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Reviewing The Reviews

Writing Book Reviews for Print

Nannette Croce

Most writers are avid readers, spending a small fortune on new and used books to feed their reading habits. And a good many of us compulsively critique what we read, enviously admiring the way an author maintains conflict between two characters for 300 pages or silently chastising another for getting some Civil War dates scrambled. But many writers don't think about putting those constructive critiques to work for their portfolios or their checkbooks. Book reviewing is a great way to accumulate published clips, and while it’s usually not a paying market, you can get free review copies—a valuable perk for avid readers—plus it can lead to other paying assignments.

There’s a need for reviewers, too. True, many newspapers have cut back on their book sections. But literary and historical journals, particularly those that specialize, still have long lists of books crying for good reviews. The operative word here, though, is good. Lots of folks express opinions on the sites of online booksellers, but while these reviews may garner hundreds of “helpful” votes, they won't likely be picked up by print publications. Aside from adhering strictly to editorial guidelines, there are four things that separate an amateur review from a professional one: respect, objectivity, diplomacy, and good judgment.

Respect
A good print review shows respect not just for the author, but for the reader and editor as well. People who enjoyed the book or who are fans of the author don’t want to feel belittled, and book editors are rarely in it for the controversy.

If the review you are submitting is unsolicited, you’ll make a better first impression by reviewing a book or author you appreciate. Particularly in the case of literary and historical journals, editors may have a professional relationship with the authors being reviewed. They don’t want to rankle a former colleague or someone they’ll be seeing at the next conference.

If you’ve been assigned a book, you, of course, owe your readers an honest evaluation. That still doesn’t mean panning the entire work, and mean-spirited criticisms are never acceptable.

Even if you hated almost everything about the book you were assigned, always start your review with something positive. Many reviewers will begin by complimenting some of the author’s other works. Or you can comment on the author’s vast knowledge of his or her field. Once that’s done, you can follow with your criticism but be sure, as you go along, to intersperse some good points with the bad. If the writing was sophomoric, mention the well-developed characters. If the characters are clichés, mention the riveting plot.

Objectivity
Just as you wouldn’t think of submitting a one-line review like “this book stinks,” you also need to say more than “this book was great,” even if you spread that opinion over 600 words. In order to establish credibility with the editor and the reader, you must be specific about what made this a great book. If it’s the flowing prose or the realistic dialogue, include some examples of what you mean.

When reviewing non-fiction, it is equally important to point out errors if you find them. It could be something minor like an incorrect date in a footnote, or something major like attributing a victory to the wrong general. If it’s a tiny error that doesn’t refute the author’s premise or credentials, explain that, but don’t try to be magnanimous and overlook it because it could call your own knowledge of the subject into question.

Having said that, be sure you know what you are talking about. If you are not sure, re-check the facts or use a phrase like “based on my readings on the subject.” Also resist the impulse to play detective. In light of recent events, you may be anxious to point out where Joe Prolific lifted a few lines from someone else’s text, but don’t do it. Putting something like that in print can land you and your editor in hot water.

Should you ever suspect plagiarism, it’s best handled quietly. Unless you have a stake in the matter, explain to your editor that you don’t feel comfortable reviewing this book because you feel it too closely resembles a book by another author. Let him or her take it from there, and you step out of it.

Diplomacy
We writers often find it galling that someone who seems to be telling the same old story gets published, while the books we labored over so lovingly disappear under piles of rejection slips. But going on a tirade will simply ensure that not even your book reviews make it to print.

I’ve already pointed out the necessity for including positive comments. In addition, negative comments should be couched in diplomacy. Instead of “we’ve heard this story a million times…” try something like, “The characters were interesting, but the outcome of their actions was almost always predictable.” Besides being more publishable, such wording keeps you from being a target if and when your own work finally gets out there.

Diplomacy recognizes that reviews are about the book and the author, not the reviewer. Sure it’s a good way to showcase writing skills, but clever put-downs divert the reader’s attention, not to mention rubbing people the wrong way. Some non-fiction reviewers also feel the need to prove their knowledge by refuting an author’s ideas point by point. Discussing just a couple of points is usually enough. More is simply showing off.

Good Judgment
I once knew someone who loved to tell his friends every detail of the last funny movie he’d seen. He had a memory for detail and a great sense of humor, and often had us roaring with laughter. There was only one problem. When I actually saw the movie, it was like watching a re-run. I knew what was coming and it wasn’t nearly so funny the second time around.

The same thing happens when a book review gives too much away. It spoils the book for the reader and is grossly unfair to the author. However, it’s a trap that is easy to fall into. The person reading the review naturally wants to know a little bit about the story—but doesn't want to know the ending (or the surprises that turn up during the story). Where is the middle ground? Sometimes telling too much about the characters can destroy a good read as much as telling the whodunit in a mystery. On the other hand, if the complicated characters are what make this a great work, simply summarizing the plot might not be enough.

This one’s a tough call, but the best reviews give just a glimpse of the plot. If a brief description of the characters makes them appear one-dimensional or cardboard, you can state how adept the author is at peeling back the layers gradually, or assure the reader that some surprises are in store.

For non-fiction there is nothing wrong with explaining the premise or thesis. The author usually lays that out at the beginning anyway. However, if you include every bit of supporting evidence, your readers may see no reason to buy the book. The main issue here is whether the author has come up with original ideas and whether he or she uses new/primary sources. Just a few examples should be enough for a knowledgeable reader to know whether this is new or recycled material.

Do Unto Others
Ultimately, the best reviews pass the “Do Unto Others” test. That is, what kind of feedback do you look for on your own work? You certainly don’t want mean-spirited criticism, but praise that is empty and unsupported has no value either. What you want is feedback that incorporates respect, objectivity, diplomacy, and good judgment. If your review passes that test and adheres strictly to guidelines, editors will know that you are not just another amateur, and they will take your review seriously.