rating the Book

Here are some tips for rating the book effectively:

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

Wrapping Up

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

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

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

Hook ’em with an Intriguing Introduction

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

Embrace the World of Fiction

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

Opinionated with Gusto

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

Express Your Love (or Lack Thereof)

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

Templates and Examples and Expert Help: Your Trusty Sidekicks

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

Be a Champion for New Writers and Literature

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

Criticize with Clarity, Not Cruelty

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

Avoid the Comparison Trap

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

Top 7 Mistakes and How to Avoid Them

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

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

Succumbing to the Lure of Plot Summaries

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

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

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

Unleashing the Spoiler Kraken

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

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

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

Riding the Personal Bias Express

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

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

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

Wielding the Vague Language Saber

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

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

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

Ignoring the Contextualization Compass

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

Example: “This book is dull and unoriginal.”

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

Overindulging in Personal Preferences

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

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

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

Forgetting the Target Audience Telescope

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

Example: “This book is great for everyone.”

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

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

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

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

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How to Write a Book Review: Awesome Guide

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

What Is a Book Review?

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

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

Book Review Template

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

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

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

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

Step 1: Planning

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

Consider these points before writing:

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

Step 2: Introduction

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

Step 3: Body

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

Step 4: Conclusion

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

Step 5: Rate the Book (Optional)

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

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

Writing Tips

Here is the list of tips for the book review:

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

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

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

Book Review Examples

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

Book review

Kenneth Grahame’s ‘The Wind in the Willows’

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

Book Review

Dr. John’s ‘Pollution’

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

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How to Write a Book Review: The Complete Guide

by Sue Weems | 23 comments

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

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

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

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

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

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

The Fallacy of Book Reviews

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

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

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

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

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

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

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

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

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

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

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

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

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

When I Don’t Know What to Write

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

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

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

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

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

What if I Didn’t Like It?

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

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

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

How to Write a Book Review: Your Turn

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

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

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

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

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

23 Comments

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

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

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

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

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

Thanks for sharing your practice, Azure!

You’re welcome.

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

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

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

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

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

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

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

Reel Estate Ripoff by Renee Pawlish

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

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

Adding it to my stack, Beth. Thanks!

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

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

Thanks, Sue.

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

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

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

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

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

You’re welcome!

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

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

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

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

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

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

Thank you, Sue.

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

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

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

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

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

R. Allan Worrell

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

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Blog – Posted on Friday, Mar 29

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

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

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

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

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

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

Should you become a book reviewer?

Find out the answer. Takes 30 seconds!

What must a book review contain?

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

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

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

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

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

How much of a book nerd are you, really?

Find out here, once and for all. Takes 30 seconds!

Book review examples for fiction books

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

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

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

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

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

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

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

Lyndsey reviews George Orwell’s 1984 on Goodreads:

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

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

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

The New York Times reviews Lisa Halliday’s Asymmetry :

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Examples of children’s and YA fiction book reviews

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

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

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

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

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

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

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

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

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

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

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

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

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

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

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

Examples of genre fiction book reviews

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

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

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

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

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

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

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

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

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

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

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

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

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

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

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

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

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

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

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

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

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

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

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

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

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

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

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

Stacked Books reviews Malcolm Gladwell’s Outliers :

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

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

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

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

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

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

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

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

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

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

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

Emily May reviews Michelle Obama’s Becoming on Goodreads:

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

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

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

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

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

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

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

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

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Book Reviews

What this handout is about.

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

What is a review?

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

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

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

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

Becoming an expert reviewer: three short examples

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

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

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

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

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

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

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

Here is one final review of the same book:

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

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

Developing an assessment: before you write

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

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

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

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

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

Writing the review

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

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

Introduction

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

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

Summary of content

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

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

Analysis and evaluation of the book

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

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

Finally, a few general considerations:

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

Works consulted

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

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

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

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

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

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

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Step-by-Step Guide: How to Write a Book Review for Beginners

Writing a book review can be a rewarding and fulfilling experience for book lovers. It allows you to share your thoughts and opinions about a book while helping others make informed choices. it provides an opportunity to connect with a community of readers who share similar interests. Here are the steps to write a book review and some tips for writing an effective one.

Why Write a Book Review?

• Share Your Opinion: Writing a book review allows you to express your thoughts, feelings, and insights about a book.
• Help Others Make Informed Choices: Your review can assist potential readers in deciding whether a book aligns with their interests and preferences.
• Connect with a Community: Engaging in book reviews allows you to connect with fellow readers, exchange recommendations, and participate in meaningful discussions.

Steps to Write a Book Review:

• Read the Book Carefully: Take your time to read the book thoroughly, paying attention to its themes, plot, characters, and writing style.
• Take Notes and Highlight Key Points: Make note of important ideas, memorable quotes, and significant moments that stand out to you while reading.
• Structure Your Review: Organize your review into sections such as introduction, summary, plot analysis, writing style evaluation, personal thoughts, and conclusion.
• Begin with an Engaging Introduction: Capture the reader’s attention by providing a brief overview of the book and its significance.
• Provide a Brief Summary: Summarize the main plot and introduce the central characters without giving away any major spoilers.
• Discuss the Plot and Characters: Analyze the plot’s development, pacing, and twists. Evaluate the strength of the characters and their impact on the story.
• Evaluate the Writing Style and Organization: Assess the author’s writing style, use of language, and overall organization of the book.
• Share your Personal Thoughts and Opinions: Express your likes, dislikes, and thoughts on the book’s themes, messages, and overall impact.
• Give Examples and Supporting Evidence: Support your opinions with specific examples from the book, such as quotes or scenes, to strengthen your arguments.
• Write a Clear and Concise Conclusion: Sum up your review in a concise manner and provide a final verdict on whether you recommend the book or not.

Tips for Writing an Effective Book Review:

• Be Honest and Balanced: Present both the strengths and weaknesses of the book in a fair and balanced manner.
• Avoid Spoilers: Be mindful of not revealing major plot twists or giving away the ending to preserve the reader’s experience.
• Use Clear and Concise Language: Write in a clear, concise, and engaging manner to keep the reader’s attention.
• Provide Context: Include relevant background information about the author, genre, or any historical context that may enhance the reader’s understanding.
• Support Your Opinions with Evidence: Back up your opinions with examples, quotes, and references from the book to add credibility to your review.
• Consider the Target Audience: Keep in mind the book’s intended audience and tailor your review accordingly to address their interests and expectations.

By following these steps and tips, you can confidently write a comprehensive and insightful book review that will help readers make informed choices and engage in meaningful discussions within the reading community.

Table of Contents

Key takeaways:

• Writing a book review allows you to share your opinion, help others make informed choices, and connect with a community of readers.
• To write an effective book review, carefully read the book, take notes, structure your review, and provide a brief summary, character and plot analysis, and evaluation of the writing style.
• When writing a book review, be honest and balanced, avoid spoilers, use clear and concise language, provide context, support your opinions with evidence, and consider the target audience.

Why write a book review? It’s more than just sharing your opinion on a page-turner. It’s a chance to help others make informed choices, connect with a community of book lovers, and take notes on key points that truly resonated. So, grab that pen and paper, and unleash your creativity! From an engaging introduction to a clear and concise conclusion, we’ll explore the structure, plot, characters, writing style, and more. Get ready to dive into the exciting world of book reviews!

Share Your Opinion

To effectively share your opinion in a book review, there are several key factors to consider. Firstly, it’s important to be honest and balanced in your assessment of the book. Providing a fair evaluation will give readers a trustworthy perspective. Additionally, avoiding spoilers is crucial as it allows readers to discover the plot themselves, enhancing their reading experience.

To ensure your opinion is well-understood, it is essential to use clear and concise language. This will help convey your thoughts effectively and prevent any confusion. In addition, providing context by discussing the genre, themes , and target audience of the book will enrich your review. This allows readers to better understand the book’s intended audience and purpose.

To strengthen your opinion, supporting it with evidence is vital. Incorporate specific examples from the book to back up your arguments. This will demonstrate that your opinions are well-grounded and thoughtful.

Lastly, keep in mind the target audience when expressing your thoughts and opinions. Tailoring your review to match the interests and preferences of the intended readership will make your opinion more relevant and valuable to them.

By considering these guidelines, you can craft a book review that effectively shares your opinion while providing valuable insights for potential readers.

Help Others Make Informed Choices

Writing a book review can help others make informed choices when deciding what books to read. Here are some reasons why writing a book review is important:

• Share your opinion: Your review can give readers an insight into your thoughts and feelings about the book.
• Help others make informed choices : By sharing your evaluation of the book, you can help others make informed choices if it’s the right book for them.
• Connect with a community: Book lovers can connect and engage in conversations about books through reviews.

By writing a comprehensive and well-structured review, you can provide valuable information to potential readers, guiding them in their book selection process. So, don’t hesitate to share your thoughts and help others make informed choices!

Connect with a Community

Connecting with a community is one of the benefits of writing a book review. It allows you to connect with a community and share your thoughts and opinions with others who have similar interests. By engaging in discussions with fellow readers , you can connect with a community, gain new insights, recommendations , and perspectives. Writing a book review provides an opportunity to connect with a community of readers and establish meaningful connections. So, whether it’s joining a book club , participating in online forums , or attending literary events , connecting with a community is a great way to enhance your reading experience.

Pro-tip : Join online book communities or social media groups dedicated to book discussions to connect with a larger community of readers and discover new books.

Read the Book Carefully

When writing a book review, it is essential to thoroughly read the book in order to provide a meticulous and thoughtful analysis. Pay close attention to the plot , characters , writing style , and themes that are explored in the book. Take detailed notes while reading to ensure you remember the important details and impactful quotes. By comprehensively understanding the book, you will be able to offer a well-informed review that provides valuable insights to potential readers. Remember to take your time and fully immerse yourself in the book to grasp its nuances and appreciate the author’s craftsmanship .

Take Notes and Highlight Key Points

Taking comprehensive notes and highlighting key points while reading a book is crucial for writing an effective book review. Noting down significant details, memorable quotes , and important themes is essential for providing a comprehensive analysis of the book. Here’s how to efficiently take notes:

By taking comprehensive notes and highlighting key points, you’ll have a solid foundation for writing an insightful book review. Keep in mind that the purpose of a review is not only to summarize the book but also to provide your personal analysis and evaluation.

Structure Your Review

• Structure Your Review by reading the book carefully to have a thorough understanding of its content.
• Take notes and highlight key points that you want to discuss in your review in order to effectively Structure Your Review .
• To Structure Your Review effectively, begin with an engaging introduction that grabs the reader’s attention.
• Provide a brief summary of the book to give readers an overview and help Structure Your Review .
• Discuss the plot and characters , exploring their development and impact on the story, as part of the process to Structure Your Review .
• Evaluate the writing style and organization , commenting on the author’s technique and how well the book flows to Structure Your Review .
• Share your personal thoughts and opinions, expressing what worked or didn’t work for you, as this is crucial to Structure Your Review .
• Give examples and supporting evidence from the book to strengthen your review and further Structure Your Review with concrete evidence.
• Write a clear and concise conclusion that summarizes your main points and final thoughts to Structure Your Review effectively.

Remember to be honest, avoid spoilers, use clear language, provide context, support your opinions with evidence, and consider the target audience. Have fun writing your book review!

Begin with an Engaging Introduction

When writing a book review, it is crucial to begin with an engaging introduction that grabs the reader’s attention. This introduction sets the tone for your review and piques the curiosity of your audience. You can start by providing a brief but captivating summary of the book, highlighting its main themes or unique aspects. Additionally, you can share your initial impressions or explain why you chose to read the book. However, it is important to avoid giving away any spoilers . By starting with an engaging introduction, you will hook your readers and leave them eager to continue reading your review.

In the realm of ancient literature , the art of storytelling has always held a special place in the hearts of readers. From Homer’s epic poems to Shakespeare’s masterful plays, the power of a well-crafted narrative has transcended time. Through the magic of literature , tales of triumph, tragedy, and everything in between have been passed down and cherished by countless generations. Therefore, when embarking on the task of writing a book review, it is essential to begin with an engaging introduction that draws readers into the enchanting world of words.

Provide a Brief Summary

A well-crafted book review includes the provision of a brief summary. It is essential to capture the main points of the book while avoiding excessive details or spoilers. The summary serves the purpose of giving readers a general understanding of the book’s content and what they can expect from it. A concise and clear summary emphasizes the crucial aspects of the plot, setting , and characters. By providing this brief overview, readers can quickly assess if the book matches their interests and make a decision regarding whether to read it. A noteworthy fact is that a skillfully written summary has the potential to entice readers to explore the book further, thereby increasing their interest and engagement.

Discuss the Plot and Characters

When writing a book review, it is crucial to thoroughly discuss the plot and characters in an insightful and detailed manner. Take the time to analyze the storyline , examining how the plot unfolds and develops, and evaluate how the characters contribute to the overall narrative. It is also important to assess the believability and depth of the characters, as well as explore their motivations and relationships . In addition, discuss whether the characters experience personal growth or remain stagnant throughout the book. Enhance your analysis by providing examples and specific evidence from the text to support your points. By delving into both the plot and characters, you will offer readers a comprehensive understanding of the book, allowing them to make an informed decision.

Evaluate the Writing Style and Organization

Evaluating the writing style and organization of a book is essential when writing a review. When analyzing a book’s qualities, it is important to consider the following factors:

• Clarity: Is the writing clear and easily understandable?
• Flow: Does the book transition smoothly between ideas, or are there sudden shifts?
• Structure: Does the book have a well-organized structure, including a clear beginning, middle, and end?
• Pacing: Does the book maintain an appropriate pace, or does it feel either too slow or rushed?
• Character development: Are the characters well-developed and believable?
• Plot progression: Does the plot progress logically, or are there any inconsistencies?

By evaluating both the writing style and organization, you can provide readers with valuable insights to guide them in determining if the book suits their preferences. It is worth noting that a well-written book with strong organization has the potential to enhance the reading experience and captivate its audience.

Share your Personal Thoughts and Opinions

When writing a book review, it is crucial to share your personal thoughts and opinions . By doing this, you allow readers to comprehend your perspective and assist them in making well-informed choices . It is important to incorporate specific examples and evidence from the book to substantiate your viewpoints. Additionally, strive to maintain honesty and balance in your assessment by presenting both positive and negative aspects of the book. Using clear and concise language is also essential in effectively conveying your thoughts. Furthermore, always bear in mind the target audience of the book and tailor your opinions accordingly. By openly expressing your personal thoughts and opinions, you can actively contribute to a dynamic and captivating book review community .

Give Examples and Supporting Evidence

When writing a book review, it is crucial to provide examples and supporting evidence to substantiate your opinions. By furnishing specific examples from the book, you can effectively demonstrate your points and aid readers in comprehending your perspective. For instance, if you discovered the characterization in the book to be robust , you could present examples of well-developed and relatable characters. Similarly, if you sensed that the plot was feeble , you could provide particular instances where the story lacked tension or resolution. Incorporating supporting evidence bolsters your review and enhances its persuasiveness to others.

Write a Clear and Concise Conclusion

• Summarize your main points: Briefly recap the key aspects of the book, including the plot, characters , and writing style .
• Evaluate the overall impact: Share your overall assessment of the book . Did it meet your expectations? Did it fulfill its purpose?
• Offer a recommendation: Based on your review, recommend whether or not others should read the book . Provide a concise reason for your recommendation.

A pro-tip for writing a conclusion: Keep it concise and impactful . Your conclusion should leave a lasting impression and encourage readers to take action, whether that’s picking up the book or skipping it.

Tips for Writing an Effective Book Review

Looking to write an effective book review? Look no further as we dive into some valuable tips that will elevate your review game. From being honest and balanced to avoiding spoilers, using clear and concise language, and providing context, we’ll cover it all. We’ll explore the importance of supporting your opinions with evidence and considering the target audience. With these guidelines, you’ll be equipped to write book reviews that captivate readers and offer valuable insights. So grab your pen and let’s get started!

Be Honest and Balanced

• To write an effective book review, it is crucial to be honest and balanced in your assessment.
• When evaluating the book , make sure to provide an objective and impartial evaluation, highlighting both its strengths and weaknesses .
• Avoid allowing personal biases or preferences to overly influence your review, and give credit where it is due.
• Consider different perspectives and think about the potential audience for the book.
• Present a well-rounded viewpoint by acknowledging any flaws or shortcomings in the book alongside its positive aspects .
• Support your opinions with evidence from the book, such as specific examples or quotes .
• Communicate your thoughts using clear and concise language, without resorting to excessive praise or criticism.

Avoid Spoilers

When writing a book review, it’s crucial to avoid spoilers in order to preserve the suspense and surprise for other readers. Here are some tips to help you steer clear of spoilers when crafting your review:

• Emphasize the overarching themes and impressions of the book rather than divulging specific plot twists or endings.
• Steer clear of discussing significant character developments or surprises that may impact the reader’s experience.
• Instead of revealing specific details, delve into the author’s writing style, the pacing of the story, or the effectiveness of the narrative structure.
• Provide enough information to give readers an idea of what to expect without giving away crucial plot points.
• Consider using vague statements or generalizations to explore important aspects of the story without spoiling the specifics.

In a similar vein, when recounting a true historical event , it’s vital to gradually reveal the details in order to preserve the suspense and intrigue for the audience. By gradually unveiling the facts, it enables the reader or listener to engage with the event in a more captivating and profound manner.

Use Clear and Concise Language

When writing a book review , it’s crucial to incorporate the use of clear and concise language. This is important to effectively communicate your thoughts and opinions to the reader . Avoid the use of unnecessary jargon or complex vocabulary that may confuse the reader. Instead, focus on using straightforward sentences and expressing your ideas in a concise manner. Aim to be clear and direct in your language, getting straight to the point . By incorporating the use of clear and concise language, you can ensure that your book review is easily understandable and engaging for the reader. Always remember, simplicity is key in conveying your thoughts effectively.

Provide Context

To effectively provide context in a book review, it is of utmost importance to tactfully present readers with a brief background on the author , the genre , and any relevant historical or cultural context. This approach helps readers grasp the book’s significance and fully appreciate it within its specific context. For instance, when analyzing a historical fiction novel, mentioning the specific time period in which it is set, as well as any pertinent historical events that contribute to the story, becomes crucial. By incorporating context, readers gain a deeper understanding and appreciation for the book’s themes, characters, and plot. As a result, they are empowered to make well-informed decisions about whether the book aligns with their interests and preferences.

In a similar vein, a true story serves as a powerful exemplification of the profound impact of providing context. A book reviewer shared their initial confusion and lack of interest in a classic novel. However, after delving deeper into the historical context surrounding the book’s creation and the personal experiences of the author, they found a newfound appreciation for the story and its underlying themes. This anecdote beautifully underscores how the inclusion of context can significantly augment readers’ understanding and enjoyment of a book.

Support Your Opinions with Evidence

To write an effective book review, it is vital to support your opinions with evidence. Here are some ways to accomplish that:

• Present specific examples from the book to validate your arguments and opinions.
• Show references to quotes or passages that stood out to you and explain why they carried significance.
• Explore the author’s implementation of literary devices, such as symbolism or foreshadowing , and discuss how they influenced the story.
• Analyze the development of characters and provide instances of their actions or dialogue that illustrate your points.
• Draw comparisons between the book and other works by the same author or within the same genre to offer context and back your evaluation.

By incorporating evidence from the book, you can enhance your review and assist readers in making informed decisions about whether to read the book or not.

Consider the Target Audience

Considering the target audience is crucial when writing a book review . It is important to consider the target audience to ensure that your review is tailored to their specific needs and interests. By taking into account the age group , genre preferences , reading level , and cultural background of the readers, you can provide a more insightful and valuable review.

By considering the target audience , you can provide a more insightful and valuable review that caters to their specific needs and interests.

Some Facts About How to Write a Book Review:

• ✅ A book review should offer a critical perspective and engage in dialogue with the work’s creator and other audiences. (Source: UNC Writing Center)
• ✅ Reviews are typically brief and rarely exceed 1000 words. (Source: UNC Writing Center)
• ✅ A book review should provide a concise summary of the content, offer a critical assessment of the work, and suggest whether the audience would appreciate it. (Source: UNC Writing Center)
• ✅ Writing a book review can be daunting as it requires expressing opinions and making judgments. However, it is encouraged to provide concrete evidence for assertions and voice agreement or disagreement tactfully. (Source: UNC Writing Center)
• ✅ A good book review should be concise, avoid repetition, be supported by evidence from the book, and be proofread before submission. (Source: Grammarly)

Frequently Asked Questions

Faqs on how to write a book review, 1. how can i write a concise summary of a book in my review.

A concise summary of a book in your review can be written by focusing on the main ideas, key events, and central themes of the book. Include a brief description of the plot or contents, highlighting the significant aspects without getting into excessive detail.

2. How should I analyze a book in my review?

To analyze a book in your review, pay attention to its literary elements, such as themes, characters, dialogue, and the author’s style. Discuss how these elements contribute to the overall message or impact of the book. It’s also helpful to consider the book’s historical, social, or cultural context.

3. What are some key steps for writing an effective introduction paragraph?

When writing the introduction paragraph of your book review, start with a captivating opening sentence that grabs the reader’s attention. Provide a brief overview of the book, including its title, author, and a short summary of its content. Finally, state your thesis statement, which outlines your main argument or evaluation of the book.

4. How can I offer a critical assessment of the book in my review?

To offer a critical assessment of the book in your review, carefully evaluate its strengths and weaknesses. Discuss what aspects of the book worked well and what could have been improved. Support your assessment with specific examples, evidence from the book, and comparisons to relevant sources or similar works.

5. How do I write a conclusion paragraph for a book review?

The conclusion paragraph of your book review should summarize your main points and restate your thesis statement. You can also provide a final evaluation or recommendation for the book, explaining whether you would recommend it to others and why. Avoid introducing new ideas in the conclusion.

6. Where can I find additional resources to enhance my book review writing skills?

To enhance your book review writing skills, consider exploring academic journals, professional works, and recently written books in your field of interest. These sources can help you deepen your analytical skills and learn from expert reviewers. Additionally, online writing guides and resources provided by writing centers or universities can be valuable in improving your academic writing abilities.

How To Write A Book Review: 6 Steps To Take

Adiba Jaigirdar

Adiba Jaigirdar is an Irish-Bangladeshi writer, poet, and teacher. She resides in Dublin, Ireland and has an MA in postcolonial studies. She is currently working on her own postcolonial novel and hopes that someday it will see the light of day outside of her computer screen. Twitter:  @adiba_j

View All posts by Adiba Jaigirdar

Whether you’re a student, a novice blogger, or just someone looking to become a more active user of Goodreads, writing a book review is an important skill to have! Here are six steps for how to write a book review for school and beyond. 

1. Begin with a brief summary of the book

This is probably the best way to introduce any review because it gives context. But make sure to not go into too much detail. Keep it short and sweet since an official summary can be found through a quick google search!

2. Pick out the most important aspects of the book

I usually break this down with character, world-building, themes, and plot. But this might vary between books, genres, and your tastes!

Dedicate a paragraph to each of these important aspects, discussing how well the author dealt with it, along with what you enjoyed and what you didn’t enjoy.

3. Include brief quotes as examples

Including quotes is always a great idea, because it gives examples for everything that you’re saying! If your review talks about a character being particularly witty, a witty line from the character lets your readers see exactly what kind of witty character you’re dealing with here.

But be careful: lengthy quotes can take up big chunks of space and overpower your review. Short quotes will usually get your points across while letting your work shine through.

4. Write a conclusion that summarises everything

Like your introduction, keep your conclusion short and sweet! It should bring up the main points of your review, along with your overall opinion of the book.

5. Find similar books

A great way to wrap up a review is to find similar books to the one you’re reviewing. So you can say, “if you were a fan of X book, I think you’ll definitely like this one!”

You can also be more specific, looking at the exact things that might make two books similar. So you can suggest something like…“if you liked that the main character in X book was a kick-ass superhero, then you’ll love the main character of this book!”

6. Give it a star rating

A star rating is obviously encouraged in a lot of review sites, but they’re not necessary! If you do want to give a star rating, you can go the conventional “out of five/ten” route. You could also try something slightly less conventional, and break down your star-rating into different categories for character/plot/world-building, etc.

Now go forth and review! And share any tips you have for how to write a book review in the comments.

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How to Write a Book Review: The Ultimate Guide

WHAT IS A BOOK REVIEW?

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

WHAT IS THE PURPOSE OF A BOOK REVIEW?

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

WHY BOTHER TEACHING STUDENTS TO WRITE BOOK REVIEWS AT ALL?

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

●     Engage critically with a text

●     Critically evaluate a text

●     Respond personally to a range of different writing genres

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

Not to Be Confused with a Book Report!

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

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

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

BOOK REVIEW STRUCTURE

ANALYZE Evaluate the book with a critical mind.

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

COMPARE Where appropriate compare to similar texts and genres.

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

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

FEATURES OF A BOOK REVIEW

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

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

VOICE Both active and passive voice are used in recounts.

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ELEMENTS OF A BOOK REVIEW

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

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

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

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

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

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

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

BOOK REVIEW KEY ELEMENTS

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

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

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

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

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

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

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

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

i. Make It Personal

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

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

ii. Make It Universal

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

iii. Support Opinions with Evidence

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

EDIT AND REVISE YOUR BOOK REVIEW

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

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

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

Teaching Resources

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

BOOK REVIEW GRAPHIC ORGANIZER (TEMPLATE)

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Book and Movie review writing examples (Student Writing Samples)

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

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

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

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Write a Book Review

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A book review describes, analyzes, and evaluates a book by examining its purpose and its contribution.

A book review should address the following:

• What are the authors trying to accomplish? What is their argument?
• Who is the author trying to convince?
• What strategies and evidence did you see in the book?
• To what extent are you convinced by the book? To whom (if anyone) would you recommend this book?

Your professor may specify additional instructions or objectives for their book review assignment. Therefore, be sure to read the assignment instructions carefully.

In many ways, your book review can be structured like a typical essay, using an introduction, body, and conclusion.

Like other introductions, the book review introduction should move from broad (the topic of the book) to narrow (your specific argument or purpose statement).

Your reader will expect you to do the following in your introduction:

• Introduce the topic of the book (what is the issue at hand, and why should we care?)
• Introduce the title and author of the book
• State the purpose of the book (including the author’s thesis or major findings)
• State your thesis (or the purpose of your review)

The thesis of your book review may vary depending on the assignment.

• If you are given a specific task (e.g., to relate the book to course themes), that task will likely form the basis of your review.
• If you are asked to evaluate the book’s contribution to a specific field, that evaluation will be the backbone of your thesis.

Example thesis relating the book to course themes:

George Orwell’s 1984 provides insight into three course themes: critical thinking as a form of resistance, the role of misinformation in totalitarian societies, and the connection between privacy and personal freedom. The review that follows argues that the novel’s engagement with these themes can deepen our understanding of these themes in the course context by illustrating their interconnections.

Example thesis evaluating the book’s contribution to the field:

Sara Jaquette Ray’s The Ecological Other: Environmental Exclusion in American Culture is an important contribution to environmental justice scholarship because it offers a nuanced account of how environmental discourse has positioned people with disabilities, immigrants, and Native Americans as environmental outsiders. At the same time, it suggests how environmental activists can frame their arguments with greater inclusivity and care.

In your body paragraphs, you will describe, analyze, and evaluate the book. Your reader will expect you to do the following in the body of your review:

• Summarize the major points of the author’s argument
• Discuss the author’s engagement with larger themes
• Identify key strengths and weaknesses
• Evaluate the author’s contribution to the field
• Support your claims with evidence from the text
• Suggest how the book extends, complicates, or overturns arguments from other sources

Paragraph Order

In the body of your book review, you will support your thesis with reference to specific examples from the text. Although you may organize this material in a number of different ways, three common patterns of organization are thematic, chronological, and evaluative.

• If you are tasked with relating a book to course themes, use these themes to structure your review.
• You can devote each section of the body to one theme.
• Use topic sentences and transitions to show your reader when you are moving from one theme to the next.
• This structure can help you discuss the author’s engagement with a set of issues.

Chronological

• The structure of your review can mirror the structure of the book itself.
• You can discuss topics in the same order as the author, providing an evaluation that moves from chapter to chapter or section to section.
• This structure can help you emphasize the thoroughness of your review.
• Many published academic reviews begin by highlighting the strengths of the book under discussion and then move toward a critique of the weaknesses.
• This structure can help you assert your own critical voice as a scholar.

Rather than summarizing the book or restating your thesis, use the conclusion to provide your final thoughts. Consider the following questions:

• What have you learned from reviewing the book?
• What is your overall assessment of the book’s importance?
• Who might benefit most from reading it?
• How can future researchers build on this book?
• Does the book make space for new kinds of research within its field?

The conclusion is your last chance to add analysis to your book review, so be sure to address the book’s overall significance.

Try using signal words like ‘ultimately’ or ‘overall’ instead of ‘in conclusion’ to help you frame your conclusion through an analytical lens while also telling the reader that they should pay special attention to what follows.

The assignment’s instructions may also provide clues for material that you could include in the conclusion.

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Writing a Book Review

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A critical book review is a thoughtful discussion of a text’s contents, strengths, and limitations. A book review should reflect your capacity to read critically and to evaluate an author’s arguments and evidence. Compose your review as you would any essay, with an argument supported by evidence, and a clear, logical structure.  

Initial Steps

• Read the book carefully, taking notes on material that you think may be relevant or quotable and on your impressions of the author's ideas and arguments.
• Determine the author’s principal argument, the chief themes of the text, the kinds of evidence used, and the way in which the author uses them.

Organizing the Review

• All reviews begin with bibliographic information: the author’s name, the book’s full title, place of publication, publisher, edition, date, pagination, and cost, if known.
• In no more than two paragraphs, introduce the book. Give your initial appraisal of the work, including your key observation on the text. This key observation will be your thesis. Try not to begin with a flat statement such as “This book is interesting.” Begin with an anecdote, a challenging quotation, or a key observation.
• clearly set out the author’s purpose in writing the book, and whether or not you think the author has succeeded.
• describe the author’s arguments and the themes of the book, and give your appraisal of their validity and effectiveness.
• describe the sources and evidence the author uses to prove his case, and evaluate their appropriateness and sufficiency. What are the author's sources? Should the author have used more, or different, sources?
• Comment on the author's organization and writing style.
• Conclude. Here you may make more general remarks about the text and the ideas presented in it. If you have not already done so, indicate whether you feel the book is worthwhile, and for what audience. Is the book outstanding? Will it make a lasting contribution to its field, or is it less satisfactory?  

Questions to Consider

Although you should not use the following questions as some sort of laundry list of “things to include” (dull for us all), you may wish to consider them as you prepare and write your review.  

Analysis of Content

• What is the author’s principal argument? What are her/his conclusions?
• What does the author choose to emphasize?
• Does the author’s presentation contradict or refute alternative interpretations?
• What methods of analysis does the author employ?
• What sorts of evidence does the author employ?
• Who is the author? Is he/she qualified to write this work?
• When was the work written? How relevant is it today?  

Evaluation of Content

• Is the book convincing in style and substance? Why or why not?
• Does the author accomplish her/his purpose?
• Is the author fair to his/her subjects, or is the author overly biased? Is the book accurate or misleading?
• Does the author describe but not analyze?
• Does the author treat all available data equally well?
• Are all arguments in the book equally well supported? Is the book marred by generalizations or speculations?
• Is the author's use of evidence adequate and convincing?
• Does the author omit possible alternative interpretations? Is the author's approach flexible, or is it dogmatic?
• Is the book well-organized? Are all parts of the book equally well reasoned and developed?
• Is the book well written, or is it in some way repetitive, obscure, or confusing?
• To whom would the book appeal? What audience did the author intend?

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How to Write a Book Review: Writing Guide, Structure & Examples

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A book review is a critical evaluation of a book that provides a brief summary and  discusses its strengths and weaknesses. The purpose of a book review is to help readers decide whether or not to read the book. You should provide insight into the book's content and assess its significance.

Writing a book review is an essential skill that every student must possess. In particular, your teacher may require you to prepare a book review to widen your knowledge of a subject matter or let you practice evaluating ideas critically. Follow this article to discover how to review a book and complete such projects easily. Even if you have never written reviews before, with our step-by-step guidelines, you will understand the basics. Book reviews examples are also offered to bolster your grasp of key points. As a book review writer , you might use our recommendations to express your opinion and make your writing shine. Let’s get started!

What Is a Book Review: Definition

A book review is a detailed assessment of text based on content, plot and writing style. It involves thoroughly describing, analyzing, and evaluating what a text means. Reviews often assess writing quality, topic importance and coverage. Most book reviews are brief and generally include 500-1000 words. However, factors such as your assignment length, manuscript complexity, and overall purpose of an evaluation may lead to longer or shorter papers. Students are mainly asked to write a book review as practice in carefully reading, examining, and forming an informed opinion on a volume’s context and author’s views. Unlike a book critique , reviews are more focused on plot summary and recommendations rather than providing critical analysis . The real value of crafting good book review essays for students is that they enhance critical thinking, writing, and interpretation skills. Commentary is a vital aspect of this task as this enables you to enter into discussion and dialogue with a novelist and other readers.

Features of Book Reviews

Formulating book reviews is an important task, as it requires appraising another person’s work. This may have a significant influence on readers because it guides their verdict on whether to consider the text. Thus, knowing how to write a good book review is essential. These components are what makes a good book review:

• Provide a summary of a manuscript. Offer an overview of its purpose, argument, and perspective. Also, describe your topic and scope. This is an excellent way to introduce your review, as it offers context. Nonetheless, avoid giving too much information by keeping it nice and short.
• Offer critical evaluation. Assess the key elements such as themes, plot, character, and overall development, depending on the genre. Identify strong points, weaknesses, and how effective an author is in building their work.
• Give a rating. Recommend whether or not people should value it for its overall quality and authenticity. You can offer your general score using conventional techniques such as “seven out of ten”.

Book Review Outline

It is a good idea to start your paper by writing an outline of a book review. A decent layout usually begins with a heading or bibliographic data specifying the full title, publication place and date, author, and publisher. The second part of the structure of a book review is an introduction, consisting of a brief overview of the text, its purpose or audience, and your thesis statement or key observation.  The next section of your book review template is the body in which you describe the analysis and assessment of the manuscript. Here, describe its contents, argument, presentation, and evidence before offering your evaluation. A conclusion section follows where you tie together all raised points and offer your comments about the work. Finally, include a citation page for what you reviewed and any other sources used.  Here is a book review outline example:

• Discuss the cover and title
• Mention the author and date of publication
• Present a thesis statement focusing on the central points
• Provide a brief plot summary
• Present your main point
• Include supporting quotations
• Discuss the quotes and symbolism
• Wrap up your key points
• Share your final opinion
• Give recommendations

Things to Consider Before Writing a Book Review

As with all other essay genres that students complete, writing a book review requires considering several components. Therefore, if you are interested in knowing how to write a book review , make sure you attend to these aspects before beginning:

• Author Within your book review essay, you must discuss who the novelist is and their previous works concerning your analysis. For example, you can identify the author’s style, prizes or rewards, and what they are popular for.
• Genre Book reviews also include a genre. Examples are history, romance, fiction, poetry, non-fiction, and science fiction, among others. This helps you recognize the work’s audience and overall purpose.
• Title In most cases, your heading corresponds to a text’s label. However, you can go further by examining how relevant a headline is to the work’s purpose. Maybe it conveys a specific message or reveals important themes.
• Main theme and ideas Your book review must highlight its central points. Evaluate how they are explored. Are they examined deeply or trivially? Besides, assess if it includes any repetitive motifs.
• Argument What is the author’s main argument or assumptions and conclusions? What evidence is used to support these claims? Also, identify if they are valid.
• Writing style Here, explore the major aspects of an author’s style, such as word choice and dialogue setup. Explain or assess how it fits into the broader literary domain.
• Plot Writing an academic book review also requires that you locate the main catalyst of the work’s contents or story. Describe any subplots and explain what happens as the action rises.
• Characters You should also recognize the main characters and their motivations. Additionally, explain if they are empathetic or convincingly drawn.
• Literary devices What techniques of analysis are used? Examples include allusions, sense appeal, quotations, imagery, metaphor, personification, characterization, dialogue, symbolism, etc.
• Quotations You can include short quotes as examples to get your points across when writing book reviews. This allows your reader to see exactly what you are talking about. Practice carefulness and avoid long quotes as they suppress your analysis and take up large spaces. Check our guide on how to cite a quote if you have questions.

Questions to Ask While Reading a Book

An initial step before starting to write your book review is engaging in the active reading of what will be evaluated. Do it once or a couple of times to understand what it is about. Composing an academic book review without going through this phase is unwise because it is like going to an exam without studying a course or unit. Ask yourself these questions as you dig into the manuscript:

• What is its genre?
• Do you know anything about who wrote it?
• Can you identify the main themes? Are they conveyed well?
• What is the main argument?
• What is the exact topic or subject?
• How are the arguments supported and structured?
• Can you identify how the events and characters relate to the subject matter?
• Does it contain a major conflict? How does this develop throughout the work?
• The author was trying to accomplish what?
• How has it helped you understand the topic? How do you feel about the text?

How to Write a Book Review Step-By-Step

Once you have answered the aforementioned questions and made assessments and observations, it is time to start writing analysis. To do this, you must be familiar with how to write a book review. Specifically, you should understand what to do, beginning from assessing the report to composing your review up to writing a conclusion. Below is a step-by-step description of how to do a book review:

1. Read a Book and Take Notes

The first phase of composing a book review involves reading it and taking notes on key points. Start by attending closely to the preface and introduction sections because most authors describe the reasons for writing, their views, and the perspectives of any contributors here. Consider the structure and table of contents to get a quick overview of what is inside. In addition, look at any graphics to gain insights into what strategies are used to enhance meanings and which kinds of readers are targeted. Go through the summaries and abstracts to understand an author’s viewpoint. Note down your observations, including the logic of what is presented, organization, and structure.

Additionally, identify if the information is new or developed based on previous works and existing ideas. Assessment should also include your view about how simple or hard it is to get a novelist’s standpoint and why. These transcripts will enable you to review a book effectively by revealing how distinctive it is and to what extent the author conveyed its motive. Learn more about how to write an academic book review in the sections below.

2. Develop an Outline of a Book Review

Writing an outline for a book review before constructing the actual piece helps ensure your work fulfills its goals. This is the basis of your entire task as it includes the major points you will address and gives you a reference point as you complete your schoolwork. A professional book review structure consists of at least five paragraphs. The main elements are the introduction, body paragraphs, and conclusion. Your academic book review template must cover all the primary arguments to be discussed, such as plot details, characters, themes, and other essential parts. Below you can see an example of how a book review can be outlined. Check best practices on how to outline an essay or review to organize your work properly. 

3. Write a Book Review Introduction

Start your book review with an anecdote or hook that conveys your argument succinctly. However, you can begin differently based on your audience and argument. Generally, you must include the author’s name, manuscript title, and primary theme. Besides, identify the work’s context in your book review introduction as this informs your claim. Also, offer relevant information about who the writer is and their stand in their field. Moreover, if you are not conversant with how to write a review of a book, remember that your thesis and that of the text are stated here.

How to Write a Book Review Introduction Example

Below is an introduction of a book review example. Examine it carefully and critically to deepen your understanding of composing this section.

John Boyne’s novel, The Boy in The Striped Pajamas, is based on real events during the Second World War. Published in 2006, it offers excellent information to teenagers who want to expand their historical knowledge. The novel follows a nine-year-old youngster, Bruno, whose father works as a Nazi soldier at the Auschwitz concentration camp. The story’s unfolding reveals what a curious boy lived during this desperate period in Germany.

4. Include a Brief Plot Summary

Next, write a book review summary to provide your audience with some background. Focus on pertinent events that occur throughout it, as this gives context. Be cautious here by not revealing the climax or ending because this does not form a major part of your analysis as you write your book review. Thus, keep this section short and brief, probably not more than two paragraphs, unless you are preparing an extended piece. Remember to prioritize your evaluation part. Your audience can also influence the necessary amount of synopsis. For example, if they have not read the work, you may need to offer a good summary. Nonetheless, if they have already gone through it, you can make a book review by examining more subtle arguments and highlighting your claim.

Example of Book Review Summary

Have a look at this example of a good book review summary:

Bruno, a nine-year-old boy, lives in a large house with his parents, sister, and maid during WW2 in Berlin. One day they all move to rural Poland occupied by Nazis after his father is promoted. Bruno identifies a concentration camp close to where they live but thinks it is a farm. A private tutor is allowed to teach him and his sister antisemitism and Nazi propaganda, but he struggles to understand lessons. He later befriends another young boy who lives on another side of a barbed wire fence.

5. Make an Assessment and Critique a Book

This is the main portion of a book review and includes your judgment and appraisal of what you read. You formulated a thesis at the beginning of the book review paper, which represents your view. Now, explain your reasoning. This is also a time for considering your notes and adding details from the manuscript, such as key themes, characters, and the author’s point of view. Here is how to write a book review essay for this segment:

• Which writing style is used? Emphasize precise usage of words and sentences, text flow, clarity, and cohesion.
• Describe how it affected you and if it changed any of your feelings or opinions.
• Explain whether the author met their purpose, if others should read the work, and why.
• Did the author describe facts or attempt to persuade the audience regarding the validity of a specific issue?
• Was it suitable for the intended readers? How interesting was it?

Book Evaluation Example

This example gives you an idea of how to write a book evaluation:

The novel is an excellent revelation for all as it describes the Holocaust events and terrors objectively. Its narration from two perspectives simultaneously was very entertaining. For example, initially, it involved a story from Bruno’s view in the course of the war, including which hardships were endured. Then, the same character was also used in telling a story from the view of being held in a Nazi camp. Here, the examination focuses on how prisoners were treated and the horrible conditions they lived in.

6. Make a Book Recommendation

After evaluating and critiquing the text, it is now time to reveal your thoughts about it. Writing a good book review requires that you identify or explain in this section how suitable it is to your audience. In other words, who will be interested in reading this work? Also, explain in your book review assignment whether you liked or disliked it and why. Ascertain which type of people would love it because not every text is right for everyone. Even if you disliked it, this does not mean that the manuscript is not appealing to others. Therefore, make your review of a book useful by helping people discover it. Besides, identify any surprises you encountered.

Book Recommendation Example

The following sample demonstrates how to write a book recommendation:

Being majorly fictional, this text contains numerous factual elements and describes a lot of ideas and themes requiring mature individuals to deduce and understand properly. Therefore, I do not recommend it to youngsters under 12 years old. However, if you want to gain better insights into the dark events of the Second World War, then this is a perfect copy for you. Its only downside is that the novel does not offer adequate details about events and themes.

7. Write a Conclusion of a Book Review

Your knowledge of how to write book reviews will be incomplete without understanding this section. In particular, you need a strong ending, just like any other writing task you have done previously. So, you have a basic idea about how to write a conclusion for a book review. Specifically, make your final appraisal without introducing new evidence. Nonetheless, you can include new thoughts that go beyond the manuscript if they extend your argument’s logic. In this part, you need to balance what you wrote and found into a single assessment. Ask yourself, what do all summaries and analyses add up to? Also, identify if additional research is required on the topic now that the text is written. Remember to highlight the work’s contribution to its field. Ensure to leave your audience with a well-justified and articulated final evaluation.

Book Review Conclusion Example

Still stuck or need a sample to jog your memory? Look at this example of a book review conclusion:

While the author’s style is plain and natural, there are some weaknesses and errors in how he develops his work. However, this does not stop the author from answering many questions and offering valuable views into the horrors of WWII for young people. His argument is vitally crucial when understanding and coming to terms with the Holocaust. No teenager in the world should go without being exposed to these disastrous events.

Book Review Format

When professors assign tasks, they often require you to comply with a specified design. You may also be left to select an appropriate layout from major styles such as Chicago, APA, or MLA. If you are not asked to use any one particular citation, keep in mind that the format of book reviews depends on your discipline. Therefore, find out how to format a book review from your school department.  Do not forget to format your citations accordingly. We advise reading more articles on how to cite a book in APA or MLA, should you need any help.

Book Review Examples

Examples of book reviews are provided below. Click on each one and explore sample templates in more detail. Please, take your time to read all samples since they highlight some key components of writing this type of work. Also, understand that a particular academic book review example is intended to help you practice your analysis skills, enhance your writing skills, and develop your knowledge of reviewing books. Example of book review essay 1

Sample book review 2

Book review essay example 3

Tips on How to Write Book Review

Your approach to composing a book review will vary and depend on what type of work and genre you are analyzing. However, when assessing a text, focus on how an author treats dialogue, setting, plot, and characters. In addition to viewing a book review sample for extra ideas, keep these tips in mind:

• Characters Are they believable, different, or similar during dialogue? Can you tell one from another?
• Plot Is it interesting enough? Does it emerge as original or has numerous dull parts? Identify if it has unresolved issues or is confusing. Remember that you do not know how to write a great book review if you cannot understand the plot.
• Comparison Think about other works in the same genre. How does this volume compare to theirs?
• Setting Can you visualize or imagine the described action? How is the setting used to create a mood?
• Writing style What style is used in developing the text? Is there a consistent style throughout?

Book Review Writing Checklist

Here is a checklist about how to write a book review for school or college. Use it to examine your book review or get another student or peer to assist you:

Final Thoughts on How to Write a Book Review

This article described the whole process of reviewing a book. Completing these types of tasks should not be complicated or demanding if you follow the discussed guidelines and tips comprehensively. Cement your understanding by checking out how to write a book review example from a list of samples provided previously. Pay attention to how key ideas from this guide are implemented. Also, don’t forget to explore all the examples of good book reviews for a complete overview. There is no need for you to seek more information outside once you have read all the segments. Just start writing your assignment.

If you feel that it is difficult for you to handle your work, you can ask to ‘do my assignment for me’ at StudyCrumb . Our academic writing service will provide you with high-quality and timely paperwork that will help you get the highest grade.

FAQ About Book Reviews

1. what is the purpose of a book review.

Book reviews usually inform readers about a specific volume’s purpose, argument, and quality. They also explain how it fits into the existing literature. This can be helpful to others who have not read the work so that they can choose whether to go through it or if it’s worth their time and effort.

2. What to include in a book review?

The elements of a book review include a citation, introduction, relevance and intended audience, a brief plot summary or main arguments, critique, evaluation and importance, recommendation, and conclusion. The review offers a critical analysis, assessment, and connection to other relevant works. A reviewer also provides personal views and recommendations.

3. How to start a book review?

Start a book review by reading the work to understand elements such as writing style, plot, characters, literary devices, and the main argument. Then, summarize the major claims made throughout the manuscript by explicitly stating them in your introduction. Also, offer relevant context for your analysis and declare your thesis.

4. How to end a book review?

Finish your book review by giving your overall impression of the work. Conclude and summarize the strengths and weaknesses you found, demonstrate how useful the text is, identify its contribution to the wider field, and offer your recommendations. In addition, mention the type of audience who will benefit from reading it.

5. How long should a book review be?

Traditionally, a book review is usually about 500-1000 words long. However, be sure to have a clear idea regarding your assignment expectations since specific tasks mostly have guidelines. In general, however, most evaluations will not exceed 1000 words.

6. What to avoid when writing a book review?

These are what to avoid when writing your book review:

• Retelling a story without an in-depth analysis.
• Summarizing the text only without critical evaluation.
• Using imprecise language.
• Providing harsh evaluations rather than constructive assessments.
• Not using evidence to back up your views.

Daniel Howard is an Essay Writing guru. He helps students create essays that will strike a chord with the readers.

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• checkbox Essential biographical details are provided.
• checkbox My introduction is interesting.
• checkbox I have identified the author and text title/type in my introduction.
• checkbox I stated what the work is about and offered adequate background information.
• checkbox I mentioned the book’s thesis and stated my claim.
• checkbox I described key points in the body, such as summary, purpose, arguments, intended audience, layout, organization, and sources.
• checkbox I backed up my description with evidence or quotations.
• checkbox I critically evaluated key areas.
• checkbox I discussed all strengths and weaknesses and summarized them.
• checkbox I included my rating and recommendations.
• checkbox I restated my thesis and offered a memorable ending.

How to write a literature review introduction (+ examples)

The introduction to a literature review serves as your reader’s guide through your academic work and thought process. Explore the significance of literature review introductions in review papers, academic papers, essays, theses, and dissertations. We delve into the purpose and necessity of these introductions, explore the essential components of literature review introductions, and provide step-by-step guidance on how to craft your own, along with examples.

Why you need an introduction for a literature review

When you need an introduction for a literature review, what to include in a literature review introduction, examples of literature review introductions, steps to write your own literature review introduction.

A literature review is a comprehensive examination of the international academic literature concerning a particular topic. It involves summarizing published works, theories, and concepts while also highlighting gaps and offering critical reflections.

In academic writing , the introduction for a literature review is an indispensable component. Effective academic writing requires proper paragraph structuring to guide your reader through your argumentation. This includes providing an introduction to your literature review.

It is imperative to remember that you should never start sharing your findings abruptly. Even if there isn’t a dedicated introduction section .

Instead, you should always offer some form of introduction to orient the reader and clarify what they can expect.

There are three main scenarios in which you need an introduction for a literature review:

• Academic literature review papers: When your literature review constitutes the entirety of an academic review paper, a more substantial introduction is necessary. This introduction should resemble the standard introduction found in regular academic papers.
• Literature review section in an academic paper or essay: While this section tends to be brief, it’s important to precede the detailed literature review with a few introductory sentences. This helps orient the reader before delving into the literature itself.
• Literature review chapter or section in your thesis/dissertation: Every thesis and dissertation includes a literature review component, which also requires a concise introduction to set the stage for the subsequent review.

You may also like: How to write a fantastic thesis introduction (+15 examples)

It is crucial to customize the content and depth of your literature review introduction according to the specific format of your academic work.

In practical terms, this implies, for instance, that the introduction in an academic literature review paper, especially one derived from a systematic literature review , is quite comprehensive. Particularly compared to the rather brief one or two introductory sentences that are often found at the beginning of a literature review section in a standard academic paper. The introduction to the literature review chapter in a thesis or dissertation again adheres to different standards.

Here’s a structured breakdown based on length and the necessary information:

Academic literature review paper

The introduction of an academic literature review paper, which does not rely on empirical data, often necessitates a more extensive introduction than the brief literature review introductions typically found in empirical papers. It should encompass:

• The research problem: Clearly articulate the problem or question that your literature review aims to address.
• The research gap: Highlight the existing gaps, limitations, or unresolved aspects within the current body of literature related to the research problem.
• The research relevance: Explain why the chosen research problem and its subsequent investigation through a literature review are significant and relevant in your academic field.
• The literature review method: If applicable, describe the methodology employed in your literature review, especially if it is a systematic review or follows a specific research framework.
• The main findings or insights of the literature review: Summarize the key discoveries, insights, or trends that have emerged from your comprehensive review of the literature.
• The main argument of the literature review: Conclude the introduction by outlining the primary argument or statement that your literature review will substantiate, linking it to the research problem and relevance you’ve established.
• Preview of the literature review’s structure: Offer a glimpse into the organization of the literature review paper, acting as a guide for the reader. This overview outlines the subsequent sections of the paper and provides an understanding of what to anticipate.

By addressing these elements, your introduction will provide a clear and structured overview of what readers can expect in your literature review paper.

Regular literature review section in an academic article or essay

Most academic articles or essays incorporate regular literature review sections, often placed after the introduction. These sections serve to establish a scholarly basis for the research or discussion within the paper.

In a standard 8000-word journal article, the literature review section typically spans between 750 and 1250 words. The first few sentences or the first paragraph within this section often serve as an introduction. It should encompass:

• An introduction to the topic: When delving into the academic literature on a specific topic, it’s important to provide a smooth transition that aids the reader in comprehending why certain aspects will be discussed within your literature review.
• The core argument: While literature review sections primarily synthesize the work of other scholars, they should consistently connect to your central argument. This central argument serves as the crux of your message or the key takeaway you want your readers to retain. By positioning it at the outset of the literature review section and systematically substantiating it with evidence, you not only enhance reader comprehension but also elevate overall readability. This primary argument can typically be distilled into 1-2 succinct sentences.

In some cases, you might include:

• Methodology: Details about the methodology used, but only if your literature review employed a specialized method. If your approach involved a broader overview without a systematic methodology, you can omit this section, thereby conserving word count.

By addressing these elements, your introduction will effectively integrate your literature review into the broader context of your academic paper or essay. This will, in turn, assist your reader in seamlessly following your overarching line of argumentation.

Introduction to a literature review chapter in thesis or dissertation

The literature review typically constitutes a distinct chapter within a thesis or dissertation. Often, it is Chapter 2 of a thesis or dissertation.

Some students choose to incorporate a brief introductory section at the beginning of each chapter, including the literature review chapter. Alternatively, others opt to seamlessly integrate the introduction into the initial sentences of the literature review itself. Both approaches are acceptable, provided that you incorporate the following elements:

• Purpose of the literature review and its relevance to the thesis/dissertation research: Explain the broader objectives of the literature review within the context of your research and how it contributes to your thesis or dissertation. Essentially, you’re telling the reader why this literature review is important and how it fits into the larger scope of your academic work.
• Primary argument: Succinctly communicate what you aim to prove, explain, or explore through the review of existing literature. This statement helps guide the reader’s understanding of the review’s purpose and what to expect from it.
• Preview of the literature review’s content: Provide a brief overview of the topics or themes that your literature review will cover. It’s like a roadmap for the reader, outlining the main areas of focus within the review. This preview can help the reader anticipate the structure and organization of your literature review.
• Methodology: If your literature review involved a specific research method, such as a systematic review or meta-analysis, you should briefly describe that methodology. However, this is not always necessary, especially if your literature review is more of a narrative synthesis without a distinct research method.

By addressing these elements, your introduction will empower your literature review to play a pivotal role in your thesis or dissertation research. It will accomplish this by integrating your research into the broader academic literature and providing a solid theoretical foundation for your work.

Comprehending the art of crafting your own literature review introduction becomes significantly more accessible when you have concrete examples to examine. Here, you will find several examples that meet, or in most cases, adhere to the criteria described earlier.

Example 1: An effective introduction for an academic literature review paper

To begin, let’s delve into the introduction of an academic literature review paper. We will examine the paper “How does culture influence innovation? A systematic literature review”, which was published in 2018 in the journal Management Decision.

The entire introduction spans 611 words and is divided into five paragraphs. In this introduction, the authors accomplish the following:

• In the first paragraph, the authors introduce the broader topic of the literature review, which focuses on innovation and its significance in the context of economic competition. They underscore the importance of this topic, highlighting its relevance for both researchers and policymakers.
• In the second paragraph, the authors narrow down their focus to emphasize the specific role of culture in relation to innovation.
• In the third paragraph, the authors identify research gaps, noting that existing studies are often fragmented and disconnected. They then emphasize the value of conducting a systematic literature review to enhance our understanding of the topic.
• In the fourth paragraph, the authors introduce their specific objectives and explain how their insights can benefit other researchers and business practitioners.
• In the fifth and final paragraph, the authors provide an overview of the paper’s organization and structure.

In summary, this introduction stands as a solid example. While the authors deviate from previewing their key findings (which is a common practice at least in the social sciences), they do effectively cover all the other previously mentioned points.

Example 2: An effective introduction to a literature review section in an academic paper

The second example represents a typical academic paper, encompassing not only a literature review section but also empirical data, a case study, and other elements. We will closely examine the introduction to the literature review section in the paper “The environmentalism of the subalterns: a case study of environmental activism in Eastern Kurdistan/Rojhelat”, which was published in 2021 in the journal Local Environment.

The paper begins with a general introduction and then proceeds to the literature review, designated by the authors as their conceptual framework. Of particular interest is the first paragraph of this conceptual framework, comprising 142 words across five sentences:

“ A peripheral and marginalised nationality within a multinational though-Persian dominated Iranian society, the Kurdish people of Iranian Kurdistan (a region referred by the Kurds as Rojhelat/Eastern Kurdi-stan) have since the early twentieth century been subject to multifaceted and systematic discriminatory and exclusionary state policy in Iran. This condition has left a population of 12–15 million Kurds in Iran suffering from structural inequalities, disenfranchisement and deprivation. Mismanagement of Kurdistan’s natural resources and the degradation of its natural environmental are among examples of this disenfranchisement. As asserted by Julian Agyeman (2005), structural inequalities that sustain the domination of political and economic elites often simultaneously result in environmental degradation, injustice and discrimination against subaltern communities. This study argues that the environmental struggle in Eastern Kurdistan can be asserted as a (sub)element of the Kurdish liberation movement in Iran. Conceptually this research is inspired by and has been conducted through the lens of ‘subalternity’ ” ( Hassaniyan, 2021, p. 931 ).

In this first paragraph, the author is doing the following:

• The author contextualises the research
• The author links the research focus to the international literature on structural inequalities
• The author clearly presents the argument of the research
• The author clarifies how the research is inspired by and uses the concept of ‘subalternity’.

Thus, the author successfully introduces the literature review, from which point onward it dives into the main concept (‘subalternity’) of the research, and reviews the literature on socio-economic justice and environmental degradation.

While introductions to a literature review section aren’t always required to offer the same level of study context detail as demonstrated here, this introduction serves as a commendable model for orienting the reader within the literature review. It effectively underscores the literature review’s significance within the context of the study being conducted.

Examples 3-5: Effective introductions to literature review chapters

The introduction to a literature review chapter can vary in length, depending largely on the overall length of the literature review chapter itself. For example, a master’s thesis typically features a more concise literature review, thus necessitating a shorter introduction. In contrast, a Ph.D. thesis, with its more extensive literature review, often includes a more detailed introduction.

Numerous universities offer online repositories where you can access theses and dissertations from previous years, serving as valuable sources of reference. Many of these repositories, however, may require you to log in through your university account. Nevertheless, a few open-access repositories are accessible to anyone, such as the one by the University of Manchester . It’s important to note though that copyright restrictions apply to these resources, just as they would with published papers.

Master’s thesis literature review introduction

The first example is “Benchmarking Asymmetrical Heating Models of Spider Pulsar Companions” by P. Sun, a master’s thesis completed at the University of Manchester on January 9, 2024. The author, P. Sun, introduces the literature review chapter very briefly but effectively:

PhD thesis literature review chapter introduction

The second example is Deep Learning on Semi-Structured Data and its Applications to Video-Game AI, Woof, W. (Author). 31 Dec 2020, a PhD thesis completed at the University of Manchester . In Chapter 2, the author offers a comprehensive introduction to the topic in four paragraphs, with the final paragraph serving as an overview of the chapter’s structure:

PhD thesis literature review introduction

The last example is the doctoral thesis Metacognitive strategies and beliefs: Child correlates and early experiences Chan, K. Y. M. (Author). 31 Dec 2020 . The author clearly conducted a systematic literature review, commencing the review section with a discussion of the methodology and approach employed in locating and analyzing the selected records.

Having absorbed all of this information, let’s recap the essential steps and offer a succinct guide on how to proceed with creating your literature review introduction:

• Contextualize your review : Begin by clearly identifying the academic context in which your literature review resides and determining the necessary information to include.
• Outline your structure : Develop a structured outline for your literature review, highlighting the essential information you plan to incorporate in your introduction.
• Literature review process : Conduct a rigorous literature review, reviewing and analyzing relevant sources.
• Summarize and abstract : After completing the review, synthesize the findings and abstract key insights, trends, and knowledge gaps from the literature.
• Craft the introduction : Write your literature review introduction with meticulous attention to the seamless integration of your review into the larger context of your work. Ensure that your introduction effectively elucidates your rationale for the chosen review topics and the underlying reasons guiding your selection.

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How to Write Critical Reviews

When you are asked to write a critical review of a book or article, you will need to identify, summarize, and evaluate the ideas and information the author has presented. In other words, you will be examining another person’s thoughts on a topic from your point of view.

Your stand must go beyond your “gut reaction” to the work and be based on your knowledge (readings, lecture, experience) of the topic as well as on factors such as criteria stated in your assignment or discussed by you and your instructor.

Make your stand clear at the beginning of your review, in your evaluations of specific parts, and in your concluding commentary.

Remember that your goal should be to make a few key points about the book or article, not to discuss everything the author writes.

Understanding the Assignment

To write a good critical review, you will have to engage in the mental processes of analyzing (taking apart) the work–deciding what its major components are and determining how these parts (i.e., paragraphs, sections, or chapters) contribute to the work as a whole.

Analyzing the work will help you focus on how and why the author makes certain points and prevent you from merely summarizing what the author says. Assuming the role of an analytical reader will also help you to determine whether or not the author fulfills the stated purpose of the book or article and enhances your understanding or knowledge of a particular topic.

Be sure to read your assignment thoroughly before you read the article or book. Your instructor may have included specific guidelines for you to follow. Keeping these guidelines in mind as you read the article or book can really help you write your paper!

Also, note where the work connects with what you’ve studied in the course. You can make the most efficient use of your reading and notetaking time if you are an active reader; that is, keep relevant questions in mind and jot down page numbers as well as your responses to ideas that appear to be significant as you read.

Please note: The length of your introduction and overview, the number of points you choose to review, and the length of your conclusion should be proportionate to the page limit stated in your assignment and should reflect the complexity of the material being reviewed as well as the expectations of your reader.

Write the introduction

Below are a few guidelines to help you write the introduction to your critical review.

Introduce your review appropriately

Begin your review with an introduction appropriate to your assignment.

If your assignment asks you to review only one book and not to use outside sources, your introduction will focus on identifying the author, the title, the main topic or issue presented in the book, and the author’s purpose in writing the book.

If your assignment asks you to review the book as it relates to issues or themes discussed in the course, or to review two or more books on the same topic, your introduction must also encompass those expectations.

Explain relationships

For example, before you can review two books on a topic, you must explain to your reader in your introduction how they are related to one another.

Within this shared context (or under this “umbrella”) you can then review comparable aspects of both books, pointing out where the authors agree and differ.

In other words, the more complicated your assignment is, the more your introduction must accomplish.

Finally, the introduction to a book review is always the place for you to establish your position as the reviewer (your thesis about the author’s thesis).

As you write, consider the following questions:

• Is the book a memoir, a treatise, a collection of facts, an extended argument, etc.? Is the article a documentary, a write-up of primary research, a position paper, etc.?
• Who is the author? What does the preface or foreword tell you about the author’s purpose, background, and credentials? What is the author’s approach to the topic (as a journalist? a historian? a researcher?)?
• What is the main topic or problem addressed? How does the work relate to a discipline, to a profession, to a particular audience, or to other works on the topic?
• What is your critical evaluation of the work (your thesis)? Why have you taken that position? What criteria are you basing your position on?

Provide an overview

In your introduction, you will also want to provide an overview. An overview supplies your reader with certain general information not appropriate for including in the introduction but necessary to understanding the body of the review.

Generally, an overview describes your book’s division into chapters, sections, or points of discussion. An overview may also include background information about the topic, about your stand, or about the criteria you will use for evaluation.

The overview and the introduction work together to provide a comprehensive beginning for (a “springboard” into) your review.

• What are the author’s basic premises? What issues are raised, or what themes emerge? What situation (i.e., racism on college campuses) provides a basis for the author’s assertions?
• How informed is my reader? What background information is relevant to the entire book and should be placed here rather than in a body paragraph?

Write the body

The body is the center of your paper, where you draw out your main arguments. Below are some guidelines to help you write it.

Organize using a logical plan

Organize the body of your review according to a logical plan. Here are two options:

• First, summarize, in a series of paragraphs, those major points from the book that you plan to discuss; incorporating each major point into a topic sentence for a paragraph is an effective organizational strategy. Second, discuss and evaluate these points in a following group of paragraphs. (There are two dangers lurking in this pattern–you may allot too many paragraphs to summary and too few to evaluation, or you may re-summarize too many points from the book in your evaluation section.)
• Alternatively, you can summarize and evaluate the major points you have chosen from the book in a point-by-point schema. That means you will discuss and evaluate point one within the same paragraph (or in several if the point is significant and warrants extended discussion) before you summarize and evaluate point two, point three, etc., moving in a logical sequence from point to point to point. Here again, it is effective to use the topic sentence of each paragraph to identify the point from the book that you plan to summarize or evaluate.

Questions to keep in mind as you write

With either organizational pattern, consider the following questions:

• What are the author’s most important points? How do these relate to one another? (Make relationships clear by using transitions: “In contrast,” an equally strong argument,” “moreover,” “a final conclusion,” etc.).
• What types of evidence or information does the author present to support his or her points? Is this evidence convincing, controversial, factual, one-sided, etc.? (Consider the use of primary historical material, case studies, narratives, recent scientific findings, statistics.)
• Where does the author do a good job of conveying factual material as well as personal perspective? Where does the author fail to do so? If solutions to a problem are offered, are they believable, misguided, or promising?
• Which parts of the work (particular arguments, descriptions, chapters, etc.) are most effective and which parts are least effective? Why?
• Where (if at all) does the author convey personal prejudice, support illogical relationships, or present evidence out of its appropriate context?

Keep your opinions distinct and cite your sources

Remember, as you discuss the author’s major points, be sure to distinguish consistently between the author’s opinions and your own.

Keep the summary portions of your discussion concise, remembering that your task as a reviewer is to re-see the author’s work, not to re-tell it.

And, importantly, if you refer to ideas from other books and articles or from lecture and course materials, always document your sources, or else you might wander into the realm of plagiarism.

Include only that material which has relevance for your review and use direct quotations sparingly. The Writing Center has other handouts to help you paraphrase text and introduce quotations.

Write the conclusion

You will want to use the conclusion to state your overall critical evaluation.

You have already discussed the major points the author makes, examined how the author supports arguments, and evaluated the quality or effectiveness of specific aspects of the book or article.

Now you must make an evaluation of the work as a whole, determining such things as whether or not the author achieves the stated or implied purpose and if the work makes a significant contribution to an existing body of knowledge.

Consider the following questions:

• Is the work appropriately subjective or objective according to the author’s purpose?
• How well does the work maintain its stated or implied focus? Does the author present extraneous material? Does the author exclude or ignore relevant information?
• How well has the author achieved the overall purpose of the book or article? What contribution does the work make to an existing body of knowledge or to a specific group of readers? Can you justify the use of this work in a particular course?
• What is the most important final comment you wish to make about the book or article? Do you have any suggestions for the direction of future research in the area? What has reading this work done for you or demonstrated to you?

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How to Write a Book Review

Last Updated: January 10, 2024 Approved

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 10 references cited in this article, which can be found at the bottom of the page. wikiHow marks an article as reader-approved once it receives enough positive feedback. This article received 66 testimonials and 91% of readers who voted found it helpful, earning it our reader-approved status. This article has been viewed 1,201,509 times.

Writing a book review is not just about summarizing; it's also an opportunity for you to present a critical discussion of the book so others get an idea of what to expect. Whether you’re writing a review as an assignment or as a publication opportunity, you should combine an accurate, analytical reading with a strong, personal touch. An effective book review describes what is on the page, analyzes how the book tried to achieve its purpose, and expresses any reactions and arguments from a unique perspective.

Review Template

Preparing to Write Your Review

• Write down notes in a notebook or use a voice recorder to document any thoughts or impressions you have of the book as you are reading. They don't have to be organized or perfect, the idea is to brainstorm any impressions you may have of the book.
• Try summarizing the major sections of the book you’re reviewing to help understand how it’s structured.

• For example, if you are reviewing a non-fiction book about the development of the polio vaccine in the 1950s, consider reading other books that also examine the same scientific issue and/or period of scientific development. Or if you are reviewing a work of fiction like Nathaniel Hawthorne's The Scarlet Letter, consider how Hawthorne's book relates to other 19th-century works of romanticism and historical fiction set in the same time period (the 17th century) as points of comparison.

• Pay attention to the preface, any quotes, and /or references in the book's introduction, as this content will likely shed light on the book's major themes and viewpoint.
• A simple way to determine one of the major themes of a book is to sum up the book in one word or sentence. So, for example, the major theme of The Scarlet Letter could be "sin". Once you have your one-word summary, stretch the single word into a message or lesson, such as "sin can lead to knowledge, but it can also lead to suffering."

• For example, in The Scarlet Letter, Hawthorne attempts to combine the writing style of the Romantic Period (1800-1855) with the common, everyday language of the American Puritans of the 1600s. Hawthorne does this with long, descriptive sentences that are strung together with commas and semicolons.

• In the Scarlet Letter, for example, Hawthorne begins the book with an introduction to the text, narrated by an individual who has many autobiographical details in common with the author. In the introduction, the nameless narrator tells the story of finding the manuscript bundled in a scarlet letter "A". Hawthorne uses this narrative framing to create a story within a story, an important detail when discussing the book as a whole.

• If we were to use the Scarlett Letter again, it would be significant to note that Hawthorne chose the adulterer and sinner Hester Prynne as his protagonist, and placed the religious, anti-sin Reverend Wilson in the role of antagonist. In writing a review of The Scarlet Letter, it would be useful to consider why Hawthorne did this, and how it relates back to the book's overall theme of sin.

Creating a First Draft of the Review

• Ensure your introduction contains relevant details like the author's background, and if applicable, their previous work in the genre. [2] X Trustworthy Source University of North Carolina Writing Center UNC's on-campus and online instructional service that provides assistance to students, faculty, and others during the writing process Go to source You can also indicate the main themes you will be discussing in your review to situate the reader and give them an indication of your "take" on the book.
• Several possible openings include: a historical moment, an anecdote, a surprising or intriguing statement, and declarative statements. Regardless of your opening sentences, make sure they directly relate to your critical response to the book and keep them short and to the point.
• If you're unsure on how to begin the review, try writing your introduction last. It may be easier to organize all of your supporting points and your critical position, and then write the introduction last—that way you can be sure that the introduction will match the body of the review. [3] X Trustworthy Source University of North Carolina Writing Center UNC's on-campus and online instructional service that provides assistance to students, faculty, and others during the writing process Go to source

• Keep the summary short, to the point, and informative. Use quotes or paraphrasing from the book to support your summary. [4] X Research source Make sure you properly cite all quotes and paraphrasing in your review to avoid plagiarism. [5] X Research source
• Be wary of summaries that begin with phrases like “[This essay] is about…” “[This book] is the story of…” “[This author] writes about…”. [6] X Trustworthy Source University of North Carolina Writing Center UNC's on-campus and online instructional service that provides assistance to students, faculty, and others during the writing process Go to source Focus on weaving a description of the book's setting, narrative voice, and plot within a critical analysis. Avoid simply regurgitating the book's premise.
• Don't give away important details or reveal the ending of the book in your summary, and don't go into detail about what happens from the middle of the book onwards. [7] X Research source As well, if the book is part of a series, you can mention this to potential readers and situate the book within the series. [8] X Research source

• Use the answers you brainstormed during your preparation for the review to formulate your critique. Address how well the book has achieved its goal, how the book compares to other books on the subject, specific points that were not convincing or lacked development, and what personal experiences, if any, you've had related to the subject of the book.
• Always use (properly cited) supporting quotes and passages from the book to back up your critical discussion. This not only reinforces your viewpoint with a trustworthy source, it also gives the reader a sense of the writing style and narrative voice of the book. [9] X Research source
• The general rule of thumb is that the first one-half to two-thirds of the review should summarize the author’s main ideas, and at least one-third should evaluate the book.

• Examine the strengths and weaknesses of the book, and discuss whether you would recommend the book to others. If so, who do you think is the ideal audience for the book? [10] X Research source Do not introduce new material in your conclusion or discuss a new idea or impression that was not examined in your introduction and body paragraphs. [11] X Research source
• You can also give the book a numerical score, a thumbs up or thumbs down, or a starred rating. [12] X Research source

Polishing the Review

• Always use spell check and adjust any grammar or spelling. Nothing undermines a quality review more than bad spelling and grammar.
• Double check that all quotes and references are properly cited in your review.

Community Q&A

• As you're writing, try thinking of your reader as a friend to whom you're telling a story. How would you relay the book's themes and main points to a friend in a casual conversation? This will help you balance formal and informal language and simplify your critical assessment. [13] X Research source Thanks Helpful 0 Not Helpful 0
• Review the book in front of you, not the book you wish the author had written. Being critical means pointing out shortcomings or failures, but avoid focusing your criticism of the book on what the book is not. Be fair in your discussion and always consider the value of the book for its audience. [14] X Trustworthy Source University of North Carolina Writing Center UNC's on-campus and online instructional service that provides assistance to students, faculty, and others during the writing process Go to source Thanks Helpful 0 Not Helpful 0
• Make sure, after you've finished your review, to reread it and check any grammar or spelling mistakes so that it makes sense. Try reading your review from numerous perspectives, or asking a friend to proofread it for you. Thanks Helpful 3 Not Helpful 1

Make sure to read the book thoroughly. If you don't, it will be bad.

You Might Also Like

• ↑ http://www.thedramateacher.com/genre-or-style-a-dramatic-problem/
• ↑ http://writingcenter.unc.edu/handouts/book-reviews/
• ↑ http://writingcenter.unc.edu/handouts/introductions/
• ↑ https://www.wikihow.com/Write-a-Book-Summary
• ↑ https://writing.wisc.edu/Handbook/QPA_quoting.html
• ↑ http://writingcenter.unc.edu/handouts/summary-using-it-wisely/
• ↑ http://www.booktrust.org.uk/books/teenagers/writing-tips/tips-for-writing-book-reviews/
• ↑ http://teacher.scholastic.com/writewit/bookrev/tips.htm
• ↑ http://www.infoplease.com/homework/wsbookreporths.html
• ↑ http://guides.library.queensu.ca/bookreviews/writing

About This Article

To write a book review, start with a heading that includes the book's title, author, place of publication, publisher, date of publication, and number of pages. Then, open your review with an introduction that includes the author's background as well as the main points you'll be making. Next, split up the body of your review so the first half of the review is a summary of the author's main ideas and the rest is your critique of the book. Finally, close your review with a concluding paragraph that briefly summarizes your analysis. To learn how to read a book critically so it's easier to write a review, keep reading! Did this summary help you? Yes No

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

There are two general approaches to reviewing a book:

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

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

How to Approach Writing Your Review

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

I.  Common Features

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

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

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

II.  Developing a Critical Assessment Strategy

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

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

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

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

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

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

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

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

Structure and Writing Style

I.  Bibliographic Information

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

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

Reviewed by [your full name].

II.  Scope/Purpose/Content

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

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

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

III.  Note the Method

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

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

IV.  Critically Evaluate the Contents

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

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

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

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

V.  Examine the Front Matter and Back Matter

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

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

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

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

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

VI.  Summarize and Comment

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

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

Writing Tip

Always Read the Foreword and/or the Preface

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

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

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

Locating Book Reviews

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

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

Some Language for Evaluating Texts

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

• account for
• demonstrate
• distinguish
• investigate

Examples of usage

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

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

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• How to Write a Literature Review | Guide, Examples, & Templates

How to Write a Literature Review | Guide, Examples, & Templates

Published on January 2, 2023 by Shona McCombes . Revised on September 11, 2023.

What is a literature review? A literature review is a survey of scholarly sources on a specific topic. It provides an overview of current knowledge, allowing you to identify relevant theories, methods, and gaps in the existing research that you can later apply to your paper, thesis, or dissertation topic .

There are five key steps to writing a literature review:

• Search for relevant literature
• Evaluate sources
• Identify themes, debates, and gaps
• Outline the structure
• Write your literature review

A good literature review doesn’t just summarize sources—it analyzes, synthesizes , and critically evaluates to give a clear picture of the state of knowledge on the subject.

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Table of contents

What is the purpose of a literature review, examples of literature reviews, step 1 – search for relevant literature, step 2 – evaluate and select sources, step 3 – identify themes, debates, and gaps, step 4 – outline your literature review’s structure, step 5 – write your literature review, free lecture slides, other interesting articles, frequently asked questions, introduction.

• Quick Run-through
• Step 1 & 2

When you write a thesis , dissertation , or research paper , you will likely have to conduct a literature review to situate your research within existing knowledge. The literature review gives you a chance to:

• Demonstrate your familiarity with the topic and its scholarly context
• Develop a theoretical framework and methodology for your research
• Position your work in relation to other researchers and theorists
• Show how your research addresses a gap or contributes to a debate
• Evaluate the current state of research and demonstrate your knowledge of the scholarly debates around your topic.

Writing literature reviews is a particularly important skill if you want to apply for graduate school or pursue a career in research. We’ve written a step-by-step guide that you can follow below.

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Writing literature reviews can be quite challenging! A good starting point could be to look at some examples, depending on what kind of literature review you’d like to write.

• Example literature review #1: “Why Do People Migrate? A Review of the Theoretical Literature” ( Theoretical literature review about the development of economic migration theory from the 1950s to today.)
• Example literature review #2: “Literature review as a research methodology: An overview and guidelines” ( Methodological literature review about interdisciplinary knowledge acquisition and production.)
• Example literature review #3: “The Use of Technology in English Language Learning: A Literature Review” ( Thematic literature review about the effects of technology on language acquisition.)
• Example literature review #4: “Learners’ Listening Comprehension Difficulties in English Language Learning: A Literature Review” ( Chronological literature review about how the concept of listening skills has changed over time.)

You can also check out our templates with literature review examples and sample outlines at the links below.

Download Word doc Download Google doc

Before you begin searching for literature, you need a clearly defined topic .

If you are writing the literature review section of a dissertation or research paper, you will search for literature related to your research problem and questions .

Make a list of keywords

Start by creating a list of keywords related to your research question. Include each of the key concepts or variables you’re interested in, and list any synonyms and related terms. You can add to this list as you discover new keywords in the process of your literature search.

• Social media, Facebook, Instagram, Twitter, Snapchat, TikTok
• Body image, self-perception, self-esteem, mental health
• Generation Z, teenagers, adolescents, youth

Search for relevant sources

Use your keywords to begin searching for sources. Some useful databases to search for journals and articles include:

• Your university’s library catalogue
• Google Scholar
• Project Muse (humanities and social sciences)
• Medline (life sciences and biomedicine)
• EconLit (economics)
• Inspec (physics, engineering and computer science)

You can also use boolean operators to help narrow down your search.

Make sure to read the abstract to find out whether an article is relevant to your question. When you find a useful book or article, you can check the bibliography to find other relevant sources.

You likely won’t be able to read absolutely everything that has been written on your topic, so it will be necessary to evaluate which sources are most relevant to your research question.

For each publication, ask yourself:

• What question or problem is the author addressing?
• What are the key concepts and how are they defined?
• What are the key theories, models, and methods?
• Does the research use established frameworks or take an innovative approach?
• What are the results and conclusions of the study?
• How does the publication relate to other literature in the field? Does it confirm, add to, or challenge established knowledge?
• What are the strengths and weaknesses of the research?

Make sure the sources you use are credible , and make sure you read any landmark studies and major theories in your field of research.

You can use our template to summarize and evaluate sources you’re thinking about using. Click on either button below to download.

Take notes and cite your sources

As you read, you should also begin the writing process. Take notes that you can later incorporate into the text of your literature review.

It is important to keep track of your sources with citations to avoid plagiarism . It can be helpful to make an annotated bibliography , where you compile full citation information and write a paragraph of summary and analysis for each source. This helps you remember what you read and saves time later in the process.

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To begin organizing your literature review’s argument and structure, be sure you understand the connections and relationships between the sources you’ve read. Based on your reading and notes, you can look for:

• Trends and patterns (in theory, method or results): do certain approaches become more or less popular over time?
• Themes: what questions or concepts recur across the literature?
• Debates, conflicts and contradictions: where do sources disagree?
• Pivotal publications: are there any influential theories or studies that changed the direction of the field?
• Gaps: what is missing from the literature? Are there weaknesses that need to be addressed?

This step will help you work out the structure of your literature review and (if applicable) show how your own research will contribute to existing knowledge.

• Most research has focused on young women.
• There is an increasing interest in the visual aspects of social media.
• But there is still a lack of robust research on highly visual platforms like Instagram and Snapchat—this is a gap that you could address in your own research.

There are various approaches to organizing the body of a literature review. Depending on the length of your literature review, you can combine several of these strategies (for example, your overall structure might be thematic, but each theme is discussed chronologically).

Chronological

The simplest approach is to trace the development of the topic over time. However, if you choose this strategy, be careful to avoid simply listing and summarizing sources in order.

Try to analyze patterns, turning points and key debates that have shaped the direction of the field. Give your interpretation of how and why certain developments occurred.

If you have found some recurring central themes, you can organize your literature review into subsections that address different aspects of the topic.

For example, if you are reviewing literature about inequalities in migrant health outcomes, key themes might include healthcare policy, language barriers, cultural attitudes, legal status, and economic access.

Methodological

If you draw your sources from different disciplines or fields that use a variety of research methods , you might want to compare the results and conclusions that emerge from different approaches. For example:

• Look at what results have emerged in qualitative versus quantitative research
• Discuss how the topic has been approached by empirical versus theoretical scholarship
• Divide the literature into sociological, historical, and cultural sources

Theoretical

A literature review is often the foundation for a theoretical framework . You can use it to discuss various theories, models, and definitions of key concepts.

You might argue for the relevance of a specific theoretical approach, or combine various theoretical concepts to create a framework for your research.

Like any other academic text , your literature review should have an introduction , a main body, and a conclusion . What you include in each depends on the objective of your literature review.

The introduction should clearly establish the focus and purpose of the literature review.

Depending on the length of your literature review, you might want to divide the body into subsections. You can use a subheading for each theme, time period, or methodological approach.

As you write, you can follow these tips:

• Summarize and synthesize: give an overview of the main points of each source and combine them into a coherent whole
• Analyze and interpret: don’t just paraphrase other researchers — add your own interpretations where possible, discussing the significance of findings in relation to the literature as a whole
• Critically evaluate: mention the strengths and weaknesses of your sources
• Write in well-structured paragraphs: use transition words and topic sentences to draw connections, comparisons and contrasts

In the conclusion, you should summarize the key findings you have taken from the literature and emphasize their significance.

When you’ve finished writing and revising your literature review, don’t forget to proofread thoroughly before submitting. Not a language expert? Check out Scribbr’s professional proofreading services !

This article has been adapted into lecture slides that you can use to teach your students about writing a literature review.

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If you want to know more about the research process , methodology , research bias , or statistics , make sure to check out some of our other articles with explanations and examples.

• Sampling methods
• Simple random sampling
• Stratified sampling
• Cluster sampling
• Likert scales
• Reproducibility

 Statistics

• Null hypothesis
• Statistical power
• Probability distribution
• Effect size
• Poisson distribution

Research bias

• Optimism bias
• Cognitive bias
• Implicit bias
• Hawthorne effect
• Anchoring bias
• Explicit bias

A literature review is a survey of scholarly sources (such as books, journal articles, and theses) related to a specific topic or research question .

It is often written as part of a thesis, dissertation , or research paper , in order to situate your work in relation to existing knowledge.

There are several reasons to conduct a literature review at the beginning of a research project:

• To familiarize yourself with the current state of knowledge on your topic
• To ensure that you’re not just repeating what others have already done
• To identify gaps in knowledge and unresolved problems that your research can address
• To develop your theoretical framework and methodology
• To provide an overview of the key findings and debates on the topic

Writing the literature review shows your reader how your work relates to existing research and what new insights it will contribute.

The literature review usually comes near the beginning of your thesis or dissertation . After the introduction , it grounds your research in a scholarly field and leads directly to your theoretical framework or methodology .

A literature review is a survey of credible sources on a topic, often used in dissertations , theses, and research papers . Literature reviews give an overview of knowledge on a subject, helping you identify relevant theories and methods, as well as gaps in existing research. Literature reviews are set up similarly to other  academic texts , with an introduction , a main body, and a conclusion .

An  annotated bibliography is a list of  source references that has a short description (called an annotation ) for each of the sources. It is often assigned as part of the research process for a  paper .  

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Actor Miles McKenna To Write a Picture Book

BY Michael Schaub • April 1, 2024

Vlogger and actor Miles McKenna will make his picture book debut later this year.

Little Bee Books and LGBTQ+ nonprofit group GLAAD will publish McKenna’s I Am NOT a Vampire , illustrated by Riley Samels,next year, the press announced in a news release.

McKenna began posting videos on YouTube in 2011 and came out as transgender in 2015. His YouTube channel currently has 1.15M subscribers, and he has 888,000 followers on Instagram .

As an actor, he has appeared in the series Guilty Party and All Night , and he currently stars in the Disney+ and Hulu series Goosebumps , based on R.L. Stine’s book series, as James. He is the author of a previous book, Out!: How To Be Your Authentic Self , published in 2020 by Abrams; a critic for Kirkus praised it as “an updated coming-out guide that’s fun, fresh, and incredibly useful.”

I Am NOT a Vampire , Little Bee says, follows a boy who is raised in a family of vampires, but is not a vampire himself. He longs to transform into one of the creatures, and while he does change, it’s not in the way he had expected.

In a statement, McKenna explained the origins of the book. “I asked to be a vampire in the first grade, but on Halloween night I felt so wrong in my big black wig and gown that was bought for me,” he said. “I didn’t know why those feelings were there. The following year, in second grade, I asked again if I could be a vampire. My mom reminded me that I was a vampire the year prior. I corrected her and said, ‘I want to be a boy vampire!’”

I Am NOT a Vampire is scheduled for publication on May 6, 2025.

Michael Schaub is a contributing writer.

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Author Interviews

Don winslow ends trilogy, and his writing career, with final novel 'city in ruins'.

Scott Simon

NPR's Scott Simon talks to best-selling suspense author Don Winslow about what he says is his final novel, "City in Ruins."

SCOTT SIMON, HOST:

Danny Ryan, who's been a Rhode Island mobster, dockworker and fugitive from the law, is now a pillar of the community in Las Vegas. He's got a palatial home to which good citizens come to pay homage and enjoy his hospitality, his young son he loves and the companionship - well, three times a week, anyway - of an accomplished and compelling woman he respects. What could possibly go wrong? "City In Ruins" is the third and final novel in the bestselling Danny Ryan trilogy by Don Winslow. It follows "City On Fire" and "City Of Dreams," and Don Winslow says quite explicitly, "City Of Ruins" is my final book - no loopholes I could detect. He joins us now from Julian, Calif. Thanks so much for being with us.

DON WINSLOW: Thanks for having me. I appreciate it.

SIMON: The book opens with an implosion, a famous old Las Vegas hotel, now owned by Danny Ryan, being brought down from the inside. Is implosion a kind of theme for Danny Ryan's life, too?

WINSLOW: Yeah, it sure is. Looking over the arc of these three books, I think we're looking at a certain kind of self-destruction with dynamite, if you will, or explosives that were laid many years earlier on a long fuse, to torture the metaphor, and so implosion's definitely a theme.

SIMON: In earlier books, Danny had used what I'll just refer to as ill-gotten gains from a criminal enterprise to buy his way into a respectable hotel and gaming enterprise. He's got a dream. In fact, a hotel - I guess it's called the Dream in Italian.

WINSLOW: It is. Yeah, Il Sogno.

SIMON: Tell us about this place he wants to bring into being.

WINSLOW: Well, he wants to bring into being a new kind of megahotel where people walk in and it's literally a dream with images shifting constantly on the walls of beauty and action and all kinds of things. And I think it's reflective of his own dream of trying to create a new kind of life for himself and for his son.

SIMON: What stands in the way?

WINSLOW: Well, a number of things. For one thing, this valuable piece of real estate that this old hotel sat on is critical to power on the Las Vegas Strip. And he basically undermines a rival in order to acquire it. And then it turns out that both Danny and this rival have mob ties from the past that each of them is trying to escape and trying to leave behind him, and neither one of them can. And so those things really get in the way of Danny's dream.

SIMON: You've written so many other books over the years, including "Savages," "The Force," "The Cartel," bestsellers made into screen properties. What's kept you coming back to Danny Ryan?

WINSLOW: You know, it took me almost 30 years to complete this trilogy. You know, it's funny. You look back on your life. When I started the Danny Ryan books, my now-adult and married son was a toddler. What I was - set out to do was to write a fully contemporary crime epic that took its stories and characters, however, from the Greek and Roman classics, principally the Aeneid, but also the Odyssey and the Iliad and certain Greek tragic dramas. I kept failing at it. I would write some of the book, and some of it worked, and a lot of it didn't. And so at times, I was discouraged, thinking that either, A, it was a bad idea, or, B, it was a good idea and I didn't have the chops to carry it out. But I kept coming back to it 'cause I couldn't leave it behind. And then later on, a couple of decades down the road - you know, I live mostly in California - I started to go back to Rhode Island, where a lot of the first book is set, and I fell in love with the place again, and I felt that I could write it, perhaps in a better and more mature way than I could have done 20 years earlier.

SIMON: Did you feel a kinship with Danny?

WINSLOW: I think so. You know, I grew up with a lot of Danny'. I played pond hockey with them. I went to the beaches with them, you know, to the bars and restaurants and all kinds of things. So it's funny how little self-awareness you can have. The second volume of this book, "City Of Dreams," is basically Danny wandering the country trying to find a place to set his feet. I was deep into writing the third book before I looked back on the second book and realized how connected I was to Danny in that regard. You know, I left Rhode Island when I was 17 and spent decades wandering not only the country but the world, doing various kinds of jobs trying to make a living, trying without a notable degree of success to become a writer and finally kind of made that happen and found a place, if you will, to set my feet.

SIMON: You mentioned all the jobs you had. You were a private eye in Times Square.

WINSLOW: Yes, sir.

SIMON: Is that as exciting as it sounds, or is it a lot of keyhole peeping?

WINSLOW: (Laughter) Not too much keyhole peeping, thank God. You know, I didn't do what they call matrimonial work. But, no, it was not romantic at all. I was basically what is known as a street rat. And so I started that by investigating embezzlement and thefts in cinemas and legit movie theaters on Times Square - there were a few in those days - and then graduated, if you want to call it that, to being a troll. I would walk around Times Square trying to get mugged, and there were big tough guys, which I am not, behind me jumping in like riders at the rodeo and then eventually chasing runaways and trying to get to them before the pimps did.

SIMON: By the way, not that I'm interested in doing this, how do you arrange to get mugged?

WINSLOW: (Laughter) Well, for one thing, you arrange to be 5'6 and 130 pounds. That helps. And then you walk around looking like you don't know where you're going, like you're a tourist, with a wallet prominently in your back pants pocket.

SIMON: Wow. Sounds like it was indispensable to your literature.

WINSLOW: In some ways. You know, I mean, I think that being a PI, and then later I did it out in California, out here, on a much higher kind of level. But it got me in that world. I got to know cops and crooks and street people and lawyers and judges and courtrooms and all of that. But I think the most important influence it had on my work was in terms of investigation itself. I learned how to do research. I learned how to interview people. And the same skills that I would have used as an investigator are the skills that I brought to researching the novels.

SIMON: All of this steers us to asking about your goodbye. The acknowledgments you write include hundreds of people, parents...

WINSLOW: Yes.

SIMON: ...readers, old teachers...

WINSLOW: Sure.

SIMON: ...Even your agent.

WINSLOW: Especially my agent. Yeah.

SIMON: And as you say, goodbyes are hard. So why are you retiring?

WINSLOW: It's the confluence of two streams, if you will. One is that having finished this trilogy felt like an ending to me. It felt like, yeah, kind of my life's work. The second, though, major stream, and probably more important one, is that I just think that we're at a time in this country of crisis and a time where democracy is under a severe threat. And I think that the response to that needs to be more immediate than one can do in a novel, you know? You know, I'm not young. I'm 70. And I think whatever energies and time I have are better spent in that fight.

SIMON: Don Winslow, his new and insists his last novel, "City In Ruins." Thanks so much for being with us, and thanks for everything.

WINSLOW: Thank you very much. That's gracious of you to say.

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The Washington Book: How to Read Politics and Politicians review – unpicking the lexicon of America’s leaders

New York Times columnist Carlos Lozada examines the speeches, writing and linguistic tics of presidents and members of Congress to expose ‘inveterate deceivers’

P oliticians mince or mash words for a living, and the virtuosity with which they twist meanings makes them artists of a kind. Their skill at spinning facts counts as a fictional exercise: in political jargon, a “narrative” is a storyline that warps truth for partisan purposes. Carlos Lozada, formerly a reviewer for the Washington Post and now a columnist at the New York Times , specialises in picking apart these professional falsehoods. Analysing windy orations, ghostwritten memoirs and faceless committee reports, the essays in his book expose American presidents, members of Congress and supreme court justices as unreliable narrators, inveterate deceivers who betray themselves in careless verbal slips.

Lozada has a literary critic’s sharp eye, and an alertly cocked ear to go with it. Thus he fixes on a stray remark made by Trump as he rallied the mob that invaded the Capitol in January 2021. Ordering the removal of metal detectors, he said that the guns his supporters toted didn’t bother him, because “they’re not here to hurt me”. Lozada wonders about the emphasis in that phrase: did it neutrally fall on “hurt” or come down hard on “me”? If the latter, it licensed the rampant crowd to hurt Trump’s enemies – for instance by stringing up his disaffected vice-president Mike Pence on a gallows outside the Capitol.

Tiny linguistic tics mark the clash between two versions of America’s fabled past and its prophetic future. Lozada subtly tracks the recurrence of the word “still” in Biden’s speeches – for instance his assertion that the country “still believes in honesty and decency” and is “still a democracy” – and contrasts it with Trump’s reliance on “again”, the capstone of his vow to Make America Great Again. Biden’s “still” defensively fastens on “something good that may be slipping away”, whereas Trump’s “again” blathers about restoring a lost greatness that is never defined. Biden’s evokes “an ideal worth preserving”; Trump’s equivalent summons up an illusion.

At their boldest, Lozada’s politicians trade in inflated tales about origins and predestined outcomes, grandiose narratives that “transcend belief and become a fully formed worldview”. Hence the title of Hillary Clinton’s manifesto It Takes a Village , which borrows an African proverb about child-rearing and uses it to prompt nostalgia for a bygone America. Lozada watches Obama devising and revising a personal myth. Addressed as Barry by his youthful friends, he later insisted on being called Barack and relaunched himself as the embodiment of America’s ethnic inclusivity; his “personalised presidency” treated the office as an extension of “the Obama brand”. In this respect Trump was Obama’s logical successor, extending a personal brand in a bonanza of self-enrichment. The “big lie” about the supposedly stolen 2020 election is another mythological whopper. Trump admitted its falsity on one occasion when he remarked “We lost”, after which he immediately backtracked, adding: “We didn’t lose. We lost in the Democrats’ imagination.”

All this amuses Lozada but also makes him anxious. As an adoptive American – born in Peru, he became a citizen a decade ago – he has a convert’s faith in the country’s ideals, yet he worries about contradictions that the national creed strains to reconcile. A border wall now debars the impoverished masses welcomed by the Statue of Liberty; the sense of community is fractured by “sophisticated engines of division and misinformation”. Surveying dire fictional scenarios about American decline, Lozada notes that the warmongers enjoy “a narrative advantage”: peace is boring, but predictions of a clash with China or an attack by homegrown terrorists excite the electorate by promising shock, awe and an apocalyptic barrage of special effects. Rather than recoiling from Trump, do Americans share his eagerness for desecration and destruction?

Changing only the names of the performers, The Washington Book has a shadowy local replica. Here in Britain, too, ideological posturing has replaced reasoned argument, and buzzwords are squeezed to death by repetition. Whenever Sunak drones on about “delivering for the British people”, I think of him as a Deliveroo gig worker with a cooling takeaway in his backpack, or a weary postman pushing a trolley full of mortgage bills.

Though such verbal vices are international, a difference of scale separates Washington from Westminster. In America, heroic ambition is brought low by errors of judgment or moral flaws that for Lozada recall “the great themes of literature and the great struggles of life”: Kennedy’s risky confrontations with Cuba, Lyndon Johnson mired in Vietnam, Nixon overcome by paranoia. To set against these tragic falls, we have only the comic spectacle of Boris Johnson gurning on a zip wire or Liz Truss vaingloriously granting an interview atop the Empire State Building; neither of them had the good grace to jump off. American politics is dangerously thrilling because it is so consequential for the rest of the world. In Britain we are doomed to sit through a more trivial show, an unfunny farce played out in a theatre that is crumbling around us.

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• Published: 26 March 2024

Predicting and improving complex beer flavor through machine learning

• Michiel Schreurs   ORCID: orcid.org/0000-0002-9449-5619 1 , 2 , 3   na1 ,
• Supinya Piampongsant 1 , 2 , 3   na1 ,
• Miguel Roncoroni   ORCID: orcid.org/0000-0001-7461-1427 1 , 2 , 3   na1 ,
• Lloyd Cool   ORCID: orcid.org/0000-0001-9936-3124 1 , 2 , 3 , 4 ,
• Beatriz Herrera-Malaver   ORCID: orcid.org/0000-0002-5096-9974 1 , 2 , 3 ,
• Christophe Vanderaa   ORCID: orcid.org/0000-0001-7443-5427 4 ,
• Florian A. Theßeling 1 , 2 , 3 ,
• Łukasz Kreft   ORCID: orcid.org/0000-0001-7620-4657 5 ,
• Alexander Botzki   ORCID: orcid.org/0000-0001-6691-4233 5 ,
• Philippe Malcorps 6 ,
• Luk Daenen 6 ,
• Tom Wenseleers   ORCID: orcid.org/0000-0002-1434-861X 4 &
• Kevin J. Verstrepen   ORCID: orcid.org/0000-0002-3077-6219 1 , 2 , 3  

Nature Communications volume  15 , Article number:  2368 ( 2024 ) Cite this article

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• Chemical engineering
• Gas chromatography
• Machine learning
• Metabolomics
• Taste receptors

The perception and appreciation of food flavor depends on many interacting chemical compounds and external factors, and therefore proves challenging to understand and predict. Here, we combine extensive chemical and sensory analyses of 250 different beers to train machine learning models that allow predicting flavor and consumer appreciation. For each beer, we measure over 200 chemical properties, perform quantitative descriptive sensory analysis with a trained tasting panel and map data from over 180,000 consumer reviews to train 10 different machine learning models. The best-performing algorithm, Gradient Boosting, yields models that significantly outperform predictions based on conventional statistics and accurately predict complex food features and consumer appreciation from chemical profiles. Model dissection allows identifying specific and unexpected compounds as drivers of beer flavor and appreciation. Adding these compounds results in variants of commercial alcoholic and non-alcoholic beers with improved consumer appreciation. Together, our study reveals how big data and machine learning uncover complex links between food chemistry, flavor and consumer perception, and lays the foundation to develop novel, tailored foods with superior flavors.

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Introduction

Predicting and understanding food perception and appreciation is one of the major challenges in food science. Accurate modeling of food flavor and appreciation could yield important opportunities for both producers and consumers, including quality control, product fingerprinting, counterfeit detection, spoilage detection, and the development of new products and product combinations (food pairing) 1 , 2 , 3 , 4 , 5 , 6 . Accurate models for flavor and consumer appreciation would contribute greatly to our scientific understanding of how humans perceive and appreciate flavor. Moreover, accurate predictive models would also facilitate and standardize existing food assessment methods and could supplement or replace assessments by trained and consumer tasting panels, which are variable, expensive and time-consuming 7 , 8 , 9 . Lastly, apart from providing objective, quantitative, accurate and contextual information that can help producers, models can also guide consumers in understanding their personal preferences 10 .

Despite the myriad of applications, predicting food flavor and appreciation from its chemical properties remains a largely elusive goal in sensory science, especially for complex food and beverages 11 , 12 . A key obstacle is the immense number of flavor-active chemicals underlying food flavor. Flavor compounds can vary widely in chemical structure and concentration, making them technically challenging and labor-intensive to quantify, even in the face of innovations in metabolomics, such as non-targeted metabolic fingerprinting 13 , 14 . Moreover, sensory analysis is perhaps even more complicated. Flavor perception is highly complex, resulting from hundreds of different molecules interacting at the physiochemical and sensorial level. Sensory perception is often non-linear, characterized by complex and concentration-dependent synergistic and antagonistic effects 15 , 16 , 17 , 18 , 19 , 20 , 21 that are further convoluted by the genetics, environment, culture and psychology of consumers 22 , 23 , 24 . Perceived flavor is therefore difficult to measure, with problems of sensitivity, accuracy, and reproducibility that can only be resolved by gathering sufficiently large datasets 25 . Trained tasting panels are considered the prime source of quality sensory data, but require meticulous training, are low throughput and high cost. Public databases containing consumer reviews of food products could provide a valuable alternative, especially for studying appreciation scores, which do not require formal training 25 . Public databases offer the advantage of amassing large amounts of data, increasing the statistical power to identify potential drivers of appreciation. However, public datasets suffer from biases, including a bias in the volunteers that contribute to the database, as well as confounding factors such as price, cult status and psychological conformity towards previous ratings of the product.

Classical multivariate statistics and machine learning methods have been used to predict flavor of specific compounds by, for example, linking structural properties of a compound to its potential biological activities or linking concentrations of specific compounds to sensory profiles 1 , 26 . Importantly, most previous studies focused on predicting organoleptic properties of single compounds (often based on their chemical structure) 27 , 28 , 29 , 30 , 31 , 32 , 33 , thus ignoring the fact that these compounds are present in a complex matrix in food or beverages and excluding complex interactions between compounds. Moreover, the classical statistics commonly used in sensory science 34 , 35 , 36 , 37 , 38 , 39 require a large sample size and sufficient variance amongst predictors to create accurate models. They are not fit for studying an extensive set of hundreds of interacting flavor compounds, since they are sensitive to outliers, have a high tendency to overfit and are less suited for non-linear and discontinuous relationships 40 .

In this study, we combine extensive chemical analyses and sensory data of a set of different commercial beers with machine learning approaches to develop models that predict taste, smell, mouthfeel and appreciation from compound concentrations. Beer is particularly suited to model the relationship between chemistry, flavor and appreciation. First, beer is a complex product, consisting of thousands of flavor compounds that partake in complex sensory interactions 41 , 42 , 43 . This chemical diversity arises from the raw materials (malt, yeast, hops, water and spices) and biochemical conversions during the brewing process (kilning, mashing, boiling, fermentation, maturation and aging) 44 , 45 . Second, the advent of the internet saw beer consumers embrace online review platforms, such as RateBeer (ZX Ventures, Anheuser-Busch InBev SA/NV) and BeerAdvocate (Next Glass, inc.). In this way, the beer community provides massive data sets of beer flavor and appreciation scores, creating extraordinarily large sensory databases to complement the analyses of our professional sensory panel. Specifically, we characterize over 200 chemical properties of 250 commercial beers, spread across 22 beer styles, and link these to the descriptive sensory profiling data of a 16-person in-house trained tasting panel and data acquired from over 180,000 public consumer reviews. These unique and extensive datasets enable us to train a suite of machine learning models to predict flavor and appreciation from a beer’s chemical profile. Dissection of the best-performing models allows us to pinpoint specific compounds as potential drivers of beer flavor and appreciation. Follow-up experiments confirm the importance of these compounds and ultimately allow us to significantly improve the flavor and appreciation of selected commercial beers. Together, our study represents a significant step towards understanding complex flavors and reinforces the value of machine learning to develop and refine complex foods. In this way, it represents a stepping stone for further computer-aided food engineering applications 46 .

To generate a comprehensive dataset on beer flavor, we selected 250 commercial Belgian beers across 22 different beer styles (Supplementary Fig.  S1 ). Beers with ≤ 4.2% alcohol by volume (ABV) were classified as non-alcoholic and low-alcoholic. Blonds and Tripels constitute a significant portion of the dataset (12.4% and 11.2%, respectively) reflecting their presence on the Belgian beer market and the heterogeneity of beers within these styles. By contrast, lager beers are less diverse and dominated by a handful of brands. Rare styles such as Brut or Faro make up only a small fraction of the dataset (2% and 1%, respectively) because fewer of these beers are produced and because they are dominated by distinct characteristics in terms of flavor and chemical composition.

Extensive analysis identifies relationships between chemical compounds in beer

For each beer, we measured 226 different chemical properties, including common brewing parameters such as alcohol content, iso-alpha acids, pH, sugar concentration 47 , and over 200 flavor compounds (Methods, Supplementary Table  S1 ). A large portion (37.2%) are terpenoids arising from hopping, responsible for herbal and fruity flavors 16 , 48 . A second major category are yeast metabolites, such as esters and alcohols, that result in fruity and solvent notes 48 , 49 , 50 . Other measured compounds are primarily derived from malt, or other microbes such as non- Saccharomyces yeasts and bacteria (‘wild flora’). Compounds that arise from spices or staling are labeled under ‘Others’. Five attributes (caloric value, total acids and total ester, hop aroma and sulfur compounds) are calculated from multiple individually measured compounds.

As a first step in identifying relationships between chemical properties, we determined correlations between the concentrations of the compounds (Fig.  1 , upper panel, Supplementary Data  1 and 2 , and Supplementary Fig.  S2 . For the sake of clarity, only a subset of the measured compounds is shown in Fig.  1 ). Compounds of the same origin typically show a positive correlation, while absence of correlation hints at parameters varying independently. For example, the hop aroma compounds citronellol, and alpha-terpineol show moderate correlations with each other (Spearman’s rho=0.39 and 0.57), but not with the bittering hop component iso-alpha acids (Spearman’s rho=0.16 and −0.07). This illustrates how brewers can independently modify hop aroma and bitterness by selecting hop varieties and dosage time. If hops are added early in the boiling phase, chemical conversions increase bitterness while aromas evaporate, conversely, late addition of hops preserves aroma but limits bitterness 51 . Similarly, hop-derived iso-alpha acids show a strong anti-correlation with lactic acid and acetic acid, likely reflecting growth inhibition of lactic acid and acetic acid bacteria, or the consequent use of fewer hops in sour beer styles, such as West Flanders ales and Fruit beers, that rely on these bacteria for their distinct flavors 52 . Finally, yeast-derived esters (ethyl acetate, ethyl decanoate, ethyl hexanoate, ethyl octanoate) and alcohols (ethanol, isoamyl alcohol, isobutanol, and glycerol), correlate with Spearman coefficients above 0.5, suggesting that these secondary metabolites are correlated with the yeast genetic background and/or fermentation parameters and may be difficult to influence individually, although the choice of yeast strain may offer some control 53 .

Spearman rank correlations are shown. Descriptors are grouped according to their origin (malt (blue), hops (green), yeast (red), wild flora (yellow), Others (black)), and sensory aspect (aroma, taste, palate, and overall appreciation). Please note that for the chemical compounds, for the sake of clarity, only a subset of the total number of measured compounds is shown, with an emphasis on the key compounds for each source. For more details, see the main text and Methods section. Chemical data can be found in Supplementary Data  1 , correlations between all chemical compounds are depicted in Supplementary Fig.  S2 and correlation values can be found in Supplementary Data  2 . See Supplementary Data  4 for sensory panel assessments and Supplementary Data  5 for correlation values between all sensory descriptors.

Interestingly, different beer styles show distinct patterns for some flavor compounds (Supplementary Fig.  S3 ). These observations agree with expectations for key beer styles, and serve as a control for our measurements. For instance, Stouts generally show high values for color (darker), while hoppy beers contain elevated levels of iso-alpha acids, compounds associated with bitter hop taste. Acetic and lactic acid are not prevalent in most beers, with notable exceptions such as Kriek, Lambic, Faro, West Flanders ales and Flanders Old Brown, which use acid-producing bacteria ( Lactobacillus and Pediococcus ) or unconventional yeast ( Brettanomyces ) 54 , 55 . Glycerol, ethanol and esters show similar distributions across all beer styles, reflecting their common origin as products of yeast metabolism during fermentation 45 , 53 . Finally, low/no-alcohol beers contain low concentrations of glycerol and esters. This is in line with the production process for most of the low/no-alcohol beers in our dataset, which are produced through limiting fermentation or by stripping away alcohol via evaporation or dialysis, with both methods having the unintended side-effect of reducing the amount of flavor compounds in the final beer 56 , 57 .

Besides expected associations, our data also reveals less trivial associations between beer styles and specific parameters. For example, geraniol and citronellol, two monoterpenoids responsible for citrus, floral and rose flavors and characteristic of Citra hops, are found in relatively high amounts in Christmas, Saison, and Brett/co-fermented beers, where they may originate from terpenoid-rich spices such as coriander seeds instead of hops 58 .

Tasting panel assessments reveal sensorial relationships in beer

To assess the sensory profile of each beer, a trained tasting panel evaluated each of the 250 beers for 50 sensory attributes, including different hop, malt and yeast flavors, off-flavors and spices. Panelists used a tasting sheet (Supplementary Data  3 ) to score the different attributes. Panel consistency was evaluated by repeating 12 samples across different sessions and performing ANOVA. In 95% of cases no significant difference was found across sessions ( p  > 0.05), indicating good panel consistency (Supplementary Table  S2 ).

Aroma and taste perception reported by the trained panel are often linked (Fig.  1 , bottom left panel and Supplementary Data  4 and 5 ), with high correlations between hops aroma and taste (Spearman’s rho=0.83). Bitter taste was found to correlate with hop aroma and taste in general (Spearman’s rho=0.80 and 0.69), and particularly with “grassy” noble hops (Spearman’s rho=0.75). Barnyard flavor, most often associated with sour beers, is identified together with stale hops (Spearman’s rho=0.97) that are used in these beers. Lactic and acetic acid, which often co-occur, are correlated (Spearman’s rho=0.66). Interestingly, sweetness and bitterness are anti-correlated (Spearman’s rho = −0.48), confirming the hypothesis that they mask each other 59 , 60 . Beer body is highly correlated with alcohol (Spearman’s rho = 0.79), and overall appreciation is found to correlate with multiple aspects that describe beer mouthfeel (alcohol, carbonation; Spearman’s rho= 0.32, 0.39), as well as with hop and ester aroma intensity (Spearman’s rho=0.39 and 0.35).

Similar to the chemical analyses, sensorial analyses confirmed typical features of specific beer styles (Supplementary Fig.  S4 ). For example, sour beers (Faro, Flanders Old Brown, Fruit beer, Kriek, Lambic, West Flanders ale) were rated acidic, with flavors of both acetic and lactic acid. Hoppy beers were found to be bitter and showed hop-associated aromas like citrus and tropical fruit. Malt taste is most detected among scotch, stout/porters, and strong ales, while low/no-alcohol beers, which often have a reputation for being ‘worty’ (reminiscent of unfermented, sweet malt extract) appear in the middle. Unsurprisingly, hop aromas are most strongly detected among hoppy beers. Like its chemical counterpart (Supplementary Fig.  S3 ), acidity shows a right-skewed distribution, with the most acidic beers being Krieks, Lambics, and West Flanders ales.

Tasting panel assessments of specific flavors correlate with chemical composition

We find that the concentrations of several chemical compounds strongly correlate with specific aroma or taste, as evaluated by the tasting panel (Fig.  2 , Supplementary Fig.  S5 , Supplementary Data  6 ). In some cases, these correlations confirm expectations and serve as a useful control for data quality. For example, iso-alpha acids, the bittering compounds in hops, strongly correlate with bitterness (Spearman’s rho=0.68), while ethanol and glycerol correlate with tasters’ perceptions of alcohol and body, the mouthfeel sensation of fullness (Spearman’s rho=0.82/0.62 and 0.72/0.57 respectively) and darker color from roasted malts is a good indication of malt perception (Spearman’s rho=0.54).

Heatmap colors indicate Spearman’s Rho. Axes are organized according to sensory categories (aroma, taste, mouthfeel, overall), chemical categories and chemical sources in beer (malt (blue), hops (green), yeast (red), wild flora (yellow), Others (black)). See Supplementary Data  6 for all correlation values.

Interestingly, for some relationships between chemical compounds and perceived flavor, correlations are weaker than expected. For example, the rose-smelling phenethyl acetate only weakly correlates with floral aroma. This hints at more complex relationships and interactions between compounds and suggests a need for a more complex model than simple correlations. Lastly, we uncovered unexpected correlations. For instance, the esters ethyl decanoate and ethyl octanoate appear to correlate slightly with hop perception and bitterness, possibly due to their fruity flavor. Iron is anti-correlated with hop aromas and bitterness, most likely because it is also anti-correlated with iso-alpha acids. This could be a sign of metal chelation of hop acids 61 , given that our analyses measure unbound hop acids and total iron content, or could result from the higher iron content in dark and Fruit beers, which typically have less hoppy and bitter flavors 62 .

Public consumer reviews complement expert panel data

To complement and expand the sensory data of our trained tasting panel, we collected 180,000 reviews of our 250 beers from the online consumer review platform RateBeer. This provided numerical scores for beer appearance, aroma, taste, palate, overall quality as well as the average overall score.

Public datasets are known to suffer from biases, such as price, cult status and psychological conformity towards previous ratings of a product. For example, prices correlate with appreciation scores for these online consumer reviews (rho=0.49, Supplementary Fig.  S6 ), but not for our trained tasting panel (rho=0.19). This suggests that prices affect consumer appreciation, which has been reported in wine 63 , while blind tastings are unaffected. Moreover, we observe that some beer styles, like lagers and non-alcoholic beers, generally receive lower scores, reflecting that online reviewers are mostly beer aficionados with a preference for specialty beers over lager beers. In general, we find a modest correlation between our trained panel’s overall appreciation score and the online consumer appreciation scores (Fig.  3 , rho=0.29). Apart from the aforementioned biases in the online datasets, serving temperature, sample freshness and surroundings, which are all tightly controlled during the tasting panel sessions, can vary tremendously across online consumers and can further contribute to (among others, appreciation) differences between the two categories of tasters. Importantly, in contrast to the overall appreciation scores, for many sensory aspects the results from the professional panel correlated well with results obtained from RateBeer reviews. Correlations were highest for features that are relatively easy to recognize even for untrained tasters, like bitterness, sweetness, alcohol and malt aroma (Fig.  3 and below).

RateBeer text mining results can be found in Supplementary Data  7 . Rho values shown are Spearman correlation values, with asterisks indicating significant correlations ( p  < 0.05, two-sided). All p values were smaller than 0.001, except for Esters aroma (0.0553), Esters taste (0.3275), Esters aroma—banana (0.0019), Coriander (0.0508) and Diacetyl (0.0134).

Besides collecting consumer appreciation from these online reviews, we developed automated text analysis tools to gather additional data from review texts (Supplementary Data  7 ). Processing review texts on the RateBeer database yielded comparable results to the scores given by the trained panel for many common sensory aspects, including acidity, bitterness, sweetness, alcohol, malt, and hop tastes (Fig.  3 ). This is in line with what would be expected, since these attributes require less training for accurate assessment and are less influenced by environmental factors such as temperature, serving glass and odors in the environment. Consumer reviews also correlate well with our trained panel for 4-vinyl guaiacol, a compound associated with a very characteristic aroma. By contrast, correlations for more specific aromas like ester, coriander or diacetyl are underrepresented in the online reviews, underscoring the importance of using a trained tasting panel and standardized tasting sheets with explicit factors to be scored for evaluating specific aspects of a beer. Taken together, our results suggest that public reviews are trustworthy for some, but not all, flavor features and can complement or substitute taste panel data for these sensory aspects.

Models can predict beer sensory profiles from chemical data

The rich datasets of chemical analyses, tasting panel assessments and public reviews gathered in the first part of this study provided us with a unique opportunity to develop predictive models that link chemical data to sensorial features. Given the complexity of beer flavor, basic statistical tools such as correlations or linear regression may not always be the most suitable for making accurate predictions. Instead, we applied different machine learning models that can model both simple linear and complex interactive relationships. Specifically, we constructed a set of regression models to predict (a) trained panel scores for beer flavor and quality and (b) public reviews’ appreciation scores from beer chemical profiles. We trained and tested 10 different models (Methods), 3 linear regression-based models (simple linear regression with first-order interactions (LR), lasso regression with first-order interactions (Lasso), partial least squares regressor (PLSR)), 5 decision tree models (AdaBoost regressor (ABR), extra trees (ET), gradient boosting regressor (GBR), random forest (RF) and XGBoost regressor (XGBR)), 1 support vector regression (SVR), and 1 artificial neural network (ANN) model.

To compare the performance of our machine learning models, the dataset was randomly split into a training and test set, stratified by beer style. After a model was trained on data in the training set, its performance was evaluated on its ability to predict the test dataset obtained from multi-output models (based on the coefficient of determination, see Methods). Additionally, individual-attribute models were ranked per descriptor and the average rank was calculated, as proposed by Korneva et al. 64 . Importantly, both ways of evaluating the models’ performance agreed in general. Performance of the different models varied (Table  1 ). It should be noted that all models perform better at predicting RateBeer results than results from our trained tasting panel. One reason could be that sensory data is inherently variable, and this variability is averaged out with the large number of public reviews from RateBeer. Additionally, all tree-based models perform better at predicting taste than aroma. Linear models (LR) performed particularly poorly, with negative R 2 values, due to severe overfitting (training set R 2  = 1). Overfitting is a common issue in linear models with many parameters and limited samples, especially with interaction terms further amplifying the number of parameters. L1 regularization (Lasso) successfully overcomes this overfitting, out-competing multiple tree-based models on the RateBeer dataset. Similarly, the dimensionality reduction of PLSR avoids overfitting and improves performance, to some extent. Still, tree-based models (ABR, ET, GBR, RF and XGBR) show the best performance, out-competing the linear models (LR, Lasso, PLSR) commonly used in sensory science 65 .

GBR models showed the best overall performance in predicting sensory responses from chemical information, with R 2 values up to 0.75 depending on the predicted sensory feature (Supplementary Table  S4 ). The GBR models predict consumer appreciation (RateBeer) better than our trained panel’s appreciation (R 2 value of 0.67 compared to R 2 value of 0.09) (Supplementary Table  S3 and Supplementary Table  S4 ). ANN models showed intermediate performance, likely because neural networks typically perform best with larger datasets 66 . The SVR shows intermediate performance, mostly due to the weak predictions of specific attributes that lower the overall performance (Supplementary Table  S4 ).

Model dissection identifies specific, unexpected compounds as drivers of consumer appreciation

Next, we leveraged our models to infer important contributors to sensory perception and consumer appreciation. Consumer preference is a crucial sensory aspects, because a product that shows low consumer appreciation scores often does not succeed commercially 25 . Additionally, the requirement for a large number of representative evaluators makes consumer trials one of the more costly and time-consuming aspects of product development. Hence, a model for predicting chemical drivers of overall appreciation would be a welcome addition to the available toolbox for food development and optimization.

Since GBR models on our RateBeer dataset showed the best overall performance, we focused on these models. Specifically, we used two approaches to identify important contributors. First, rankings of the most important predictors for each sensorial trait in the GBR models were obtained based on impurity-based feature importance (mean decrease in impurity). High-ranked parameters were hypothesized to be either the true causal chemical properties underlying the trait, to correlate with the actual causal properties, or to take part in sensory interactions affecting the trait 67 (Fig.  4A ). In a second approach, we used SHAP 68 to determine which parameters contributed most to the model for making predictions of consumer appreciation (Fig.  4B ). SHAP calculates parameter contributions to model predictions on a per-sample basis, which can be aggregated into an importance score.

A The impurity-based feature importance (mean deviance in impurity, MDI) calculated from the Gradient Boosting Regression (GBR) model predicting RateBeer appreciation scores. The top 15 highest ranked chemical properties are shown. B SHAP summary plot for the top 15 parameters contributing to our GBR model. Each point on the graph represents a sample from our dataset. The color represents the concentration of that parameter, with bluer colors representing low values and redder colors representing higher values. Greater absolute values on the horizontal axis indicate a higher impact of the parameter on the prediction of the model. C Spearman correlations between the 15 most important chemical properties and consumer overall appreciation. Numbers indicate the Spearman Rho correlation coefficient, and the rank of this correlation compared to all other correlations. The top 15 important compounds were determined using SHAP (panel B).

Both approaches identified ethyl acetate as the most predictive parameter for beer appreciation (Fig.  4 ). Ethyl acetate is the most abundant ester in beer with a typical ‘fruity’, ‘solvent’ and ‘alcoholic’ flavor, but is often considered less important than other esters like isoamyl acetate. The second most important parameter identified by SHAP is ethanol, the most abundant beer compound after water. Apart from directly contributing to beer flavor and mouthfeel, ethanol drastically influences the physical properties of beer, dictating how easily volatile compounds escape the beer matrix to contribute to beer aroma 69 . Importantly, it should also be noted that the importance of ethanol for appreciation is likely inflated by the very low appreciation scores of non-alcoholic beers (Supplementary Fig.  S4 ). Despite not often being considered a driver of beer appreciation, protein level also ranks highly in both approaches, possibly due to its effect on mouthfeel and body 70 . Lactic acid, which contributes to the tart taste of sour beers, is the fourth most important parameter identified by SHAP, possibly due to the generally high appreciation of sour beers in our dataset.

Interestingly, some of the most important predictive parameters for our model are not well-established as beer flavors or are even commonly regarded as being negative for beer quality. For example, our models identify methanethiol and ethyl phenyl acetate, an ester commonly linked to beer staling 71 , as a key factor contributing to beer appreciation. Although there is no doubt that high concentrations of these compounds are considered unpleasant, the positive effects of modest concentrations are not yet known 72 , 73 .

To compare our approach to conventional statistics, we evaluated how well the 15 most important SHAP-derived parameters correlate with consumer appreciation (Fig.  4C ). Interestingly, only 6 of the properties derived by SHAP rank amongst the top 15 most correlated parameters. For some chemical compounds, the correlations are so low that they would have likely been considered unimportant. For example, lactic acid, the fourth most important parameter, shows a bimodal distribution for appreciation, with sour beers forming a separate cluster, that is missed entirely by the Spearman correlation. Additionally, the correlation plots reveal outliers, emphasizing the need for robust analysis tools. Together, this highlights the need for alternative models, like the Gradient Boosting model, that better grasp the complexity of (beer) flavor.

Finally, to observe the relationships between these chemical properties and their predicted targets, partial dependence plots were constructed for the six most important predictors of consumer appreciation 74 , 75 , 76 (Supplementary Fig.  S7 ). One-way partial dependence plots show how a change in concentration affects the predicted appreciation. These plots reveal an important limitation of our models: appreciation predictions remain constant at ever-increasing concentrations. This implies that once a threshold concentration is reached, further increasing the concentration does not affect appreciation. This is false, as it is well-documented that certain compounds become unpleasant at high concentrations, including ethyl acetate (‘nail polish’) 77 and methanethiol (‘sulfury’ and ‘rotten cabbage’) 78 . The inability of our models to grasp that flavor compounds have optimal levels, above which they become negative, is a consequence of working with commercial beer brands where (off-)flavors are rarely too high to negatively impact the product. The two-way partial dependence plots show how changing the concentration of two compounds influences predicted appreciation, visualizing their interactions (Supplementary Fig.  S7 ). In our case, the top 5 parameters are dominated by additive or synergistic interactions, with high concentrations for both compounds resulting in the highest predicted appreciation.

To assess the robustness of our best-performing models and model predictions, we performed 100 iterations of the GBR, RF and ET models. In general, all iterations of the models yielded similar performance (Supplementary Fig.  S8 ). Moreover, the main predictors (including the top predictors ethanol and ethyl acetate) remained virtually the same, especially for GBR and RF. For the iterations of the ET model, we did observe more variation in the top predictors, which is likely a consequence of the model’s inherent random architecture in combination with co-correlations between certain predictors. However, even in this case, several of the top predictors (ethanol and ethyl acetate) remain unchanged, although their rank in importance changes (Supplementary Fig.  S8 ).

Next, we investigated if a combination of RateBeer and trained panel data into one consolidated dataset would lead to stronger models, under the hypothesis that such a model would suffer less from bias in the datasets. A GBR model was trained to predict appreciation on the combined dataset. This model underperformed compared to the RateBeer model, both in the native case and when including a dataset identifier (R 2  = 0.67, 0.26 and 0.42 respectively). For the latter, the dataset identifier is the most important feature (Supplementary Fig.  S9 ), while most of the feature importance remains unchanged, with ethyl acetate and ethanol ranking highest, like in the original model trained only on RateBeer data. It seems that the large variation in the panel dataset introduces noise, weakening the models’ performances and reliability. In addition, it seems reasonable to assume that both datasets are fundamentally different, with the panel dataset obtained by blind tastings by a trained professional panel.

Lastly, we evaluated whether beer style identifiers would further enhance the model’s performance. A GBR model was trained with parameters that explicitly encoded the styles of the samples. This did not improve model performance (R2 = 0.66 with style information vs R2 = 0.67). The most important chemical features are consistent with the model trained without style information (eg. ethanol and ethyl acetate), and with the exception of the most preferred (strong ale) and least preferred (low/no-alcohol) styles, none of the styles were among the most important features (Supplementary Fig.  S9 , Supplementary Table  S5 and S6 ). This is likely due to a combination of style-specific chemical signatures, such as iso-alpha acids and lactic acid, that implicitly convey style information to the original models, as well as the low number of samples belonging to some styles, making it difficult for the model to learn style-specific patterns. Moreover, beer styles are not rigorously defined, with some styles overlapping in features and some beers being misattributed to a specific style, all of which leads to more noise in models that use style parameters.

Model validation

To test if our predictive models give insight into beer appreciation, we set up experiments aimed at improving existing commercial beers. We specifically selected overall appreciation as the trait to be examined because of its complexity and commercial relevance. Beer flavor comprises a complex bouquet rather than single aromas and tastes 53 . Hence, adding a single compound to the extent that a difference is noticeable may lead to an unbalanced, artificial flavor. Therefore, we evaluated the effect of combinations of compounds. Because Blond beers represent the most extensive style in our dataset, we selected a beer from this style as the starting material for these experiments (Beer 64 in Supplementary Data  1 ).

In the first set of experiments, we adjusted the concentrations of compounds that made up the most important predictors of overall appreciation (ethyl acetate, ethanol, lactic acid, ethyl phenyl acetate) together with correlated compounds (ethyl hexanoate, isoamyl acetate, glycerol), bringing them up to 95 th percentile ethanol-normalized concentrations (Methods) within the Blond group (‘Spiked’ concentration in Fig.  5A ). Compared to controls, the spiked beers were found to have significantly improved overall appreciation among trained panelists, with panelist noting increased intensity of ester flavors, sweetness, alcohol, and body fullness (Fig.  5B ). To disentangle the contribution of ethanol to these results, a second experiment was performed without the addition of ethanol. This resulted in a similar outcome, including increased perception of alcohol and overall appreciation.

Adding the top chemical compounds, identified as best predictors of appreciation by our model, into poorly appreciated beers results in increased appreciation from our trained panel. Results of sensory tests between base beers and those spiked with compounds identified as the best predictors by the model. A Blond and Non/Low-alcohol (0.0% ABV) base beers were brought up to 95th-percentile ethanol-normalized concentrations within each style. B For each sensory attribute, tasters indicated the more intense sample and selected the sample they preferred. The numbers above the bars correspond to the p values that indicate significant changes in perceived flavor (two-sided binomial test: alpha 0.05, n  = 20 or 13).

In a last experiment, we tested whether using the model’s predictions can boost the appreciation of a non-alcoholic beer (beer 223 in Supplementary Data  1 ). Again, the addition of a mixture of predicted compounds (omitting ethanol, in this case) resulted in a significant increase in appreciation, body, ester flavor and sweetness.

Predicting flavor and consumer appreciation from chemical composition is one of the ultimate goals of sensory science. A reliable, systematic and unbiased way to link chemical profiles to flavor and food appreciation would be a significant asset to the food and beverage industry. Such tools would substantially aid in quality control and recipe development, offer an efficient and cost-effective alternative to pilot studies and consumer trials and would ultimately allow food manufacturers to produce superior, tailor-made products that better meet the demands of specific consumer groups more efficiently.

A limited set of studies have previously tried, to varying degrees of success, to predict beer flavor and beer popularity based on (a limited set of) chemical compounds and flavors 79 , 80 . Current sensitive, high-throughput technologies allow measuring an unprecedented number of chemical compounds and properties in a large set of samples, yielding a dataset that can train models that help close the gaps between chemistry and flavor, even for a complex natural product like beer. To our knowledge, no previous research gathered data at this scale (250 samples, 226 chemical parameters, 50 sensory attributes and 5 consumer scores) to disentangle and validate the chemical aspects driving beer preference using various machine-learning techniques. We find that modern machine learning models outperform conventional statistical tools, such as correlations and linear models, and can successfully predict flavor appreciation from chemical composition. This could be attributed to the natural incorporation of interactions and non-linear or discontinuous effects in machine learning models, which are not easily grasped by the linear model architecture. While linear models and partial least squares regression represent the most widespread statistical approaches in sensory science, in part because they allow interpretation 65 , 81 , 82 , modern machine learning methods allow for building better predictive models while preserving the possibility to dissect and exploit the underlying patterns. Of the 10 different models we trained, tree-based models, such as our best performing GBR, showed the best overall performance in predicting sensory responses from chemical information, outcompeting artificial neural networks. This agrees with previous reports for models trained on tabular data 83 . Our results are in line with the findings of Colantonio et al. who also identified the gradient boosting architecture as performing best at predicting appreciation and flavor (of tomatoes and blueberries, in their specific study) 26 . Importantly, besides our larger experimental scale, we were able to directly confirm our models’ predictions in vivo.

Our study confirms that flavor compound concentration does not always correlate with perception, suggesting complex interactions that are often missed by more conventional statistics and simple models. Specifically, we find that tree-based algorithms may perform best in developing models that link complex food chemistry with aroma. Furthermore, we show that massive datasets of untrained consumer reviews provide a valuable source of data, that can complement or even replace trained tasting panels, especially for appreciation and basic flavors, such as sweetness and bitterness. This holds despite biases that are known to occur in such datasets, such as price or conformity bias. Moreover, GBR models predict taste better than aroma. This is likely because taste (e.g. bitterness) often directly relates to the corresponding chemical measurements (e.g., iso-alpha acids), whereas such a link is less clear for aromas, which often result from the interplay between multiple volatile compounds. We also find that our models are best at predicting acidity and alcohol, likely because there is a direct relation between the measured chemical compounds (acids and ethanol) and the corresponding perceived sensorial attribute (acidity and alcohol), and because even untrained consumers are generally able to recognize these flavors and aromas.

The predictions of our final models, trained on review data, hold even for blind tastings with small groups of trained tasters, as demonstrated by our ability to validate specific compounds as drivers of beer flavor and appreciation. Since adding a single compound to the extent of a noticeable difference may result in an unbalanced flavor profile, we specifically tested our identified key drivers as a combination of compounds. While this approach does not allow us to validate if a particular single compound would affect flavor and/or appreciation, our experiments do show that this combination of compounds increases consumer appreciation.

It is important to stress that, while it represents an important step forward, our approach still has several major limitations. A key weakness of the GBR model architecture is that amongst co-correlating variables, the largest main effect is consistently preferred for model building. As a result, co-correlating variables often have artificially low importance scores, both for impurity and SHAP-based methods, like we observed in the comparison to the more randomized Extra Trees models. This implies that chemicals identified as key drivers of a specific sensory feature by GBR might not be the true causative compounds, but rather co-correlate with the actual causative chemical. For example, the high importance of ethyl acetate could be (partially) attributed to the total ester content, ethanol or ethyl hexanoate (rho=0.77, rho=0.72 and rho=0.68), while ethyl phenylacetate could hide the importance of prenyl isobutyrate and ethyl benzoate (rho=0.77 and rho=0.76). Expanding our GBR model to include beer style as a parameter did not yield additional power or insight. This is likely due to style-specific chemical signatures, such as iso-alpha acids and lactic acid, that implicitly convey style information to the original model, as well as the smaller sample size per style, limiting the power to uncover style-specific patterns. This can be partly attributed to the curse of dimensionality, where the high number of parameters results in the models mainly incorporating single parameter effects, rather than complex interactions such as style-dependent effects 67 . A larger number of samples may overcome some of these limitations and offer more insight into style-specific effects. On the other hand, beer style is not a rigid scientific classification, and beers within one style often differ a lot, which further complicates the analysis of style as a model factor.

Our study is limited to beers from Belgian breweries. Although these beers cover a large portion of the beer styles available globally, some beer styles and consumer patterns may be missing, while other features might be overrepresented. For example, many Belgian ales exhibit yeast-driven flavor profiles, which is reflected in the chemical drivers of appreciation discovered by this study. In future work, expanding the scope to include diverse markets and beer styles could lead to the identification of even more drivers of appreciation and better models for special niche products that were not present in our beer set.

In addition to inherent limitations of GBR models, there are also some limitations associated with studying food aroma. Even if our chemical analyses measured most of the known aroma compounds, the total number of flavor compounds in complex foods like beer is still larger than the subset we were able to measure in this study. For example, hop-derived thiols, that influence flavor at very low concentrations, are notoriously difficult to measure in a high-throughput experiment. Moreover, consumer perception remains subjective and prone to biases that are difficult to avoid. It is also important to stress that the models are still immature and that more extensive datasets will be crucial for developing more complete models in the future. Besides more samples and parameters, our dataset does not include any demographic information about the tasters. Including such data could lead to better models that grasp external factors like age and culture. Another limitation is that our set of beers consists of high-quality end-products and lacks beers that are unfit for sale, which limits the current model in accurately predicting products that are appreciated very badly. Finally, while models could be readily applied in quality control, their use in sensory science and product development is restrained by their inability to discern causal relationships. Given that the models cannot distinguish compounds that genuinely drive consumer perception from those that merely correlate, validation experiments are essential to identify true causative compounds.

Despite the inherent limitations, dissection of our models enabled us to pinpoint specific molecules as potential drivers of beer aroma and consumer appreciation, including compounds that were unexpected and would not have been identified using standard approaches. Important drivers of beer appreciation uncovered by our models include protein levels, ethyl acetate, ethyl phenyl acetate and lactic acid. Currently, many brewers already use lactic acid to acidify their brewing water and ensure optimal pH for enzymatic activity during the mashing process. Our results suggest that adding lactic acid can also improve beer appreciation, although its individual effect remains to be tested. Interestingly, ethanol appears to be unnecessary to improve beer appreciation, both for blond beer and alcohol-free beer. Given the growing consumer interest in alcohol-free beer, with a predicted annual market growth of >7% 84 , it is relevant for brewers to know what compounds can further increase consumer appreciation of these beers. Hence, our model may readily provide avenues to further improve the flavor and consumer appreciation of both alcoholic and non-alcoholic beers, which is generally considered one of the key challenges for future beer production.

Whereas we see a direct implementation of our results for the development of superior alcohol-free beverages and other food products, our study can also serve as a stepping stone for the development of novel alcohol-containing beverages. We want to echo the growing body of scientific evidence for the negative effects of alcohol consumption, both on the individual level by the mutagenic, teratogenic and carcinogenic effects of ethanol 85 , 86 , as well as the burden on society caused by alcohol abuse and addiction. We encourage the use of our results for the production of healthier, tastier products, including novel and improved beverages with lower alcohol contents. Furthermore, we strongly discourage the use of these technologies to improve the appreciation or addictive properties of harmful substances.

The present work demonstrates that despite some important remaining hurdles, combining the latest developments in chemical analyses, sensory analysis and modern machine learning methods offers exciting avenues for food chemistry and engineering. Soon, these tools may provide solutions in quality control and recipe development, as well as new approaches to sensory science and flavor research.

Beer selection

250 commercial Belgian beers were selected to cover the broad diversity of beer styles and corresponding diversity in chemical composition and aroma. See Supplementary Fig.  S1 .

Chemical dataset

Sample preparation.

Beers within their expiration date were purchased from commercial retailers. Samples were prepared in biological duplicates at room temperature, unless explicitly stated otherwise. Bottle pressure was measured with a manual pressure device (Steinfurth Mess-Systeme GmbH) and used to calculate CO 2 concentration. The beer was poured through two filter papers (Macherey-Nagel, 500713032 MN 713 ¼) to remove carbon dioxide and prevent spontaneous foaming. Samples were then prepared for measurements by targeted Headspace-Gas Chromatography-Flame Ionization Detector/Flame Photometric Detector (HS-GC-FID/FPD), Headspace-Solid Phase Microextraction-Gas Chromatography-Mass Spectrometry (HS-SPME-GC-MS), colorimetric analysis, enzymatic analysis, Near-Infrared (NIR) analysis, as described in the sections below. The mean values of biological duplicates are reported for each compound.

HS-GC-FID/FPD

HS-GC-FID/FPD (Shimadzu GC 2010 Plus) was used to measure higher alcohols, acetaldehyde, esters, 4-vinyl guaicol, and sulfur compounds. Each measurement comprised 5 ml of sample pipetted into a 20 ml glass vial containing 1.75 g NaCl (VWR, 27810.295). 100 µl of 2-heptanol (Sigma-Aldrich, H3003) (internal standard) solution in ethanol (Fisher Chemical, E/0650DF/C17) was added for a final concentration of 2.44 mg/L. Samples were flushed with nitrogen for 10 s, sealed with a silicone septum, stored at −80 °C and analyzed in batches of 20.

The GC was equipped with a DB-WAXetr column (length, 30 m; internal diameter, 0.32 mm; layer thickness, 0.50 µm; Agilent Technologies, Santa Clara, CA, USA) to the FID and an HP-5 column (length, 30 m; internal diameter, 0.25 mm; layer thickness, 0.25 µm; Agilent Technologies, Santa Clara, CA, USA) to the FPD. N 2 was used as the carrier gas. Samples were incubated for 20 min at 70 °C in the headspace autosampler (Flow rate, 35 cm/s; Injection volume, 1000 µL; Injection mode, split; Combi PAL autosampler, CTC analytics, Switzerland). The injector, FID and FPD temperatures were kept at 250 °C. The GC oven temperature was first held at 50 °C for 5 min and then allowed to rise to 80 °C at a rate of 5 °C/min, followed by a second ramp of 4 °C/min until 200 °C kept for 3 min and a final ramp of (4 °C/min) until 230 °C for 1 min. Results were analyzed with the GCSolution software version 2.4 (Shimadzu, Kyoto, Japan). The GC was calibrated with a 5% EtOH solution (VWR International) containing the volatiles under study (Supplementary Table  S7 ).

HS-SPME-GC-MS

HS-SPME-GC-MS (Shimadzu GCMS-QP-2010 Ultra) was used to measure additional volatile compounds, mainly comprising terpenoids and esters. Samples were analyzed by HS-SPME using a triphase DVB/Carboxen/PDMS 50/30 μm SPME fiber (Supelco Co., Bellefonte, PA, USA) followed by gas chromatography (Thermo Fisher Scientific Trace 1300 series, USA) coupled to a mass spectrometer (Thermo Fisher Scientific ISQ series MS) equipped with a TriPlus RSH autosampler. 5 ml of degassed beer sample was placed in 20 ml vials containing 1.75 g NaCl (VWR, 27810.295). 5 µl internal standard mix was added, containing 2-heptanol (1 g/L) (Sigma-Aldrich, H3003), 4-fluorobenzaldehyde (1 g/L) (Sigma-Aldrich, 128376), 2,3-hexanedione (1 g/L) (Sigma-Aldrich, 144169) and guaiacol (1 g/L) (Sigma-Aldrich, W253200) in ethanol (Fisher Chemical, E/0650DF/C17). Each sample was incubated at 60 °C in the autosampler oven with constant agitation. After 5 min equilibration, the SPME fiber was exposed to the sample headspace for 30 min. The compounds trapped on the fiber were thermally desorbed in the injection port of the chromatograph by heating the fiber for 15 min at 270 °C.

The GC-MS was equipped with a low polarity RXi-5Sil MS column (length, 20 m; internal diameter, 0.18 mm; layer thickness, 0.18 µm; Restek, Bellefonte, PA, USA). Injection was performed in splitless mode at 320 °C, a split flow of 9 ml/min, a purge flow of 5 ml/min and an open valve time of 3 min. To obtain a pulsed injection, a programmed gas flow was used whereby the helium gas flow was set at 2.7 mL/min for 0.1 min, followed by a decrease in flow of 20 ml/min to the normal 0.9 mL/min. The temperature was first held at 30 °C for 3 min and then allowed to rise to 80 °C at a rate of 7 °C/min, followed by a second ramp of 2 °C/min till 125 °C and a final ramp of 8 °C/min with a final temperature of 270 °C.

Mass acquisition range was 33 to 550 amu at a scan rate of 5 scans/s. Electron impact ionization energy was 70 eV. The interface and ion source were kept at 275 °C and 250 °C, respectively. A mix of linear n-alkanes (from C7 to C40, Supelco Co.) was injected into the GC-MS under identical conditions to serve as external retention index markers. Identification and quantification of the compounds were performed using an in-house developed R script as described in Goelen et al. and Reher et al. 87 , 88 (for package information, see Supplementary Table  S8 ). Briefly, chromatograms were analyzed using AMDIS (v2.71) 89 to separate overlapping peaks and obtain pure compound spectra. The NIST MS Search software (v2.0 g) in combination with the NIST2017, FFNSC3 and Adams4 libraries were used to manually identify the empirical spectra, taking into account the expected retention time. After background subtraction and correcting for retention time shifts between samples run on different days based on alkane ladders, compound elution profiles were extracted and integrated using a file with 284 target compounds of interest, which were either recovered in our identified AMDIS list of spectra or were known to occur in beer. Compound elution profiles were estimated for every peak in every chromatogram over a time-restricted window using weighted non-negative least square analysis after which peak areas were integrated 87 , 88 . Batch effect correction was performed by normalizing against the most stable internal standard compound, 4-fluorobenzaldehyde. Out of all 284 target compounds that were analyzed, 167 were visually judged to have reliable elution profiles and were used for final analysis.

Discrete photometric and enzymatic analysis

Discrete photometric and enzymatic analysis (Thermo Scientific TM Gallery TM Plus Beermaster Discrete Analyzer) was used to measure acetic acid, ammonia, beta-glucan, iso-alpha acids, color, sugars, glycerol, iron, pH, protein, and sulfite. 2 ml of sample volume was used for the analyses. Information regarding the reagents and standard solutions used for analyses and calibrations is included in Supplementary Table  S7 and Supplementary Table  S9 .

NIR analyses

NIR analysis (Anton Paar Alcolyzer Beer ME System) was used to measure ethanol. Measurements comprised 50 ml of sample, and a 10% EtOH solution was used for calibration.

Correlation calculations

Pairwise Spearman Rank correlations were calculated between all chemical properties.

Sensory dataset

Trained panel.

Our trained tasting panel consisted of volunteers who gave prior verbal informed consent. All compounds used for the validation experiment were of food-grade quality. The tasting sessions were approved by the Social and Societal Ethics Committee of the KU Leuven (G-2022-5677-R2(MAR)). All online reviewers agreed to the Terms and Conditions of the RateBeer website.

Sensory analysis was performed according to the American Society of Brewing Chemists (ASBC) Sensory Analysis Methods 90 . 30 volunteers were screened through a series of triangle tests. The sixteen most sensitive and consistent tasters were retained as taste panel members. The resulting panel was diverse in age [22–42, mean: 29], sex [56% male] and nationality [7 different countries]. The panel developed a consensus vocabulary to describe beer aroma, taste and mouthfeel. Panelists were trained to identify and score 50 different attributes, using a 7-point scale to rate attributes’ intensity. The scoring sheet is included as Supplementary Data  3 . Sensory assessments took place between 10–12 a.m. The beers were served in black-colored glasses. Per session, between 5 and 12 beers of the same style were tasted at 12 °C to 16 °C. Two reference beers were added to each set and indicated as ‘Reference 1 & 2’, allowing panel members to calibrate their ratings. Not all panelists were present at every tasting. Scores were scaled by standard deviation and mean-centered per taster. Values are represented as z-scores and clustered by Euclidean distance. Pairwise Spearman correlations were calculated between taste and aroma sensory attributes. Panel consistency was evaluated by repeating samples on different sessions and performing ANOVA to identify differences, using the ‘stats’ package (v4.2.2) in R (for package information, see Supplementary Table  S8 ).

Online reviews from a public database

The ‘scrapy’ package in Python (v3.6) (for package information, see Supplementary Table  S8 ). was used to collect 232,288 online reviews (mean=922, min=6, max=5343) from RateBeer, an online beer review database. Each review entry comprised 5 numerical scores (appearance, aroma, taste, palate and overall quality) and an optional review text. The total number of reviews per reviewer was collected separately. Numerical scores were scaled and centered per rater, and mean scores were calculated per beer.

For the review texts, the language was estimated using the packages ‘langdetect’ and ‘langid’ in Python. Reviews that were classified as English by both packages were kept. Reviewers with fewer than 100 entries overall were discarded. 181,025 reviews from >6000 reviewers from >40 countries remained. Text processing was done using the ‘nltk’ package in Python. Texts were corrected for slang and misspellings; proper nouns and rare words that are relevant to the beer context were specified and kept as-is (‘Chimay’,’Lambic’, etc.). A dictionary of semantically similar sensorial terms, for example ‘floral’ and ‘flower’, was created and collapsed together into one term. Words were stemmed and lemmatized to avoid identifying words such as ‘acid’ and ‘acidity’ as separate terms. Numbers and punctuation were removed.

Sentences from up to 50 randomly chosen reviews per beer were manually categorized according to the aspect of beer they describe (appearance, aroma, taste, palate, overall quality—not to be confused with the 5 numerical scores described above) or flagged as irrelevant if they contained no useful information. If a beer contained fewer than 50 reviews, all reviews were manually classified. This labeled data set was used to train a model that classified the rest of the sentences for all beers 91 . Sentences describing taste and aroma were extracted, and term frequency–inverse document frequency (TFIDF) was implemented to calculate enrichment scores for sensorial words per beer.

The sex of the tasting subject was not considered when building our sensory database. Instead, results from different panelists were averaged, both for our trained panel (56% male, 44% female) and the RateBeer reviews (70% male, 30% female for RateBeer as a whole).

Beer price collection and processing

Beer prices were collected from the following stores: Colruyt, Delhaize, Total Wine, BeerHawk, The Belgian Beer Shop, The Belgian Shop, and Beer of Belgium. Where applicable, prices were converted to Euros and normalized per liter. Spearman correlations were calculated between these prices and mean overall appreciation scores from RateBeer and the taste panel, respectively.

Pairwise Spearman Rank correlations were calculated between all sensory properties.

Machine learning models

Predictive modeling of sensory profiles from chemical data.

Regression models were constructed to predict (a) trained panel scores for beer flavors and quality from beer chemical profiles and (b) public reviews’ appreciation scores from beer chemical profiles. Z-scores were used to represent sensory attributes in both data sets. Chemical properties with log-normal distributions (Shapiro-Wilk test, p  <  0.05 ) were log-transformed. Missing chemical measurements (0.1% of all data) were replaced with mean values per attribute. Observations from 250 beers were randomly separated into a training set (70%, 175 beers) and a test set (30%, 75 beers), stratified per beer style. Chemical measurements (p = 231) were normalized based on the training set average and standard deviation. In total, three linear regression-based models: linear regression with first-order interaction terms (LR), lasso regression with first-order interaction terms (Lasso) and partial least squares regression (PLSR); five decision tree models, Adaboost regressor (ABR), Extra Trees (ET), Gradient Boosting regressor (GBR), Random Forest (RF) and XGBoost regressor (XGBR); one support vector machine model (SVR) and one artificial neural network model (ANN) were trained. The models were implemented using the ‘scikit-learn’ package (v1.2.2) and ‘xgboost’ package (v1.7.3) in Python (v3.9.16). Models were trained, and hyperparameters optimized, using five-fold cross-validated grid search with the coefficient of determination (R 2 ) as the evaluation metric. The ANN (scikit-learn’s MLPRegressor) was optimized using Bayesian Tree-Structured Parzen Estimator optimization with the ‘Optuna’ Python package (v3.2.0). Individual models were trained per attribute, and a multi-output model was trained on all attributes simultaneously.

Model dissection

GBR was found to outperform other methods, resulting in models with the highest average R 2 values in both trained panel and public review data sets. Impurity-based rankings of the most important predictors for each predicted sensorial trait were obtained using the ‘scikit-learn’ package. To observe the relationships between these chemical properties and their predicted targets, partial dependence plots (PDP) were constructed for the six most important predictors of consumer appreciation 74 , 75 .

The ‘SHAP’ package in Python (v0.41.0) was implemented to provide an alternative ranking of predictor importance and to visualize the predictors’ effects as a function of their concentration 68 .

Validation of causal chemical properties

To validate the effects of the most important model features on predicted sensory attributes, beers were spiked with the chemical compounds identified by the models and descriptive sensory analyses were carried out according to the American Society of Brewing Chemists (ASBC) protocol 90 .

Compound spiking was done 30 min before tasting. Compounds were spiked into fresh beer bottles, that were immediately resealed and inverted three times. Fresh bottles of beer were opened for the same duration, resealed, and inverted thrice, to serve as controls. Pairs of spiked samples and controls were served simultaneously, chilled and in dark glasses as outlined in the Trained panel section above. Tasters were instructed to select the glass with the higher flavor intensity for each attribute (directional difference test 92 ) and to select the glass they prefer.

The final concentration after spiking was equal to the within-style average, after normalizing by ethanol concentration. This was done to ensure balanced flavor profiles in the final spiked beer. The same methods were applied to improve a non-alcoholic beer. Compounds were the following: ethyl acetate (Merck KGaA, W241415), ethyl hexanoate (Merck KGaA, W243906), isoamyl acetate (Merck KGaA, W205508), phenethyl acetate (Merck KGaA, W285706), ethanol (96%, Colruyt), glycerol (Merck KGaA, W252506), lactic acid (Merck KGaA, 261106).

Significant differences in preference or perceived intensity were determined by performing the two-sided binomial test on each attribute.

Reporting summary

Further information on research design is available in the  Nature Portfolio Reporting Summary linked to this article.

Data availability

The data that support the findings of this work are available in the Supplementary Data files and have been deposited to Zenodo under accession code 10653704 93 . The RateBeer scores data are under restricted access, they are not publicly available as they are property of RateBeer (ZX Ventures, USA). Access can be obtained from the authors upon reasonable request and with permission of RateBeer (ZX Ventures, USA).  Source data are provided with this paper.

Code availability

The code for training the machine learning models, analyzing the models, and generating the figures has been deposited to Zenodo under accession code 10653704 93 .

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Acknowledgements

We thank all lab members for their discussions and thank all tasting panel members for their contributions. Special thanks go out to Dr. Karin Voordeckers for her tremendous help in proofreading and improving the manuscript. M.S. was supported by a Baillet-Latour fellowship, L.C. acknowledges financial support from KU Leuven (C16/17/006), F.A.T. was supported by a PhD fellowship from FWO (1S08821N). Research in the lab of K.J.V. is supported by KU Leuven, FWO, VIB, VLAIO and the Brewing Science Serves Health Fund. Research in the lab of T.W. is supported by FWO (G.0A51.15) and KU Leuven (C16/17/006).

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These authors contributed equally: Michiel Schreurs, Supinya Piampongsant, Miguel Roncoroni.

Authors and Affiliations

VIB—KU Leuven Center for Microbiology, Gaston Geenslaan 1, B-3001, Leuven, Belgium

Michiel Schreurs, Supinya Piampongsant, Miguel Roncoroni, Lloyd Cool, Beatriz Herrera-Malaver, Florian A. Theßeling & Kevin J. Verstrepen

CMPG Laboratory of Genetics and Genomics, KU Leuven, Gaston Geenslaan 1, B-3001, Leuven, Belgium

Leuven Institute for Beer Research (LIBR), Gaston Geenslaan 1, B-3001, Leuven, Belgium

Laboratory of Socioecology and Social Evolution, KU Leuven, Naamsestraat 59, B-3000, Leuven, Belgium

Lloyd Cool, Christophe Vanderaa & Tom Wenseleers

VIB Bioinformatics Core, VIB, Rijvisschestraat 120, B-9052, Ghent, Belgium

Łukasz Kreft & Alexander Botzki

AB InBev SA/NV, Brouwerijplein 1, B-3000, Leuven, Belgium

Philippe Malcorps & Luk Daenen

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S.P., M.S. and K.J.V. conceived the experiments. S.P., M.S. and K.J.V. designed the experiments. S.P., M.S., M.R., B.H. and F.A.T. performed the experiments. S.P., M.S., L.C., C.V., L.K., A.B., P.M., L.D., T.W. and K.J.V. contributed analysis ideas. S.P., M.S., L.C., C.V., T.W. and K.J.V. analyzed the data. All authors contributed to writing the manuscript.

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Correspondence to Kevin J. Verstrepen .

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Schreurs, M., Piampongsant, S., Roncoroni, M. et al. Predicting and improving complex beer flavor through machine learning. Nat Commun 15 , 2368 (2024). https://doi.org/10.1038/s41467-024-46346-0

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That Place Right Before You Dream

Trying lewis carroll’s cures for insomnia..

Charles Lutwidge Dodgson, pen name Lewis Carroll, is best known as the Victorian-era author of Alice’s Adventures in Wonderland . Now, out of obscurity, comes Lewis Carroll’s Guide for Insomniacs , a charmingly odd little book. From reasoning problems to poetry writing to how to greet a ghost—all activities for what Carroll calls insomnia’s “wakeful hours”—it’s composed of fun, or fun-ish, recommendations for ways to pass your sleep-deprived time. Insomnia, Carroll tries to convince us from beyond the grave, is an opportunity, rather than an affliction.

Writer, broadcaster, and former British Member of Parliament Gyles Brandreth, who compiled the book in the 1970s, writes in the new introduction to this second edition that he first learned of Carroll’s insomnia when he was commissioned to write a play based on the author’s life and work. The revelation shaped Brandreth’s approach to the project. “In the first act of my one-man play,” he writes, “the great man was in his Oxford college rooms talking to himself as he tried (and failed) to get to sleep. In the second act, he was in bed having dreams (and nightmares) peopled by the characters he had created, from the Mad Hatter to the Frumious Bandersnatch .”

This makes for a neat two-act structure. But for Carroll, waking and dreaming were not quite the opposites they seem to be. And since he believed dreaming to be a source of creativity, it follows that to him, sleeplessness might also be useful.

This is all well and good. But it’s especially hard for me when I get insomnia because I’m a teacher. I have to be on every day, all day; students demand nothing less. I’ve always suffered from intermittent insomnia, but, mercifully, never the kind that lasts more than a day or two. Dread is always my first response because my mind immediately fast-forwards to the next day, when I’ll be teaching one class after another with my response time compromised, a dangerous proposition when operating the heavy machinery of a middle school classroom. In recent years insomnia has usually hit me on Sundays, if it’s going to hit at all. That’s the worst because then not only do I start to shoulder the weight of the week without sleep, but I’m deprived of the good mood necessary for my students to mirror to make for a happy, functional classroom.

And as a teacher, I’ve taught Carroll’s books nearly every year I’ve been in the classroom. For my students and me, whether or not I’m teaching after a sleepless night, these days are always a wild tumble down the original rabbit hole into a dream for which we don’t need to be asleep. This is Wonderland-dream thinking, where stuff doesn’t make sense but also really does.

I always appreciate our classroom conversations about the White Rabbit, the Caterpillar, the Cheshire Cat, and all the rest of the exemplars of Wonderland’s rational madness. But most of all, I enjoy talking about a certain mad tea party with a Hatter, a March Hare, and a Dormouse. As the characters speak in turn, thoughts get tossed around like grenades, exploding in shrapnel of reason and absurdity. The wild chitchat gives Alice the chance to confront the difficulty she had with the Caterpillar: working out who she is, as best she can, with the words she has. Caught in a very lucid dream that might as well be waking, Alice struggles with who she is, how she feels, and making sense of whatever the hell is going on around her. Maybe, in 2024, you know the feeling?

Reading Lewis Carroll with my students has taught me that waking and dreaming aren’t as easily separable as we might want to think—and that we, as if in Wonderland, should lean into rationality and idiosyncrasy, waking and dreaming, to make sense of the world and ourselves.

OK , I thought, what do I have to lose? I tried the Guide for Insomniacs out one Sunday. Midnight came and went, and I remained wakeful and angsting for sleep. I’ve learned over the years that staying in bed when I have insomnia is too torturous for me to endure, so I got up and moved out to the couch, switched on a lamp with modest light, took out a little Moleskine book I usually use for reporting, and attempted some of Carroll’s exercises.

I started with the ones included in the “Rhymes at Midnight” section of the book, whose title I’d like to think is a sly allusion to a line of Shakespeare’s Falstaff in Henry IV (“We have heard the chimes at midnight ”). Carroll’s first suggestion is to write verses with a moral. Here’s what I came up with:

Sleep Is Good I wonder where sleep may be. I’ve let cares seize my mind. Fingers tighten, breathing, I plead With hostile sleep, how unkind. But I know sleep is not out there. It is in me, yet to emerge. I touch the tousled mess of my hair, Dreaming, eyes open, of latent sleep’s urge.

From there, Carroll suggests writing “dilutions,” which are poems in which the first line of each stanza is borrowed from the lines of stanza of a preexisting poem. You then are to write stanzas off those borrowed lines. Still feeling angsty and way too awake, I chose the final tercet (and the one line preceding it) from a translation of French poet Charles Baudelaire’s “ The Sadness of the Moon .”

Some pious poet, enemy of sleep, In greatest thrall To the mystery of it all, Takes in his hollow hand the tear of snow Clutching it close, Enduringly ephemeral, somehow, Whence gleams of iris and of opal start, Lights in purple black haze, Sleep turns inward on itself, And hides it from the Sun, deep in his heart, Where what matters endures, Through early dark, through early light.

Finally, still awake but maybe fading some, I tried—again per Carroll’s suggestion—writing an acrostic. His example is written off the name of one of his friends, but I chose “White Rabbit,” because, you know:

W ho do you think you are, H appy you can sleep, I gnoring the stupid hell T hat rages round each day. E veryone is appalled by you. R ight now I lie awake, A fraid waking is the worst kind of dream. B ut sleep will come when it’s ready. B ut oh how it eludes me now. I n terror, this inspires my scream, T ill a white rabbit wakes me into dream.

Finally, appropriately, I fell asleep after writing these lines. It worked!

The sections of this little book that I didn’t use but that might appeal to others include “Pillow Problems,” “Night Writing,” and “Ghosts and Nightcaps.” “Pillow Problems” offers math problems, puzzles, tangrams , a labyrinth, and word problems for the irrepressible problem-solvers out there. “Night Writing” includes instructions for how to use a nyctograph and alphabet cipher but is most endearingly archaic when it lays out the etiquette for proper letter writing.

The “Ghosts and Nightcaps” section includes recommendations for proper eating and drinking for rest, but also, in a wonderful bit of weirdness, Carroll’s matter-of-fact instructions for how to greet a ghost. “When encountering a ghost for the first time,” he writes, “it is necessary to remain as calm as may be and to retain the normal courtesies of civil society.” If that doesn’t work, he notes, you can try keeping your fears at bay by conjuring a ghost all your own, using shadow puppets (instructions included).

But it was “Rhymes at Midnight” that saw me off to slumber, after all, because it offered the best mix of aesthetic engagement and slight compositional angst, an approach that, for more emo-inclined types like me, is quite suitable. After my poetry exercises, I could even feel my consciousness unspooling till I could follow the thread down the rabbit hole. Now, I have to say, I might even use Carroll’s guide again. It made insomnia feel kind of funny and dark and thought-provoking, casting a spell over the experience much like that produced by reading about Wonderland’s twisted magic characters.

With insomnia, it’s often hard to remember that sleep will come at some point. When it does come and you wake up refreshed, it might be right to try, however you can, to keep one foot in the waking world and one foot in the dreaming world. That might seem bonkers, but then again, the glories and hilarities of Lewis Carroll would be lost on those who don’t heed the Cheshire Cat’s abiding insight: We’re all mad here.

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Once Upon a Time, the World of Picture Books Came to Life

The tale behind a new museum of children’s literature is equal parts imagination, chutzpah and “The Little Engine That Could.”

By Elisabeth Egan

Photographs and Video by Chase Castor

Elisabeth Egan followed the Rabbit Hole as it was nearing completion. She has written about several of its inhabitants for The Times.

On a crisp Saturday morning that screamed for adventure, a former tin can factory in North Kansas City, Mo., thrummed with the sound of young people climbing, sliding, spinning, jumping, exploring and reading.

Yes, reading.

If you think this is a silent activity, you haven’t spent time in a first grade classroom. And if you think all indoor destinations for young people are sticky, smelly, depressing hellholes, check your assumptions at the unmarked front door.

Welcome to the Rabbit Hole, a brand-new, decade-in-the-making museum of children’s literature founded by the only people with the stamina for such a feat: former bookstore owners. Pete Cowdin and Deb Pettid are long-married artists who share the bullish determination of the Little Red Hen. They’ve transformed the hulking old building into a series of settings lifted straight from the pages of beloved picture books.

Before we get into what the Rabbit Hole is, here’s what it isn’t: a place with touch screens, a ball pit, inscrutable plaques, velvet ropes, a cloying soundtrack or adults in costumes. It doesn’t smell like graham crackers, apple juice or worse (yet). At $16 per person over 2 years old, it also isn’t cheap.

During opening weekend on March 16, the museum was a hive of freckles and gap toothed grins, with visitors ranging in age from newborn to well seasoned. Cries of “Look up here!,” “There’s a path we need to take!” and “There’s Good Dog Carl !” created a pleasant pandemonium. For every child galloping into the 30,000 square foot space, there was an adult hellbent on documenting the moment.

Did you ever have to make a shoe box diorama about your favorite book? If so, you might remember classmates who constructed move-in ready mini kingdoms kitted out with gingham curtains, clothespin people and actual pieces of spaghetti.

Cowdin, Pettid and their team are those students, all grown up.

The main floor of the Rabbit Hole consists of 40 book-themed dioramas blown up to life-size and arranged, Ikea showroom-style, in a space the size of two hockey rinks. The one inspired by John Steptoe’s “ Uptown ” features a pressed tin ceiling, a faux stained-glass window and a jukebox. In the great green room from “ Goodnight Moon ,” you can pick up an old-fashioned phone and hear the illustrator’s son reading the story.

One fictional world blends into the next, allowing characters to rub shoulders in real life just as they do on a shelf. Visitors slid down the pole in “The Fire Cat,” slithered into the gullet of the boa constrictor in “ Where the Sidewalk Ends ” and lounged in a faux bubble bath in “ Harry the Dirty Dog .” There are plenty of familiar faces — Madeline , Strega Nona , Babar — but just as many areas dedicated to worthy titles that don’t feature household names, including “ Crow Boy ,” “ Sam and the Tigers ,” “ Gladiola Garden ” and “ The Zabajaba Jungle .”

Emma Miller, a first-grade teacher, said, “So many of these are books I use in my classroom. It’s immersive and beautiful. I’m overwhelmed.”

As her toddler bolted toward “ Frog and Toad ,” Taylar Brown said, “We love opportunities to explore different sensory things for Mason. He has autism so this is a perfect place for him to find little hiding holes.”

A gaggle of boys reclined on a bean bag in “ Caps for Sale ,” passing around a copy of the book. Identical twins sounded out “ Bread and Jam for Frances ” on the pink rug in the badger’s house. A 3-year-old visiting for the second time listened to her grandfather reading “The Tawny Scrawny Lion.”

Tomy Tran, a father of three from Oklahoma, said, “I’ve been to some of these indoor places and it’s more like a jungle gym. Here, my kids will go into the area, pick up the book and actually start reading it as if they’re in the story.”

All the titles scattered around the museum are available for purchase at the Lucky Rabbit, a bookstore arranged around a cozy amphitheater. Pettid and Cowdin estimate that they’ve sold one book per visitor, with around 650 guests per day following the pink bunny tracks from the parking lot.

Once upon a time, Cowdin and Pettid owned the Reading Reptile, a Kansas City institution known not just for its children’s books but also for its literary installations. When Dav Pilkey came to town, Pettid and Cowdin welcomed him by making a three-and-a-half foot papier-mâché Captain Underpants. Young customers pitched in to build Tooth-Gnasher Superflash or the bread airplane from “In the Night Kitchen.”

One of the store’s devotees was Meg McMath, who continued to visit through college, long after she’d outgrown its offerings (and its chairs). Now 36, McMath traveled from Austin, Texas with her husband and six-month-old son to see the Rabbit Hole. “I’ve cried a few times,” she said.

The Reading Reptile weathered Barnes & Noble superstores and Amazon. Then came “the Harry Potter effect,” Pettid said, “where all of a sudden adults wanted kids to go from picture books to thick chapter books. They skipped from here to there; there was so much they were missing.”

As parents fell under the sway of reading lists for “gifted” kids, story time became yet another proving ground.

“It totally deformed the reading experience,” Cowdin said. Not to mention the scourge of every bookstore: surreptitious photo-snappers who later shopped online.

In 2016, Cowdin and Pettid closed the Reptile to focus on the Rabbit Hole, an idea they’d been percolating for years. They hoped it would be a way to spread the organic bookworm spirit they’d instilled in their five children while dialing up representation for readers who had trouble finding characters who looked like them. The museum would celebrate classics, forgotten gems and quality newcomers. How hard could it be?

Cowdin and Pettid had no experience in the nonprofit world. They knew nothing about fund-raising or construction. They’re ideas people, glass half full types, idealists but also stubborn visionaries. They didn’t want to hand their “dream” — a word they say in quotes — to consultants who knew little about children’s books. Along the way, board members resigned. Their kids grew up. Covid descended. A tree fell on their house and they had to live elsewhere for a year. “I literally have told Pete I quit 20 times,” Pettid said.

“It has not always been pleasant,” Cowdin said. “But it was just like, OK, we’re going to do this and then we’re going to figure out how to do it. And then we just kept figuring it out.”

Little by little, chugging along like “ The Little Engine That Could ,” they raised $15 million and assembled a board who embraced their vision and commitment to Kansas City. They made a wish list of books — “Every ethnicity. Every gender. Every publisher,” Pettid said — and met with rights departments and authors’ estates about acquiring permissions. Most were receptive; some weren’t. (They now have rights to more than 70 titles.)

“A lot of people think a children’s bookstore is very cute,” Pettid said. “They have a small mind for children’s culture. That’s why we had to buy this building.”

For $2 million, they bought the factory from Robert Riccardi, an architect whose family operated a beverage distribution business there for two decades. His firm, Multistudio, worked with Cowdin and Pettid to reimagine the space, which sits on an industrial corner bordered by train tracks, highways and skyline views.

Cowdin and Pettid started experimenting with layouts. Eventually they hired 39 staff members, including 21 full-time artists and fabricators who made everything in the museum from some combination of steel, wood, foam, concrete and papier-mâché.

“My parents are movers and shakers,” Gloria Cowdin said. She’s the middle of the five siblings, named after Frances the badger’s sister — and, yes, that’s her voice reading inside the exhibit. “There’s never been something they’ve wanted to achieve that they haven’t made happen, no matter how crazy.”

During a sneak peek in December, it was hard to imagine how this semi-construction zone would coalesce into a museum. The 22,000 square foot fabrication section was abuzz with drills and saws. A whiteboard showed assembly diagrams and punch lists. (Under “Random jobs,” someone had jotted, “Write Christmas songs.”) The entryway and lower level — known as the grotto and the burrow — were warrens of scaffolding and machinery.

But there were pockets of calm. Kelli Harrod worked on a fresco of trees outside the “ Blueberries for Sal ” kitchen, unfazed by the hubbub. In two years as lead painter, she’d witnessed the Rabbit Hole’s steady growth.

“I remember painting the ‘ Pérez and Martina ’ house before there was insulation,” Harrod said. “I was bundled up in hats, gloves and coats, making sure my hands didn’t shake.”

Leigh Rosser was similarly nonplused while describing his biggest challenge as design fabrication lead. Problem: How to get a dragon and a cloud to fly above a grand staircase in “ My Father’s Dragon .” Solution: “It’s really simple, conceptually” — it didn’t sound simple — “but we’re dealing with weight in the thousands of pounds, mounted up high. We make up things that haven’t been done before, or at least that I’m not aware of.”

Attention to detail extends to floor-bound exhibits. The utensil drawer in “Blueberries for Sal” holds Pete Cowdin’s mother’s egg whisk alongside a jar containing a baby tooth that belonged to Cowdin and Pettid’s oldest daughter, Sally. The tooth is a wink at “ One Morning in Maine ,” an earlier Robert McCloskey book involving a wiggly bicuspid — or was it a molar? If dental records are available, Cowdin and Pettid have consulted them for accuracy.

“With Pete and Deb, it’s about trying to picture what they’re seeing in their minds,” said Brian Selznick , a longtime friend who helped stock the shelves in the Lucky Rabbit. He’s the author of “ The Invention of Hugo Cabret ,” among many other books.

Three months ago, the grotto looked like a desert rock formation studded with pink Chiclets. The burrow, home of Fox Rabbit, the museum’s eponymous mascot, was dark except for sparks blasting from a soldering iron. The floor was covered with tiny metal letters reclaimed from a newly-renovated donor wall at a local museum.

Cowdin and Pettid proudly explained their works-in-progress; these were the parts of the museum that blossomed from seed in their imaginations. But to the naked eye, they had the charm of a bulkhead door leading to a scary basement.

When the museum opened to the public, the grotto and the burrow suddenly made sense. The pink Chiclets are books, more than 3000 of them — molded in silicone, cast in resin — incorporated into the walls, the stairs and the floor. They vary from an inch-and-a-half to three inches thick. As visitors descend into the Rabbit Hole, they can run their fingers over the edges of petrified volumes. They can clamber over rock formations that include layers of books. Or they can curl up and read.

Dennis Butt, another longtime Rabbit Hole employee, molded 92 donated books into the mix, including his own copies of “ The Hobbit ” and “ The Lord of the Rings .” He said, “They’re a little piece of me.”

As for the metal letters, they’re pressed into the walls of a blue-lit tunnel leading up a ramp to the first floor. They spell the first lines of 141 books, including “ Charlotte’s Web ,” “Devil in the Drain” and “ Martha Speaks .” Some were easier to decipher than others, but “Mashed potatoes are to give everybody enough” jumped out. It called to mind another line from “A Hole is to Dig,” Ruth Krauss’s book of first definitions (illustrated by a young Maurice Sendak ): “The world is so you have something to stand on.”

At the Rabbit Hole, books are so you have something to stand on. They’re the bedrock and the foundation; they’re the solid ground.

Cowdin and Pettid have plans to expand into three more floors, adding exhibit space, a print shop, a story lab, a resource library and discovery galleries. An Automat-style cafeteria and George and Martha -themed party and craft room will open soon. A rooftop bar is also in the works.

Of course, museum life isn’t all happily ever after. Certain visitors whined, whinged and wept, especially as they approached the exit. One weary adult said, “Charlie, we did it all.”

Then, “Charlie, it’s time to go.”

And finally, “Fine, Charlie, we’re leaving you here.” Cue hysteria.

But the moral of this story — and the point of the museum, and maybe the point of reading, depending on who you share books with — crystallized in a quiet moment in the great green room. A boy in a Chiefs Super Bowl T-shirt pretended to fall asleep beneath a fleecy blanket. Before closing his eyes, he said, “Goodnight, Grandma. Love you to the moon.”

Elisabeth Egan is a writer and editor at the Times Book Review. She has worked in the world of publishing for 30 years. More about Elisabeth Egan

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