how to review a book chapter

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?

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

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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Reading a book to review it

Choose your book carefully.

Being interested in a book will help you write a strong review, so take some time to choose a book whose topic and scholarly approach genuinely interest you.

If you’re assigned a book, you’ll need to find a way to become interested in it.

Read actively and critically

Don’t read just to discover the author’s main point or to mine some facts.

Engage with the text, marking important points and underlining passages as you go along (in books you own, of course!).

Focus first on summary and analysis

Before you read

• Write down quickly and informally some of the facts and ideas you already know about the book’s topic
• Survey the book –including the preface and table of contents–and make some predictions
• What does the title promise the book will cover or argue?
• What does the preface promise about the book?
• What does the table of contents tell you about how the book is organized?
• Who’s the audience for this book?

As you read

With individual chapters:

• Think carefully about the chapter’s title and skim paragraphs to get an overall sense of the chapter.
• Then, as you read, test your predictions against the points made in the chapter.
• After you’ve finished a chapter, take brief notes. Start by summarizing , in your own words, the major points of the chapter. Then you might want to take brief notes about particular passages you might discuss in your review.

Begin to evaluate

As you take notes about the book, try dividing your page into two columns. In the left, summarize main points from a chapter. In the right, record your reactions to and your tentative evaluations of that chapter.

Here are several ways you can evaluate a book:

• If you know other books on this same subject, you can compare the arguments and quality of the book you’re reviewing with the others, emphasizing what’s new and what’s especially valuable in the book you’re reviewing.
• How well does the book fulfill the promises the author makes in the preface and introduction?
• How effective is the book’s methodology?
• How effectively does the book make its arguments?
• How persuasive is the evidence?
• For its audience, what are the book’s strengths?
• How clearly is the book written?

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Home » Chapter Summary & Overview – Writing Guide and Examples

Chapter Summary & Overview – Writing Guide and Examples

Table of Contents

Chapter Summary

Chapter summary is a brief overview of the key points or events covered in a specific chapter of a book, academic paper, or other written work. It typically includes a concise description of the main ideas, arguments, or themes explored in the chapter, as well as any important supporting details or evidence .

Chapter summaries are often used as study aids, providing readers with a quick way to review and understand the content of a particular section of a longer work. They may also be included as part of a book’s table of contents or used as a promotional tool to entice potential readers.

How to Write Chapter Summary

Writing a chapter summary involves condensing the content of a chapter into a shorter, more concise form while still retaining its essential meaning. Here are some steps to help you write a chapter summary:

• Read the chapter carefully: Before summarizing a chapter, it is important to read it thoroughly to ensure that you understand the main ideas and points being made.
• Identify the main ideas: Identify the main ideas and arguments that the chapter is presenting. These may be explicit, or they may be implicit and require some interpretation on your part.
• Make notes: Take notes while reading to help you keep track of the main ideas and arguments. Write down key phrases, important quotes, and any examples or evidence that support the main points.
• Create an outline : Once you have identified the main ideas and arguments, create an outline for your summary. This will help you organize your thoughts and ensure that you include all the important points.
• Write the summary : Using your notes and outline, write a summary of the chapter. Start with a brief introduction that provides context for the chapter, then summarize the main ideas and arguments, and end with a conclusion that ties everything together.
• Edit and revise: After you have written the summary, review it carefully to ensure that it is accurate and concise. Make any necessary edits or revisions to improve the clarity and readability of the summary.
• Check for plagiarism : Finally, check your summary for plagiarism. Make sure that you have not copied any content directly from the chapter without proper citation.

Chapter Summary in Research Paper

In a Research Paper , a Chapter Summary is a brief description of the main points or findings covered in a particular chapter. The summary is typically included at the beginning or end of each chapter and serves as a guide for the reader to quickly understand the content of that chapter.

Here is an example of a chapter summary from a research paper on climate change:

Chapter 2: The Science of Climate Change

In this chapter, we provide an overview of the scientific consensus on climate change. We begin by discussing the greenhouse effect and the role of greenhouse gases in trapping heat in the atmosphere. We then review the evidence for climate change, including temperature records, sea level rise, and changes in the behavior of plants and animals. Finally, we examine the potential impacts of climate change on human society and the natural world. Overall, this chapter provides a foundation for understanding the scientific basis for climate change and the urgency of taking action to address this global challenge.

Chapter Summary in Thesis

In a Thesis , the Chapter Summary is a section that provides a brief overview of the main points covered in each chapter of the thesis. It is usually included at the beginning or end of each chapter and is intended to help the reader understand the key concepts and ideas presented in the chapter.

For example, in a thesis on computer science field, a chapter summary for a chapter on “Machine Learning Algorithms” might include:

Chapter 3: Machine Learning Algorithms

This chapter explores the use of machine learning algorithms in solving complex problems in computer science. We begin by discussing the basics of machine learning, including supervised and unsupervised learning, as well as different types of algorithms such as decision trees, neural networks, and support vector machines. We then present a case study on the application of machine learning algorithms in image recognition, demonstrating how these algorithms can improve accuracy and reduce error rates. Finally, we discuss the limitations and challenges of using machine learning algorithms, including issues of bias and overfitting. Overall, this chapter highlights the potential of machine learning algorithms to revolutionize the field of computer science and drive innovation in a wide range of industries.

Examples of Chapter Summary

Some Examples of Chapter Summary are as follows:

Research Title: “The Impact of Social Media on Mental Health: A Review of the Literature”

Chapter Summary:

Chapter 1: Introduction

This chapter provides an overview of the research problem, which is the impact of social media on mental health. It presents the purpose of the study, the research questions, and the methodology used to conduct the research.

Research Title : “The Effects of Exercise on Cognitive Functioning in Older Adults: A Meta-Analysis”

Chapter 2: Literature Review

This chapter reviews the existing literature on the effects of exercise on cognitive functioning in older adults. It provides an overview of the theoretical framework and previous research findings related to the topic. The chapter concludes with a summary of the research gaps and limitations.

Research Title: “The Role of Emotional Intelligence in Leadership Effectiveness: A Case Study of Successful Business Leaders”

Chapter 3: Methodology

This chapter presents the research methodology used in the study, which is a case study approach. It describes the selection criteria for the participants and the data collection methods used. The chapter also provides a detailed explanation of the data analysis techniques used in the study.

Research Title: “Factors Influencing Employee Engagement in the Workplace: A Systematic Review”

Chapter 4: Results and Discussion

This chapter presents the findings of the systematic review on the factors influencing employee engagement in the workplace. It provides a detailed analysis of the results, including the strengths and limitations of the studies reviewed. The chapter also discusses the implications of the findings for practice and future research.

Purpose of Chapter Summary

Some Purposes of the Chapter Summary are as follows:

• Comprehension : A chapter summary can help readers understand the main points of a chapter or book. It can help readers remember important details, keep track of the plot or argument, and connect the key ideas.
• Review : A chapter summary can be a useful tool for reviewing the material covered in a chapter. It can help readers review the content quickly and efficiently, and it can also serve as a reference for future study.
• Study aid: A chapter summary can be used as a study aid, especially for students who are preparing for exams or writing papers. It can help students organize their thoughts and focus on the most important information.
• Teaching tool: A chapter summary can be a useful teaching tool for educators. It can help teachers introduce key concepts and ideas, facilitate class discussion, and assess student understanding.
• Communication : A chapter summary can be used as a way to communicate the main ideas of a chapter or book to others. It can be used in presentations, reports, and other forms of communication to convey important information quickly and concisely.
• Time-saving : A chapter summary can save time for busy readers who may not have the time to read an entire book or chapter in detail. By providing a brief overview of the main points, a chapter summary can help readers determine whether a book or chapter is worth further reading.
• Accessibility : A chapter summary can make complex or technical information more accessible to a wider audience. It can help break down complex ideas into simpler terms and provide a clear and concise explanation of key concepts.
• Analysis : A chapter summary can be used as a starting point for analysis and discussion. It can help readers identify themes, motifs, and other literary devices used in the chapter or book, and it can serve as a jumping-off point for further analysis.
• Personal growth : A chapter summary can be used for personal growth and development. It can help readers gain new insights, learn new skills, and develop a deeper understanding of the world around them.

When to Write Chapter Summary

Chapter summaries are usually written after you have finished reading a chapter or a book. Writing a chapter summary can be useful for several reasons, including:

• Retention : Summarizing a chapter helps you to better retain the information you have read.
• Studying : Chapter summaries can be a useful study tool when preparing for exams or writing papers.
• Review : When you need to review a book or chapter quickly, a summary can help you to refresh your memory.
• Analysis : Summarizing a chapter can help you to identify the main themes and ideas of a book, which can be useful when analyzing it.

Advantages of Chapter Summary

Chapter summaries have several advantages:

• Helps with retention : Summarizing the key points of a chapter can help you remember important information better. By condensing the information, you can identify the main ideas and focus on the most relevant points.
• Saves time : Instead of re-reading the entire chapter when you need to review information, a summary can help you quickly refresh your memory. It can also save time during note-taking and studying.
• Provides an overview : A summary can give you a quick overview of the chapter’s content and help you identify the main themes and ideas. This can help you understand the broader context of the material.
• Helps with comprehension : Summarizing the content of a chapter can help you better understand the material. It can also help you identify any areas where you might need more clarification or further study.
• Useful for review: Chapter summaries can be a useful review tool before exams or when writing papers. They can help you organize your thoughts and review key concepts and ideas.
• Facilitates discussion: When working in a group, chapter summaries can help facilitate discussion and ensure that everyone is on the same page. It can also help to identify areas of confusion or disagreement.
• Supports active reading : Creating a summary requires active reading, which means that you are engaging with the material and thinking critically about it. This can help you develop stronger reading and critical thinking skills.
• Enables comparison : When reading multiple sources on a topic, creating summaries of each chapter can help you compare and contrast the information presented. This can help you identify differences and similarities in the arguments and ideas presented.
• Helpful for long texts: In longer books or texts, chapter summaries can be especially helpful. They can help you break down the material into manageable chunks and make it easier to digest.

About the author

Muhammad Hassan

Researcher, Academic Writer, Web developer

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7 Steps of Writing an Excellent Academic Book Chapter

Writing is an inextricable part of an academic’s career; maintaining lab reports, writing personal statements, drafting cover letters, research proposals, the dissertation—this list goes on. However, while these are considered as essentials during any research program, writing an academic book is a milestone every writer aims to achieve. It could either be your urge of authoring a book or you may have received an invite from a publisher to write a book chapter . In both cases, most researchers find it difficult to write an academic book chapter.

The questions that may arise when you plan on writing a book chapter are:

• Where do I start from?
• How do I even do this?
• What should be the length of book chapters?
• How should I link one chapter to the following chapter?

These questions are quite common when starting with your first book chapter. In this article, we’ll discuss the steps on how to write an excellent academic book chapter.

Table of Contents

What is an Academic Book Chapter?

An academic book chapter is defined as a section, or division, of a book. These are usually separated with a chapter number or title. A chapter divides the overall book topic into topic-specific sections. Furthermore, each chapter in a book is related to the overall theme of the book.

A book chapter allows the author to divide their work in parts for readers to understand and remember it easily. Additionally, chapters help create structure in your writing for a better flow of ideas.

How Long Should a Book Chapter be?

Typically, a non-fiction book chapter should be small and must only include information related to one major idea. However, since a non-fiction /academic book is around 50,000 to 70,000 words, and each book would comprise 10-20 chapters, each book chapter’s word limit should range between 3500 and 7000 words.

While there aren’t any standard rules to follow with respect to the length of a book chapter, it may vary depending on the genre of your writing. However, it is better to refer your publisher’s guidelines and write your chapters accordingly.

Difference between a Book Chapter and Thesis Chapter

What makes a book excellent are the book chapters that it comprises. Thus, the key to writing an excellent book is mastering the art of writing a book chapter . You’d think you could write a book easily because you’ve already written your dissertation. However, writing a book chapter is not the same as writing your thesis.

The image below shares 5 major differences between a book chapter and a thesis chapter:

How to Write a Book Chapter?

As writing a book chapter is the first milestone in your writing journey, it can be overwhelming and difficult to garner your thoughts and put them down on a sheet at once. It takes time and effort to gain momentum for accomplishing this mammoth task. However, proper planning followed by dedicated effort will make you realize that you were worrying over something trivial.

So let us make the process of writing a book chapter easier with these 7 steps.

Step 1: Collate Relevant Information

How would you even start writing a chapter if you do not have the necessary information or data? The first step even before you start writing is to review and collate all the relevant data that is necessary to formulate an informative chapter.

Since a chapter focuses on one major idea it should not include any gaps that perplexes the reader. Creating mind-maps help in linking different sources of information and compiling them to formulate a completely new chapter. As a result, you can structure your ideas to help with your analysis and see it visually. This process improves your understanding of the book’s theme.  More importantly, sort the ideas into a logical order of how you should present them in your chapter. This makes it easier to write the chapter without convoluting it.

Step 2: Design the Chapter Structure

After spending hours in brainstorming ideas and understanding the fundamentals that the chapter should cover, you must create a structured outline. Furthermore, following a standard format helps you stay on track and structure your chapter fluently.

Ideally, a well-structured chapter includes the following elements:

• A title or heading
• An interesting introduction
• Main body informative paragraphs
• A summary of the chapter
• Smooth transition to the next chapter

Even so, you may not restrict yourself to following only one structure; rather, add more or less to each of your chapters depending on your genre, writing style, and requirement of the chapter to maintain the book’s overall theme. Keep only relevant content in your chapter. Avoid content that causes the reader to go off on a tangent.

Step 3: Write an Appealing Chapter Title/Heading

How often have you put a book back on the book store’s shelf right after reading its title? Didn’t even bother to read the synopsis, did you? Likewise, you may have written the most impactful chapter, but what sense would it make if its title is not interesting enough. An impactful chapter title captures the reader’s attention. It’s basically the “first sight” rule!

Your chapter’s title/heading must trigger curiosity in the reader and make them want to read and learn more. Although this is the first element of a chapter, most writers find it easier to create a title/heading after completing the chapter.

Step 4: Build an Engaging Introduction

Now that you have captured the reader’s attention with your title/heading, it has obviously increased the readers’ expectations from the content. To keep them interested in your chapter, write an introduction that keeps them hooked on. You may use a narrative approach or build a fictional plot to grab the attention of the reader. However, ensure that you do not deviate from the main context of your chapter. Finally, writing an effective introduction will help you in presenting an overview of your chapter.

Some of the tricks to follow when writing an exceptional introduction are:

• Share an anecdote
• Create a dialogue or conversation
• Include quotations
• Create a fictional plot

Step 5: Elaborate on Main Points of the Chapter

Impactful title? Checked!

Interesting introduction? Checked!

Now is the time to dive in to the details imparting section of the chapter. Expand your opening statement and begin to explain your points in detail. More importantly, leave no space for speculation in the reader’s mind.

This section should answer the following questions of the reader:

• Why has the reader chosen to read your book?
• What do they need to know?
• Are their questions and doubts being resolved with the content of your chapter?

Ensure that you build each point coherently and follow a cohesive flow. Furthermore, provide statistical data, evidence-based information, experimental data, graphical presentations, etc. You could formulate these points into 4-5 paragraphs based on the details of your chapter. To ensure you structure these details coherently across the right number of paragraphs, calculate the number of paragraphs in your text here .

Step 6: Summarize the Chapter

As impactful was the entry, so should be the exit, right? The summary is the part where you are almost done. This section is a key takeaway for your readers. So, revisit your chapter’s main content and summarize it. Since your chapter has given a lot of information, you’d want the reader to remember the gist of it as they reach the end of your chapter. Hence, writing a concise summary that constitutes the crux of your chapter is imperative.

Step 7: Add a Call-to-Action & Transition to Next Chapter

This section comes at the extreme end of the book chapter, when you ask the reader to implement the learnings from the chapter. It is a way of applying their newly acquired knowledge. In this section, you can also add a transition from your chapter to the succeeding chapter.

So would you still have jitters while writing your book chapter? Are there any other strategies or steps that you follow to write one? Let us know in the comments section below on how these steps helped you in writing a book chapter .

Thank you I have got a full lecture for sure

Thank for the encouraging words

You have demystified the act of writing a book chapter. Thank you for your efforts.

Very informative

It has really helpful for beginners like me.

Very impactful and informative. Thank you 😊

Very informative and helpful to beginners like us. Thank you.

Thanks for this very informative article

You have made writing a book chapter seem very simple. I appreciate all of your hard work.

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Organizing Your Social Sciences Research Assignments

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

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

There are two general approaches to reviewing a book:

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

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

How to Approach Writing Your Review

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

I.  Common Features

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

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

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

II.  Developing a Critical Assessment Strategy

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

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

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

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

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

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

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

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

Structure and Writing Style

I.  Bibliographic Information

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

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

Reviewed by [your full name].

II.  Scope/Purpose/Content

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

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

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

III.  Note the Method

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

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

IV.  Critically Evaluate the Contents

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

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

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

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

V.  Examine the Front Matter and Back Matter

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

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

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

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

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

VI.  Summarize and Comment

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

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

Writing Tip

Always Read the Foreword and/or the Preface

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

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

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

Locating Book Reviews

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

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

Some Language for Evaluating Texts

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

• account for
• demonstrate
• distinguish
• investigate

Examples of usage

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

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

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How to Write a Book Chapter in 7 Simple Steps for Your Nonfiction Book

POSTED ON Aug 22, 2019

Written by Petros Eshetu

Are you ready to learn how to write a book chapter? This is the first step towards many exciting milestones in your writing journey, so it’s time to get started!

You’ve committed to write a nonfiction book , and you’re well on your way to begin your author journey. 

So where do you start? By learning how to write a book chapter. 

Sounds simple, right? But it can be overwhelming and difficult to gain momentum, especially when we doubt ourselves and start to feel like writing a book is such a mammoth project to undertake. 

As writers, we often tend to overthink the process, causing a flood of questions that occupy our attention instead of actually writing. 

You might be asking yourself…

• How do I even do this?
• Where do I begin and when do I finish? 
• How long should my chapters be?
• How many chapters should I have?

These are just some of the questions that might be preventing you from actually getting started writing your book's first chapter. In this article, you'll learn the exact steps on how to write a book chapter, and more.

Here’s how to write a book chapter:  #1 – Create a chapter outline #2 – Build out the chapter’s structure #3 – Write an eye-catching chapter title or headline #4 – Hook readers with your chapter intro #5 – Expand your story with main points #6 – Provide a recap that summarizes the chapter #7 – Add a Call-to-Action & transition to your next chapter

But before we get started, let's make sure you have the required foundation to get started on writing a chapter.

How do you start writing a chapter?

In order to start writing a chapter, all you need to do is start writing. Remember, when you begin your draft simply focus on getting the words on the page. You can edit it later. Looking at the blinking cursor can be one of the most intimidating parts of the writing process, so just start.

Bonus: When you start writing your first chapter, it doesn't need to be chapter one. If you have a great idea for the middle of the book, write it! You may inspire yourself for chapter one.

How long does it take to write a book chapter?

The speed you write depends on many factors such as:

• Your typing speed
• If you choose to edit as you draft
• Whether or not you know the direction you plan to take the story

Don't allow yourself to get hung up on your writing speed, instead, focus on your writing quality.

How many pages should be in a chapter?

The page count in each chapter depends on what is best for your story. Whether you write fiction or nonfiction, how you end your chapter greatly influences if a reader turns the page.

It would likely be better for your reader, and your story, to end a chapter a bit early on a cliffhanger, rather than drag a chapter out.

As you write, ask yourself this question: What type of chapter ending would keep me turning pages? Be sure to end your chapter at this point.

Now, it's important to note that before you can even begin, you first need to have your book's general outline in place. It's okay if you have a working outline that's not finalized, but you need to have a rough idea of what chapters you need to include. If you're asking, “ What is an outline ?” read more at the link.

Your book's outline is your roadmap, and it's what you will use to get to your final destination with the chapters you write. After all, how do you know which direction you’re heading if you don’t have a path?

Think of your book like a TV show, and instead of episodes, you have chapters. Most hit shows develop a general theme for the season, so each episode progressively builds up to a grand finale. 

The same goes for writing books. You brainstorm ideas, figure out a theme for your book, and structure it by chapters, so it all fits together nicely.

Your book is the general theme, and each chapter should build up to the big picture. 

What is a chapter?

A chapter is defined as section, or division, of a book, and it is usually separated with a chapter number or chapter title. Chapters break the overall book topic into sections. Each chapter in a book is related to the overall book theme, and chapters are found in many book variations and genres, such as nonfiction, fiction, academia, law, and more. The concept of a book chapter is to allow the author to break up the work, and for the reader to digest the material in increments, or chunks that are both understandable and memorable.

After all, most readers aren’t going to go through 30,000 or more words in one sitting. They need mental breaks. That’s what your chapters provide.

Also, chapters allow you to have some kind of structure in your writing compared to just rambling all of your ideas in one go like journal writing. A journal may make sense to you in your mind, but for the average person who’s reading it, they might not get the whole picture because they don’t have the same perspective as you.

Before you can get started with how to write a chapter, you need to be clear on what the purpose of a chapter is, and how it helps your book's organization.

Related: Parts of a Book

How long should my chapter be?

The short answer is, it really depends on your topic, and your writing style. There aren’t any set rules or guidelines. That’s the beautiful thing of self publishing – you as the author gets to dictate the length of your book. 

The length of your chapters will vary depending on the genre. So, if you really want some guidance, then just compare the typical length of other books within the same niche. 

How many words are in a nonfiction book chapter?

The average number of words in a nonfiction book is around 50,000-70,000 words, and the average number of chapters in a nonfiction book are about 10-20. With this logic, the number of words in a nonfiction book chapter is about 3,500 words to 5,000 words. But, the number of words in each chapter can vary greatly, depending on the nonfiction book's topic, subject matter, and the author's writing style.

Some topics will require more details, and some will require less. There isn't a set number of chapters to include, either, so make your chapters detailed, concise, and see where your word count falls and make adjustments in your editing process as needed.

As you learn how to write a book chapter, try not to worry so much about how many words to include in each chapter of your book. Instead of focusing on your word count, focus on the quality of your writing, and that you are including all the necessary information to get your point across.

How many chapters should I write? 

Again, this is up to you.  You can write as many or as few chapters as you want. Your book is your baby, and you make the final decision.

Don't decide on number of chapters just for the sake of it. Make sure you organize your chapters with sound reasoning, as opposed to just setting a random number.

This will ensure that your chapters make logical sense, and are in the correct order. With structured, organized chapters, your reader will be able to follow the information in your book seamlessly.

Now that you understand what a chapter is, and how many words and chapters to have in your book, it's time for writing !

#1 – Create an outline for the chapter 

The best way to brainstorm ideas and create an outline for your chapter is through mindmapping. 

A mindmap, if you aren’t already familiar with it, is where you brainstorm and unload all your ideas onto paper (or type it).

Once you’re done, you can look over and see if there’s a common theme beginning to take shape. At this point, you can start linking them together. You can structure your ideas to help with your analysis and see it visually.

As you learn how to write a book chapter, you'll get a better feel for how many sections make sense for your book's topic.

Here’s how to create an outline for your chapter:  #1 – Brainstorm all of the ideas and topics that this chapter should cover #2 – Write your ideas down on a mindmap  #3 – Review your ideas and link similar ideas together #4 – Identify a common theme for your chapter #5 – Sort the ideas into a logical order of how you should present them in your chapter

Here’s an example of my mind map: 

After my mind map, I was able to create a structured outline:

Here are more resources for mindmapping: #1 – Mindmapping tool #2 – Learn how to book map #3 – Create an outline for a book

#2 – Build the chapter structure

Now that you understand the fundamentals, let’s get into the meat and potatoes of what makes up an effective chapter structure.

You'll want to be sure to include each element of your chapter structure for every subsequent chapter that you write.

It might be helpful to create a standard format, whether you write with pen and paper, or using book software on your computer. This will help you stay on track and write your chapters in an organized, structured form.

Here are the elements of a chapter structure:  #1 – A title or headline #2 – An introduction that hooks #3 – Body paragraphs that provide further details #4 – A recap, or summary, of the chapter #5 – A transition to the next chapter

While you can add more or less to each of your chapters depending on your genre, writing style, and needs, it’s important that all of your chapter contents contain similar points or pieces of information related to your overall theme.

All of the information should also be what your reader actually needs to know to understand the overall picture. 

If any of the contents don’t fit into your chapter’s theme, take it out. If there is extra information that isn’t necessary for the reader to know, or causes the reader to go off on a tangent, take it out. 

Only add what’s absolutely necessary, and take out anything extra. Chances are, the information either doesn’t add to the value of your work, or it might belong in a different chapter.

#3 – Write an eye-catching chapter title or headline

As you learn how to write a book chapter, you’ll realize just how important writing eye-catching chapter headlines, or titles, are. 

You can have the most amazing content in the world that has the power to change people’s lives forever. But if you don't learn how to write a book chapter headline that captures their attention, then they’ll never bother reading your book. 

This is especially important when you have someone on the fence, deciding whether or not to buy your book. They’re skimming through your table of contents or flipping through the pages to see if anything sticks out.

You want a chapter headline that triggers curiosity, and makes your reader want to learn more.

Even though this is listed as the first element of a chapter’s structure, many authors find that it’s easier to create the headline AFTER the chapter has been written. 

Tip: Write your headline once your chapter is already written. 

This is because as you write, your chapter and concept might change slightly, so you don’t want to waste time tinkering with the headline every time you update your concept.

Here are three types of headlines you can write:  #1 – Use the “How to…” approach #2 – Use a phrase or belief statement #3 – Present it as a question

#1 – Write the headline as a “How to…”

The “How to” format is a common strategy when writing a book chapter title because it works. A good “how to” headline is enticing, concise, and provokes action in the reader. 

To create a “How to” headline for your book’s chapter, make a list of the benefits, barriers, and beliefs that your chapter covers and then just plug it into the “How to…” template. Play around with it and see which headline combination makes the most sense.

If you’re struggling with this, think of the problem your chapter solves. Then craft that problem into a “How to” statement.

Here’s an example: “How to (add benefit) without having to (add barrier) even if (add belief).”  #1 – Add benefit – What’s the benefit of this chapter? What insight will your readers gain? #2 – Add barrier – What barriers or obstacles are your readers facing? What is their problem? What do your readers currently believe right now? #3 – Add belief – What belief(s) or inner thoughts are your readers telling themselves about your topic? 

How-to headline examples on book writing:

• How to self-publish your book without having to commit 8 hours a day, even if you don't think you’re a good writer. 
• How to stay motivated when writing your book without having to sacrifice hours away from family and business, even if you don't feel you have enough time.
• How to build your confidence when writing your book without having to do a ton of research, even if you don't feel like you’re an expert

#2 –  Use a phrase or belief statement as your headline

You can simply use a phrase or belief that your readers are thinking about. If you think about it as the problem you are trying to solve for your reader, your headline or title would simply be the problem statement. 

Here are examples of beliefs for people who want to write a book:

• “I'm not good enough to write.”
• “I’m not a writer.’’
• “I'm not special; why would anyone want to read my book?”

#3 – Present the headline as a question 

This is similar to the problem statement, but you are rephrasing it as a question that your readers might ask. 

Think about what your chapter covers, and ask yourself, “What question is this chapter going to answer for my readers?”

Then, use that question to can create a compelling book chapter or headline.

Here are some examples of questions a reader might ask:

• How long does it take to write a book?
• Can I make a living writing books?
• Do I need an editor for my book?

If you’re still stuck thinking of an enticing chapter title or headline, it may be that you need more time to flesh out your content. 

Or, maybe you just need to spend some time writing, and come back to the headline when you are feeling more creative. 

You can also use title generators like Portent (which is my favorite) and tweakyourbiz . It can inspire you to come up with something unique.

What's great is you can use these headline ideas for not just chapters, but also webinars, videos, blog posts, guest posts, etc. as you expand your book business. 

#4 – Hook readers with your chapter intro 

Alright! So, you’ve captured the reader’s attention and now they’re curious to find out more. This is where you want to avoid any first chapter blunders and have an engaging intro that keeps people hooked, and attracted to your content. 

To explain the power of a hook in your chapter, let’s use an example from the TV show Law and Order . In every episode, they show the murder scene in the first few seconds; this is the opening hook! 

This effective technique naturally hooks viewers, myself included, making us want to know more.

We are left with the lingering question through the screenwriter’s hook (“How did they die?”) and then the rest of the episode is focused on piecing together who committed the murder. 

Unless you’re writing a horror book, I wouldn't expect your chapter introduction to be that dramatic, but there are similar ways that you can create an engaging opener. You can learn how to write an intro with a few simple steps, then apply the same strategies to all of your chapters.

Here’s how to hook your reader at the start of your book’s chapter: #1 – Share a personal story #2 – Show a conversation or dialogue #3 – Add powerful quotes #4 – Add shocking statistics  

What else can you think of to grab your reader's attention? Get creative!

In my experience, the best chapter introduction that get the most reader engagement is when the author shares a personal story. This is for two reasons.

Reason #1 – It builds a connection

Before spitting out facts and solutions, share your own personal story about overcoming the challenge you hope to help others through when they read your book and/or other products or services you offer. 

Stories are what connect you to your readers. 

Describe how you felt before, during, and after your personal challenge. For example, if you’re helping people lose weight, how did you feel when you were overweight? 

What did you see, hear, and feel? Relive and visualize this because most likely that’s where your readers are right now in their life. 

Even though you have overcome these struggles, you need to communicate at the same level as your readers and not from where you’re at right now.

Don’t be afraid to be vulnerable and open up. 

I attended a screenwriting class recently. What I learned was that the most successful Hollywood movies are those with characters that have the most flaws.

It’s your flaws that will connect you to your readers emotionally. People are not looking for solutions or anecdotes as much as they are seeking for connection. 

“Think like a wise man but communicate in the language of the people” – William Butler Yeats

Reason #2 – It adds credibility

Your story helps build credibility, so people think, “ Wow! This author has been there, and done that, so they must know what they are talking about. I should read what they have to say. ”

When people are reading your book (and chapter) they may be asking:

• ‘Why should I listen to you?”
• “Who are you?” 
• “How can you help me with _____?”
• “How do you know how it feels to____?”

No one will listen to you unless they first know that they are understood. 

“People don't care how much you know until they know how much you care.” John Maxwell

Share your story of being in the trenches and having gone through the challenges that your readers are currently facing. Create a bridge between you and your readers. 

Once your readers know that you understand them, they will begin to trust you and will be more open to hearing your advice.

Alternatively, you could also tell a story of a client you’ve helped or share their testimonials. 

You could also paint a picture of how life will be when they finish reading your book or implementing your methods, products or services, or even how life will be if they don't.

#5 – Expand your story with main points

Okay, so you have a great opening and people are hooked. Your readers can’t put the book down.

But now it’s time to dive into the details. Expand your opening and begin to explain your points.

This is where you are offering your reader the gold. How will you solve their problem? What does the reader need to know? Keep the momentum going and make sure each point is cohesively building up.

You can have as many points as you want. I personally like sharing three points within chapter topics just because there is so much to write about for each point.

For example, in my book, The Introverted Immigrant's Journey , I share 3 steps (or points) to overcoming fear, worry, and anxiety.

• Step 1: Awareness   
• Step 2: Identifying self-sabotaging thoughts
• Step 3: Take action (despite the fear)

For each point, you can simply apply the same strategy just as you would starting a chapter. Add a story, quote, stat, or some other kind of evidence. 

Then expand on your opener.

Remember when you had to write a five paragraph essay in school? Think about this in terms of your five paragraph essay. These are your body paragraphs in your chapter!

This step is where a lot of writers can get sidetracked. That's why it's important to create your chapter outline in step 1, then stick to it as much as possible so that your writing is focused and concise and you hit your writing goals .

#6 – Write a summary of the book chapter

Celebrate! You’re almost to the finish line.

Now, all you’ve got to do is summarize what you’ve just said. You’ve given your reader a ton of information, so you have to bring it back around and close the loop.

Writing a summary of your book's chapter is basically recapping the information you shared in the section.

Since people best remember what they read last, this is your chance to be truly memorable.

What’s the last thing you want people to know? The key takeaway. Keep this short and to the point.

Here's how to write a summary of a book chapter: #1 – Skim the chapter and take notes of any major points or key takeaways #2 – Jot down each point or key takeaway #3 – Summarize each point in your own words  #4 – Whittle it down to 1 or 2 sentences for each point. #5 – Combine all your summarized points into one paragraph. #6 – Add in transition words such as “first,” “next” or “then” for each new point.

For example, in my book, I summarized my chapter points by creating 1-2 sentences on each point. Then, I combined each of those sentences together in order. 

For my first chapter point, which was on creating awareness, I wrote this summary:

“It’s important to remember that awareness is the first step to overcoming fear. How can you fix something without knowing its broken in the first place? Begin writing daily in a journal. Track how you feel throughout the day without any judgment.”

#7 – Add a Call-to-Action & transition to the next chapter

A call-to-action (CTA) is when you ask the reader to take action by implementing what they have learned and applying their new knowledge in some way. 

In short: Ask the reader to do something. 

What do you want the reader to do now? If you want them to think, act, or do something, tell them so at the end of your chapter.

It could be as simple as leaving a few questions for the readers to think about.

Here are some ways to add a call-to-action for your reader: #1 – Add reflection questions: “So, what’s one AHA! moment you got from reading this chapter?” #2 – Add action steps: “What is one small action you can take today after reading this chapter?”  #3 – Sign-up to my email list: “Do you still struggle with this (chapter problem)? Sign up to my email list, where I share more tips and strategies.” #4 – Get in touch: “If this (chapter problem) is a continuous challenge you are facing, feel free to reach out” (add email or any contact info) #5 – Buy: “If you’re interested in learning more about (chapter topic), consider buying these other books that focus on X.”

Once you’ve added your call to action, you can add a short transition to prepare your reader for your next chapter. 

Transitioning your reader to the next chapter gets them excited to keep reading, and it fully closes the loop on the information they just read. 

You can easily add some transition words and craft a 1-2 sentence that briefly covers what the next chapter will be about. 

Then, you can wrap up the entire chapter, and start the chapter writing process all over again!

Before you know it, your entire book will be written, and you’ll be preparing your finished manuscript for self-publishing .

Now that you have all the essentials on how to write a book chapter, it’s time to implement them!

Start sharing your stories and making the impact you’ve always wanted to make in the world through the power of your book. 

What other chapter techniques or strategies work for you?

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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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Writing a Good Chapter Analysis - Stop Summarizing and Start Analyzing

• Trent Lorcher
• Categories : Help with writing assignments paragraphs, essays, outlines & more
• Tags : Homework help & study guides

Chapter Analysis vs. Summary

Before you learn how to write a good chapter analysis, you need to know what an analysis is. Let’s begin by telling you what it’s not: an analysis is not a summary. While a summary is a stripped down rehash of a chapter covering the main plot points, an analysis involves using specific evidence from the text and explaining how it relates to a particular theme of what you’re reading. It also involves explaining the author’s purpose for using specific elements of literature.

One Step at a Time

I’m going to make this easy for you with a step-by-step process for writing a good chapter analysis. Step 1 : Read the chapter. I sincerely hope you’ve already done this, especially if the assignment’s due in 15 minutes. Step 2 : Read the chapter and annotate. “But wait,” you protest. “I’ve already read the chapter. Now you want me to do it again?” You clicked here because you want to write a good chapter analysis. If you want to write a bad chapter analysis then go to YouTube, listen to your favorite song, and write your analysis without my help. This time, read the chapter with a critical eye. Highlight and mark things you feel are important. This is called annotation. Knowing how to annotate (although the link is for annotating a poem, it will help you annotate non-poems, and yes, you should read it) will provide years of good grades in English class. Step 3 : Create a thesis statement. If you don’t know how to write a thesis statement , now would be the perfect time to learn (you’ll thank me for this). Your thesis statement must contain a subject and an opinion. The subject is the chapter you’re analyzing. Your opinion must contain how the chapter contributes to the overall theme of the work or what the author’s purpose is in using certain literary devices. You probably want examples. Here they are:

• Chapter 4 of The Chocolate War by Robert Cormier uses an ironic relationship between Trinity High School’s most feared teacher and Trinity High School’s most disobedient student to foreshadow the imminent destruction of all that is good at the school.
• The final chapter in J.K. Rowling’s Harry Potter and the Deathly Hallows firmly establishes Harry as a Messianic figure and a symbol of hope in a world of darkness.
• Chapter 5 of John Steinbeck’s Of Mice and Men resolves the novel’s main conflict–the individual vs. society–with society crushing the individual.

Do not overlook the importance of creating a sound thesis statement. Everything you write from this point forward hinges on its success. Once you’ve written thesis statement, you can begin the outline.

Plan Your Success With an Outline

Learning how to write a good chapter or book analysis means learning how to write a good outline. Step 4 : Make an outline - “But wait,” you protest. “You want me to write an outline? I just want to get this thing done.” Once again, you want to write a good analysis, right? Here are the steps to making a good outline. We’ll assume the outline is for a multi-paragraph essay.

I. Your thesis statement goes here. For the sake of this example, we’ll use the one above from The Chocolate War .

A. Write a topic sentence for your first body paragraph here. Your topic sentence must support your thesis statement. If you don’t know how to write a topic sentence , now would be a good time to find out (you’ll thank me for this, too). Example : Brother Leon’s association with the Vigils undermines his ability to provide a safe environment for his students.

1. Write your first piece of evidence here. Your evidence , by the way, comes from the chapter. It can be a direct quotation, a specific fact, or a brief summary. Don’t bog the reader down with unnecessarily long quotes or useless facts. Example : Brother Leon gives tacit approval and open support for the most dangerous student organization at his school in return for their support of the annual chocolate sale.

a. Give an explanation of how your fact supports the topic sentence. This explanation can be an opinion, insight, interpretation, analysis (it’s a good idea to have analysis in your analysis paper), analogy, or anecdote. Example : This would be the equivalent of a high school principal enlisting the help of the neighborhood Bloods or Crips to ensure attendance at the school’s choir concert.

b. Continue your explanation or provide an additional related explanation. Example : This new alliance will eventually yield tragic results.

2. Write your second piece of evidence here. Example : Brother Leon claims the importance of the chocolate sale is to keep the school afloat financially.

a. Provide an explanation for fact #2. Example : If Brother Leon truly cared about the school, he would not lend his support to the school’s most malicious organization .

b. Continue your explanation or provide an additional related explanation. Example : Most likely, Brother Leon will receive a personal financial benefit from the sale of the chocolates.

3. Write a concluding sentence here that transitions into the next paragraph. Example : Brother Leon thinks he’s manipulating Archie, but the reader knows otherwise.

B. Here would be the topic sentence of your second body paragraph. Judging by the concluding sentence of your first body paragraph, this paragraph will treat Archie’s ability as a leader and manipulator and its likely potential for tragedy. This paragraph and each succeeding paragraph will follow the same exact pattern as the first body paragraph.

The more thorough your outline, the easier it will be to write your chapter analysis. Now that your outline is complete, it’s time to write.

You’re Almost Done

If you’ve done steps 1-4 correctly, you’ve almost guaranteed yourself an insightful analysis and a very good grade. Step 5: Write the First Draft - If you wrote a good outline, this part is easy. Begin with an attention grabber in the introduction . Your best bet here would be to provide a brief summary of the chapter on which you’re writing–a couple of sentences should be sufficient–followed by your already written thesis statement (Your thesis statement should be the last sentence of your introduction). Your body paragraphs are practically written already. Add transitions for fluency. Reword, if necessary. Add words for clarity. Subtract words, if possible (just because it’s in the outline doesn’t mean it has to be in your paper). Step 6 : Edit and Revise - Proofread for grammar and punctuation errors. Other things to check when revising include:

• making sure you haven’t written a summary.
• making sure what you wrote makes sense.
• making sure your body paragraphs support your thesis statement.
• making sure you’ve covered all aspects of the assignment.

Step 7 : Turn it in. If you’ve followed these steps, you can turn it in with a smug look on your face. Sit up straight and let the class know how awesome you are. Congratulations, you’ve just succeeded at one of the hardest assignments you’ll get in an English class.

The author has taught English for 13 years. Image by TeroVesalainen from Pixabay

This post is part of the series: Writing Made Easy

Writing isn’t as hard as you think.

• How to Make an Outline: Components of the Writing Process
• How to Write in the Active Voice &amp; When to Write in Passive Voice
• Getting Technical With Technical Writing
• Analyze This: Write a Chapter Analysis that Will Amaze Your Teacher

How to Write a Book Chapter

• First Online: 02 February 2019

Cite this chapter

• Thomas R. Pfeiffer 8 &
• Daniel Guenther 9  

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The aim of this chapter is to guide clinicians and researchers through the process of composing a book chapter. Helpful tips on what to consider prior to writing, how to start the writing process, and how to complete and finalize the chapter are provided. Writing a chapter is a team effort. This text helps to define the role of the “team members,” gives examples of different approaches on how to work in and with the team, and provides guidelines to generate a long-lasting product. Scientific written text, consistent terminology, and well-chosen meaningful figures are highlighted as key points of a successful book chapter. Finally, a printed version of a book will reward authors for the sometimes intense, but always interesting, work of chapter preparation.

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Lewerich B, Götze D. What to do when you are asked to write a chapter. In: Troidl H, McKneally MF, Mulder DS, Wechsler AS, McPeek B, Spitzer WO, editors. Surgical research. New York: Springer; 1998.

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Woodrow L. Publishing research: book chapters and books. In: Writing about quantitative research in applied linguistics. London: Palgrave Macmillan; 2014.

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Skipper T. Writing an effective book chapter. A guide for authors working with the National Resource Center for The First-Year Experience & Students in Transition; 2011.

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Department of Orthopaedic Surgery, Trauma Surgery and Sports Medicine, Cologne Merheim Medical Center, Witten/Herdecke University, Cologne, Germany

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Pfeiffer, T.R., Guenther, D. (2019). How to Write a Book Chapter. In: Musahl, V., et al. Basic Methods Handbook for Clinical Orthopaedic Research. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-662-58254-1_26

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

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

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

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

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

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

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.

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Book review examples for fiction books

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

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

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

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

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

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

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

Lyndsey reviews George Orwell’s 1984 on Goodreads:

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

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

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

The New York Times reviews Lisa Halliday’s Asymmetry :

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Examples of children’s and YA fiction book reviews

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

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

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

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

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

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

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

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

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

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

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

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

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

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

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

Examples of genre fiction book reviews

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

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

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

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

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

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

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

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

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

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

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

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

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

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

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

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

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

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

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

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

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

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

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

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

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

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

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

Stacked Books reviews Malcolm Gladwell’s Outliers :

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

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

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

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

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

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

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

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

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

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

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

Emily May reviews Michelle Obama’s Becoming on Goodreads:

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

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

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

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

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

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

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

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

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Home / Book Writing / How to Write a Book Chapter

How to Write a Book Chapter

Whether you’re writing fiction or nonfiction, chapters are an important part of the process. Whether you outline and plot or you simply let the story take you where it will, you’re going to have to deal with chapters. In fact, one could even say that a book is written one chapter at a time. I would go so far as to say that every author should know what they need to accomplish in every chapter.

Read on to find out how to write a book chapter! Writing a book chapter is going to differ for fiction and nonfiction authors. But, many of the overall concepts are the same. So, I’ll take a look at what makes a good chapter and also share some tips for what works best in fiction and nonfiction books.

If you're interested in further reading, I have a whole series of posts on the different book parts that you'll find when building and formatting your book. Check out my Master Guide on the subject .

First, let’s get some chapter questions out of the way.

• How long a chapter in a book should be
• How many chapters should be in a book
• What makes up a good chapter of a book
• Outlining a chapter
• Chapter titles and numbers

Table of contents

• How Long is a Chapter in a Book?
• How Many Chapters in a Book?
• Why Have Chapters at All?
• What Goes Into a Good Chapter?
• Should You Outline Your Chapter?
• Starting a Chapter in a Novel
• Starting a Chapter in a Nonfiction Book
• Ending a Chapter in a Novel
• Ending a Chapter in Nonfiction
• Chapter Numbers and Titles in Fiction
• Chapter Numbers and Titles in Nonfiction

Why Should You Trust Me?

I've actually been writing and formatting books for a long time. Over 10 years so far, and counting.

But that's not the real reason, because there are plenty of authors who have lots of experience, but know next to nothing about the different parts of a book, or book formatting in general.

The real reason you should trust me is because I actually created my own formatting software that solved all my problems. I called it Atticus.

But this isn't meant to be a sales pitch. I just want to make sure it's clear that I know what I'm talking about. The amount of research that went into not only formatting my own books, but also creating a formatting software is huge.

I researched everything, which led me to learn all about every. single. part. of. a. book. And there were a lot more than I realized.

And of course, that includes the actual Chapters.

So if all that makes sense, hopefully you'll come along with me as show you everything I've learned.

There’s no set rule as far as your word count per chapter . The length of a chapter varies widely across both fiction and nonfiction. When you're done writing, you may end up with some short chapters and some long, which is perfectly fine. That said, these are the averages for both:

• Average Chapter Length for Fiction Books: Between 1,500 and 4,500 words.
• Average Chapter Length for Nonfiction Books: Between 3,500 and 5,500 words.

See my complete breakdown of chapter length here .

Again, there is no set rule for this. But if I'm looking at averages:

• 12 Chapters in an average novel.
• 10 to 20 Chapters in an average nonfiction book.

No matter what type of book you’re writing, chapters serve an important purpose both in the conveyance of information from author to reader and in the pacing of the work. In novels, properly utilized chapters can create tension, leave the reader wanting more, and allow for reflection of the events just passed. A chapter break also allows you to move to a different POV, signify the passage of time, or move to another scene without confusing the reader.

Pacing in other works is equally important. When you’re conveying information to the reader, such as in any nonfiction book, you should use chapters to break up the information into digestible chunks. Again, the end of a chapter is an ideal place for anyone reading to stop and reflect on what they’ve just learned. Shorter chapters can make for easy reading, but not at the expense of important information. Make your chapter as long as it needs to be. While you won’t find many nonfiction books without chapters, there are fiction books out there that go against this norm. But even the authors who decide not to have chapters in their story usually have scene breaks, which serve a similar purpose.

Formatting Has Never Been Easier

Write and format professional books with ease.  Never before has creating formatted books been easier.

Before you start writing your chapter, it's a good idea to know what it will be about and what should go into the individual chapter.

• For fiction , this could be character development, story development, action, foreshadowing, building conflict, or generating character motivations.
• For nonfiction , this should be what information you wish to convey and in what manner. An outline or mindmap helps to organize your ideas before you begin writing.
• If you’re writing a novel , you’ll need to decide on point of view (POV) and setting as well as the main conflict. This is where knowing the overall point of the chapter comes in.
• Conveying information in nonfiction has less to do with POV and conflict (unless you’re telling a story to illustrate a point) and more to do with the chapter structure and how you want to break it up with headings and subheadings.

The question of whether to outline individual chapters– or even the entire book– is one that’s more prevalent in fiction. There are plenty of authors that never outline their novels, much less their chapters. They just start writing, letting their story flow. But they still generally have an idea of what they wish to convey in a chapter and how they’re going to do it.

(Want to outline your novel but don’t know where to start? Check out this article on tips for outlining your novel! )

Nonfiction is a bit of a different story. In order for a how-to or self-help or history book to make sense to the reader, it needs to be structured logically. This is why I highly recommend that you outline each chapter in as much detail as possible if you’re writing nonfiction . You may revise and move stuff around as you go, but having that outline to work from will likely help you write faster .

How to Start a Chapter

Now that you know the main point and how you’ll convey the information, let’s discuss starting a chapter.

The overall advice for starting any chapter in a novel is to start it in the middle of the action. If you have your main character sitting around thinking or waiting, the reader is likely to be bored. When you begin each chapter, ask yourself: “What’s the latest possible point in the scene I can start this?” And action doesn’t have to mean physical action . It can be an intense conversation or an awkward meeting. It depends on what your story is about. Start with action and as the scene progresses you can pepper in backstory and description.

This is where a chapter outline comes in. With an outline, you can look at the theme and chapter structure before you start to write. Chapters should have the same format throughout the book. And they should all start the same way: With an introductory line that hooks and introduces the reader to the subject matter of the chapter. This is like a topic sentence in that it succinctly defines what the coming chapter is about. You can also rely on chapter headings and subheadings to guide the audience along. It’s good to start with an introductory paragraph (or paragraphs) and then move into the meat of the chapter, breaking up the text with more subheadings when applicable. Hint: If you're having a hard time getting started, pick up a book in your genre and open it to a chapter. This can be a sample chapter from which to glean ideas.

How to End a Chapter

The end of a chapter is just as important as the beginning. They both serve the same purpose: to keep the reader turning the pages, even if they put the bookmark in and come back later.

Often, the best way to do this in a novel is to end the chapter on a cliffhanger. Just like starting a chapter in the middle of the action is a good idea, you can also end the chapter in the middle of the action to keep the reader intrigued. But it needs to make sense for the purpose of the chapter. In other words, don’t just cook up some action so you can end the chapter in the middle of it. Ending every chapter with a cliffhanger isn’t always appropriate. But if it works for your story, go for it!

If you’re writing nonfiction, the chapter should only end when you’ve provided the audience with what they need to know to understand the main idea of the chapter. When that’s done, you may want to write a chapter summary and a transition into the next chapter.

Should You Use Chapter Numbers and Titles?

Depending on what you're writing, there are different norms as far as chapter titles and numbers.

In fiction, it's up to you as the writer whether you want to use either one. Most novels have at least one or the other, but many have both. You may not decide whether you need chapter titles or numbers until your manuscript is finished. No matter what you choose to do, stay consistent throughout the novel. Most chapter titles in novels are less than seven words and give a glimpse at the chapter to come without spoiling anything.

For most nonfiction, both a chapter number and a chapter title — sometimes called a chapter heading– are essential. No matter what your writing process is as an author, it's imperative that you spend some time on succinct and informative chapter headings. These, combined with numbers, will allow your readers to look up information easily when they need it for reference.

Final Tips for Writing a Book Chapter

Whether you're writing an epic fantasy book series, a chapter book, or a picture book , you'll need to write it one chapter at a time. For many fiction authors, this doesn't happen until the story is finished. They may have a huge word file that they then go back and break down into multiple chapters. For others, they break the story up into chapters as they go. There's no right or wrong way. If you're writing a nonfiction book, outlining by chapter is beneficial. Before you ever write word one, you will likely benefit from structuring each chapter, even if you're weaving the subject matter together with a story (like in a memoir ). Either way, when all is said and done and you have an edited book, hand it to an early reader or two before you press publish or send it off to a literary agent. Get feedback and apply what you've learned when writing the next chapter. And the next. And the one after that!

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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2 thoughts on “ How to Write a Book Chapter ”

Great content. Thanks for this and all your other information/advice.

You’re welcome 🙂

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How to write a book chapter

I was asked by Dr. Joanna Brown for guidance on how to write a book chapter. I wouldn’t say I’m the ideal person for this task, but since I have published many of these for several edited collections , I think I can offer some advice.

I’ve got a few single-authored chapters on the go for three books at the moment (one on bottled water in the context of a human right to water, one on ethnography as a research method in comparative policy analysis, and one in press on national policy styles ), and thus I wanted to share my experience writing these.

My relationship with writing chapters for someone else’s edited volume is simultaneously love-and-hate, as people who read my blog regularly may remember .

@raulpacheco any advice for writing an academic book chapter? I'm struggling with some imposter syndrome. — Dr. Joanna (@joannawbrownphd) July 3, 2018

The value that different institutions place on book chapters varies widely. My own institution prefers journal articles, but as I’ve said before, I have participated in edited collections because I believe in the project, and also because these are usually collective projects I’m interested in undertaking. I’ve published book chapters in both Spanish and English, and I’ve also edited books as well, so I’m fond of the model. You should, nonetheless, consider the pros and cons of writing a book chapter.

First of all, book chapters are different from journal articles as many of these aren’t peer reviewed and therefore aren’t subject to as many changes and corrections as you could expect from articles. I will fully admit having published peer-reviewed book chapters that these are as much of a nightmare as journal article manuscripts. I have one particularly awful experience (which isn’t over yet!) in mind.

But the most important element that an author needs to keep thinking about when writing a book chapter, in my view, is how your chapter contributes to the overall Throughline of the book (I’ve mentioned The Throughline previously – or as Scandinavian authors call it, The Red Thread ). I’ve also emphasized the importance of demonstrating cohesiveness and coherence throughout an edited collection, as the editors of Untapped did in their edited volume on the sociology of beer .

With Untapped, Chapman and coauthors explore the question of "what is sociological about beer?" pic.twitter.com/tVcf069LRm — Dr Raul Pacheco-Vega (@raulpacheco) April 14, 2018

This sample chapter on how to write books actually provides a great example of how to write a book chapter . Normally, I would create an outline of the paper ( this blog post of mine will tell you two methods to create outlines ), then follow a sequential process to create the full paper ( my post on 8 sequential steps may be helpful here ).

More than anything, I do try really hard to use headings to guide the global argument of the chapter. The outline/sequence looks something like this:

• Introduction. – outline of questions or topics to tackle throughout the chapter, and description of how the chapter will deal with them.
• Topic 1 – answer to question 1.
• Topic 2 – answer to question 2.
• Topic N – answer to question N.
• Discussion/synthesis. – how it all integrates and relates to the overall book.
• Conclusions, limitations and future work.
• References.

As I write my chapter, I make sure to link its content with other chapters in the edited volume . This may be a bit tricky because of how editors have timed contributions. Sometimes they don’t have all the chapters readily available to be shared across authors. But I’ve found that normally they do, and so they’re willing to share across all authors.

This guideline to writing chapters may also be helpful. It’s also quite important that you follow both the press and the editors’ guide (style, punctuation, citation formatting, etc.). But more than anything, I strongly believe that the best approach to writing a book chapter is to think of it as a way to present a series of thoughts in a cohesive manner that doesn’t necessarily equal a journal article. Yes, there may be empirical claims presented, and yes, there should probably some theoretical advancement in there, but again, it’s NOT a journal article.

Hope this post helps those of you writing a book chapter. If you want to read some of mine, you can download some of them here or here (Academia.Edu) or here (ResearchGate).

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By Raul Pacheco-Vega – July 11, 2018

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Can I reuse my own published papers in writing book chapters?

Reuse per se, perhaps not, republish maybe, with caveats, but you can use some text, yes.

In the book chapters, do we have to give results or only survey of others works will do ?

That depends on you and what the book editor expects!

Thank you, Sir. That was helpful.

As a research scholar I want to write a book chapter instead of writing a review paper. Can I do that? Do I need any special permission to write a book chapter?

This reminds me of the quote… “Any fool can make something complicated. It takes a genius to make it simple.” Thanks for posting this.

No special permission!

This is very useful. Thanks Raul.

will the book chapters will have references in the same manner as in manuscripts of journal

In book chapters, we have to do new research like (journal article ) or illustrate our ideas with already published work?

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Is This Maternity Hospital Haunted, or Is It All a Pregnant Metaphor?

In Clare Beams’s eerie new novel, “The Garden,” nefarious things are afoot.

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By Claire Oshetsky

Claire Oshetsky’s novel “Chouette” won the 2022 William Saroyan International Prize for Writing. Their latest novel is “Poor Deer,” published in January.

THE GARDEN, by Clare Beams

Irene Willard is a midcentury American woman with a history of miscarriages and a husband who is eager to start a family. Still childless, now pregnant for the sixth time, Irene dutifully packs herself off to an isolated ancestral estate that has been repurposed by a husband-and-wife medical team into a care center for high-risk pregnancies. This place is more haunted manse than hospital. The doctors are prone to say things like “now for your first injection” — and they won’t take no for an answer. Small indefinable living things skitter in the shadowed corners of the rooms. And: There is a neglected garden out back that has the power to bring dead things back to life.

With such a richly gothic setup, you might forgive me for thinking “The Garden” was about to deliver some blood-splattery fun and maybe even some zombie babies by the end. But that is not this book — or at least, that is not the whole story. Tucked inside this story’s gothic envelope is a tale inspired by a horrific chapter in the history of obstetric medicine.

“The earliest whisper of ‘The Garden’ came to me in the history of diethylstilbestrol” (or DES), Beams writes in her acknowledgments. “That drug’s story … set mine in motion.” A synthetic estrogen that was prescribed for decades to prevent miscarriage, DES did nothing to prevent miscarriage; what it did instead was cause cancers, infertility and birth defects. How could such a medical tragedy have continued for so long? Beams borrows facts from history to fashion an answer to that question in the guise of a horror story.

Irene is savvy and skeptical and she has doubts from the beginning about the hospital and its so-called state-of-the-art treatments. But her fear of triggering another miscarriage keeps her paralyzed and compliant: She “would never go home by choice to wait for the wave, the streak, the clot, the pool, the groan, the clench, the seep, the first slight cramp, each moment a terrible balance of hoping and dreading, listening and trying not to listen, feeling and trying not to feel.”

When Irene discovers that the garden out back seems to hold supernatural gifts, she feels newly empowered, and enlists two fellow patients to corroborate its miracles of resurrection. In a twisty echo of the experimental treatments being done to their bodies inside the house, the women begin to conduct life-and-death experiments of their own: First, they kill only small things — a beetle, a pill bug, a baby garter snake — and bring them back to life. Soon enough, they’re speculating about how to use the garden to prevent or reverse a miscarriage. Of course they are. And by the time Irene’s baby begins to move inside her in ways that remind her chillingly of the pathetic creatures she has helped reanimate, we’ve entered full-on horror territory.

The genius of the novel is the way Beams continually intertwines fictional elements with true-to-life obstetric practices. The women here are injected with mysterious drugs in ever-changing dosages. Psychiatric sessions are laughably mercurial. Every now and then, a patient goes into labor and disappears upstairs to another floor of the hospital. Sometimes she comes back without a baby. Sometimes she doesn’t come back at all.

“They’re doing a lot of things to us without exactly saying why, aren’t they?” one woman hesitantly ventures to ask another. “And still changing it all as they go.” Although Beams works to remind us how pregnancy creates a dangerous power imbalance between the pregnant person (who wants every good outcome for her developing child) and her doctor (who is promising to deliver nothing but good outcomes) — an imbalance that can lead to a medical disaster like DES continuing for decades — the novel never feels preachy. It never drags. I loved the poetic grossness of “pale, glistening chicken,” which perfectly captures the women’s institutional meals. Music when played at this hospital sounds “liquid, swampy.” Humor blooms at the least expected junctures.

Make no mistake, this is a serious story, even an angry one. Even so, there is something delightful about the way Irene and her co-conspirators are at first too squeamish to kill a salamander, but then quickly evolve into wild women who are ready to make any sacrifice necessary for the sake of their gestating children.

The publisher compares the novel to “Rosemary’s Baby,” but in at least one important way, they are very different. In “Rosemary’s Baby,” the Devil comes to claim his hellspawn in the end and that’s that. But Beams leaves us purposefully, chillingly in doubt. Is the power of the garden real? Is it a delusion brought on by Irene’s fear and isolation? Is the women’s belief in it all a hallucination induced by the unknown drugs injected into their bodies each day? When things go off the rails — as they are wont to do, both in high-risk pregnancies and when messing with dark forces — is it because of the doctors and their experimental treatments, or because of what Irene and her friends did in the garden?

“What have you heard, exactly?” one woman says to another.“That their organs, their feminine organs — that there are things wrong sometimes,” she replies. “It’s the result of having given us all those drugs.” “Well, but we did things too,” the first woman says. Some readers are going to miss getting answers to this novel’s questions, but the ambiguity floating freely through it is perfect for Beams’s intentions.

Just as the pregnant women who were prescribed DES endured decades of fear and guilt about how the drug’s harms would manifest in their children, the patients in “The Garden” learn there is nothing they can do to take the doubt away. There is no monster for them to slay, or be defeated by. There is no catharsis. There is only one woman at a time, trying to navigate a world where, when it comes to her child’s welfare, she can never be completely at ease.

THE GARDEN | By Clare Beams | Doubleday | 304 pp. | $28

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Law is a Moral Practice

Scott Hershovitz, Law is a Moral Practice , Harvard University Press, 2023, 236pp., $39.95 (hbk), ISBN 9780674258556.

Reviewed by Brian Leiter, University of Chicago

In the first chapter of his often entertaining but rather exasperating book, Scott Hershovitz gives two different formulations of its central thesis that “law is a moral practice.” In one formulation, “legal practices—like legislation and adjudication—are the sorts of activities that might , in the right circumstances, rearrange people’s moral relationships. That is what I mean when I say that law is a moral practice” (28, emphasis added; cf. 132). This view, however, is trivially true: all kinds of practices (not just legal ones) “might, in the right circumstances” change our moral relationships with each other. (If my neighbor regularly leaves garbage on my lawn, this will change our moral relationship, e.g., I will be morally justified in bringing a civil action against him, and I will no longer have an obligation to be neighborly towards him.)

In other places, he states the thesis differently: “law is a moral practice, in that it aims to adjust our moral relationships” (36, emphasis added; cf. 103) or, similarly, “When I say that law is a moral practice, I mean that we employ legal practices in an effort to adjust who owes what to whom” (24, emphasis added; cf. 96). (morality, for Hershovitz, concerns “what we owe each other” (21), by which he means the moral realist thesis “what we genuinely owe each other, not what we believe we owe each other” (22)); or, “legal practices are tools for adjusting our moral relationships, and they are typically employed for the purpose of doing so” (18, emphasis added). This latter view does not seem trivial, nor is it (contrary to Hershovitz (27)) one everyone in jurisprudence accepts (Hershovitz cites only Joseph Raz in the text—who may accept it on one understanding—but he makes no mention in this regard of any of the major figures of 20th century jurisprudence like H.L.A Hart, Hans Kelsen, Norberto Bobbio, and Alf Ross who do not accept it). In what sense, though, does the law “aim” or have as its “purpose” the altering of moral relationships?

On a natural reading, Hershovitz seems to mean that legal actors typically intend to alter moral relationships through the law, but this seems implausible. An alteration in moral relationships might be an effect of legal actions, but where is the evidence that it is the typical intention? On the standard public choice account of legislation, for example, law makers intend only to satisfy the interests of their largest donors who make their campaigns for reelection possible. On one kind of Marxist account, law makers intend to promote the interests of the ruling class. Although there is plentiful evidence for both the latter accounts (Hershovitz seems to think, without explanation or evidence, that such possibilities are “deviant” (28)), one need not accept them to still be skeptical of the claim that legal actors typically intend to alter moral relationships.

Perhaps, for example, people employ law primarily for self-interested reasons (to get what they want, without any regard for moral relationships)? Again, adjusting the moral rights and obligations may be a consequence, but not the reason (or motive), for employing law. The Tax Cuts and Jobs Act of 2017 was intended to cut taxes (for self-interested or other reasons), but its proponents would be astonished to learn that their actual intention was to change moral relationships, even if the effect of the Act can be redescribed in those terms. They have no de dicto intention to change moral relationships, even if, by Hershovitz’s lights, we can ascribe to them a de re intention to do so. But as with the first formulation in terms of possible effects in the right circumstances on moral relationships, this interpretation now seems to make the claim, once again, trivial: once you define morality the way Hershovitz does, it follows that any law (or any other activity) which changes people’s rights or obligations has a “moral” effect (or can be described as “moral”), even when no one de dicto intends that (Hershowitz finally admits as much at 192). This makes law a “moral practice” in the same sense that Mafia protection rackets are “moral practices”: they certainly change people’s rights and obligations. [1]

The tautological character of the book’s central thesis plays a large role. For example, it is true on this reading that “the questions posed in court are moral questions as well as legal questions” (38). The problem is they are answered legally, not morally, at least when the law is determinate. When it is not, of course moral considerations may affect a court’s decision in a particular case, but no one has ever denied that latter point. Dworkin advanced the view that one must always rely on moral considerations to say what the law is, and it seems Hershovtiz does too: “judges must rely on their moral views to resolve the cases that come before them” (56, emphasis added; cf. 175: “moral assessment is internal to legal judgment”), i.e., not just in cases where the law runs out.

His main argument for this latter claim appears in Chapter 2 and is based on a reading of a U.S. Supreme Court case, King v. Burwell (2016), involving interpretation of the Affordable Care Act. Hershovitz observes that the late Justice Antonin Scalia offered normative arguments for textualism as a theory of statutory interpretation in his extra-judicial writings, primarily based on the rule of law value of “publicity” (and fair notice) and the constitutional requirement of separation of powers between the judiciary and the legislature. Hershovitz seizes (63–64) on some language at the end of Chief Justice Roberts’ majority opinion, and Justice Scalia’s dissent, in Burwell to suggest that their disagreement was really a moral one, “over competing visions of democracy and the proper role of judges within one” (65). In fact, most of both opinions concerned the meaning of the statute, with Scalia laser-focused on one word in one sentence, while Roberts argued that Scalia’s reading would render the statute self-defeating given the other parts of the text. Even if we take the concluding remarks in the opinion as evidence of the more ambitious moral debate, as Hershovitz does, this does not show “judges must rely on their moral views to resolve the cases that come before them” (56). It may only show that Burwell , like many cases that end up in the Supreme Court (cf. Leiter 2015), had no right legal answer, so unsurprisingly the judges had to exercise moral and political judgment to resolve it.

Chapter 3 is Hershovitz’s most explicit attack on legal positivism, “the thesis that the content of the law is determined by social facts” (84). [2]   Hershovitz claims that “positivism. . .is false when it comes to the set of norms that is contested in court” because “courts attempt to ascertain and apply the norms that are authoritative. . .[i.e.,] in virtue of moral principles that establish their authority” (85). The latter is obviously false (courts purport to rely on the norms that are legally valid), although I suppose Hershovitz thinks Chapter 2 established it. It may be true that in some decisions by the appellate courts, where law is often indeterminate, judges avert to non-legal considerations, moral or otherwise. This shows nothing about what most courts do most of the time, and nothing about the nature of law. (Recall that one of Hart’s central claims was that law exists primarily outside the courts, as a way of guiding conduct; his was not a theory about appellate adjudication, but like Ronald Dworkin, Hershovitz does not notice.)

Hershovitz wants to deny that law is “a set of norms” in Chapter 3, but his reasons are obscure. He notices that the word “law” is polysemous (see esp. 93), and thus can pick out different sets of norms (one might add: it can also pick out things other than norms, e.g., laws of nature). He offers a list of possibilities, suggesting that Hart offers an account of law as “norms that are accepted by legal officials,” but not of “norms that are authoritative” (82), where “authoritative” means those we “have reason to comply with” (74, cf. 86). Hart’s actual theory—namely that where law exists there is a rule of recognition that specifies the criteria other norms must satisfy to count as norms of the legal system, and the criteria making up the rule of recognition are those that officials converge upon and treat as ones they ought to apply (i.e., that they treat as authoritative, rightly or wrongly)—is not fairly represented on Hershovitz’s list of possibilities. To use Hershovitz’s terminology, Hart’s view is that in modern municipal legal systems, our shared concept treats law as the “norms that are accepted as authoritative by officials,” although even that is not quite right for reasons we can consign to a note. [3]

Hershovitz, I think, would reject even the latter. He makes the astonishing claim that “the original sin among philosophers of law is the rigid insistence that this and not that set of norms counts as the law of the community” (83). One can, of course, reject a central question of general jurisprudence for at least two centuries—namely, what is the difference between those norms that are legal and those norms that are not—but there should be a good reason for doing so. [4]   After all, when I want to make a valid will in Illinois, I go see my lawyer and not a moral philosopher: I want to know what legal norms govern the making of wills in my jurisdiction, not what norms morally ought to govern them, even in light of past institutional actions in Illinois. Hershovitz says that “What’s at issue” in court “is the norms that are [morally] authoritative” (83), but this is not true: all that matters is the norms that are legally valid, regardless of whether we have all-things-considered reasons to comply with them. That’s why morally indifferent lawyers can do good legal work.

In Chapter 4, Hershovitz considers laws and legal systems that are immoral and argues that “some aspects of immoral practices may [nonetheless] generate genuine [moral] obligations” (111). He does not offer a general theory of when bad laws generate moral obligations (which is what his theory would seem to require), but does discuss some suggestive examples. Citing Nazi Germany and some others, he observes that a legal system can be so immoral “that it is worth casting the system aside and seeking something better, even if that risks the abyss” (104). No one, including legal positivists, disagrees with that. Do those places have “legal systems”? Hershovitz doesn’t say, not wanting to commit the original sin I suppose.

Chapter 5 offers a nuanced exploration of the “moral consequences our legal practices might have” (132), although for reasons I do not understand, Hershovitz frames this as a dispute with the more familiar question about whether there is an obligation to obey the law just because it is the law. He says the latter is a question of “marginal importance” (112), even though an affirmative answer would be rather significant, which no doubt explains why so many luminaries, past and present, have addressed it. Despite the peculiar dismissal of the traditional question, Hershovitz offers, among other things, an interesting account of how legal prohibitions on otherwise immoral conduct nonetheless are morally important because they give the state standing to prosecute crimes (122–127).

I did, however, find Hershovitz’s use of (morally) “wrong” in this chapter somewhat confusing. He says, for example, that if “I owe you $500. . .I would wrong you if I don’t [pay you]” even if “I need the money to pay for my child’s medical care” (121), although he says wronging you would be the right thing to do. But you would not be justified in blaming me, given that my child’s health is more important than the debt, and, indeed, you could blame me for not attending to my child’s health if I paid off the debt instead. Not all harms are wrongs. The difficulty here, I suspect, is that “wrong” does not have a lot of cognitive content, and that many of Hershovitz’s judgments on particular cases are more ethnographic data about the etiquette norms of his class and milieu than philosophical insights. But Hershovitz is a moral realist, [5]   and so takes his moral feelings quite seriously.

Chapter 6 argues “that the rule of law requires a shared moral outlook. Officials and (to a lesser extent) laypeople must see legal practices as sources of morality” (147–8). The “rule of law” is glossed in terms of Lon Fuller’s principles of legality (143) and the idea that political power is constrained by public norms and procedures (142). The shared “moral outlook” recognizes that efficacious legal institutions (which the rule of law makes possible) can generate moral obligations by facilitating coordination, resolving disputes peacefully, giving voice to everyone, and so on (144, a theme taken up in earlier chapters as well, but without a clear theory of when this is true).

Hershovitz purports to illustrate the latter with a story of how Alabama legal officials removed former Alabama Supreme Court Justice Roy Moore from office for failing to abide by the decisions of the federal courts on matters of federal constitutional law. Hershovitz makes the fanciful claim that they did this because Alabama legal officials shared the preceding “moral outlook” (143). What actually happened—namely, Alabama legal officials sanctioned a judge for breaching his clear legal duty by defying the order of a federal court over which it had jurisdiction—is dismissed by Hershovitz as merely the “official reason” (138) for his removal. Hershovitz, hell bent on moralizing every legal decision, notes that the “official reason” also mentioned that Moore “sought legal redress by appealing to the limit of judicial review; he was bound by, and had the duty to follow, the rulings of the federal courts” (138). Hershovitz adds that this “is a moral claim every bit as much as it is a legal one” (138). It could be construed as a moral claim, of course, but there is no evidence that is how Alabama officials thought about it. One could ask: is there a good moral reason for Alabama to insist that judges honor their legal obligations? But Hershovitz, in keeping with the trivial reading discussed at the start, simply insists the legal questions are moral ones. [6]

Chapter 7 defends the view that lawyers are “moral experts.” Given the preceding, this seems mostly unsurprising: if “law is a moral practice,” after all, and lawyers are legal experts, then they are moral experts. Once again, the trivial reading of “law is a moral practice” is doing all the work. Hershovitz starts by explaining how moral philosophers can be moral experts despite their disagreements. He cautions that “we should be careful not to exaggerate the extent of the disagreement” (152), which he then proceeds to wildly understate (cf. Leiter 2021 for the contrasting view). We can put that aside. More oddly, given Hershovitz’s moral realism, he invokes a 1972 defense of moral expertise by Peter Singer (then a moral anti-realist), according to which moral experts are good at collecting all the facts and then drawing valid inferences from them given “whatever moral view” one holds (154). One might have hoped moral experts also know which moral view is true! This discussion was quite superficial.

Hershovitz then turns to the question of whether lawyers are “assholes,” although the real issue is whether the existence of morally bad or indifferent lawyers is compatible with the thesis that “law is a moral practice.” Of course it is compatible, since his actual thesis is that any deontic talk in law can be recast in moral terms. He concludes by suggesting that “We ought to invite lawyers to see law as a moral practice—to see themselves as part of a moral endeavor” (167). As Herlinde Pauer-Studer (2020: 205) reminds us, the notorious Nazi judge Roland Freisler would have agreed: “There can be no divide between a requirement of law and a requirement of morality. For requirements of law are requirements of decency.” This does not show Hershovitz is wrong, but it does suggest that speculating about how a thesis about the nature of law will affect practice is a fool’s errand. (Hart did not, contrary to Hershovitz's presentation, rest his defense of legal positivism on any such speculation; he touched on the topic only in response to Fuller’s opposite speculation.)

Hershovitz’s authorial voice is conversational and inviting, and his writing is often clever and funny. I suspect this will make the book effective with readers who know little about general jurisprudence or its history. [7]   Hershovitz professes to wanting to avoid “clutter,” but serious scholarship (including in jurisprudence: e.g., Kelsen, Hart, Raz) often involves “clutter,” i.e., acknowledging the history of a problem, the positions and distinctions others have thought important, the reasons for them, and the arguments against them. This book does almost none of that, so it cannot be recommended to anyone new to the subject, who will simply be left in the dark about the actual questions and problems in general jurisprudence. Despite Hershovitz’s professed interest in discouraging readers from “dig[ging] in and cheer[ing] for a team” (15), Hershovitz is very clearly on a team: anti-positivist, Dworkinian, and moral realist. The book is an amusing, meandering sketch of what seem to me implausible views, with too little serious argument, and too little effort to consider objections, even obvious ones, from the other “teams.”

ACKNOWLEDGMENTS

I am grateful to Elena Di Rosa, Alma Diamond, Josh Kaufman, Richard Stillman, and Helen Zhao for illuminating and incisive discussion of the Hershovitz book in a reading group at the University of Chicago Law School during the 2024 Winter and Spring quarters; many of their excellent insights influenced this review, although none should be supposed to agree with it! I also thank Emad Atiq and Nina Varsava for comments on the penultimate draft.

Greenberg, Mark. 2004. “How Facts Make Law,” Legal Theory 10: 157–198.

Leiter, Brian. 2011. “The Demarcation Problem in Jurisprudence: A New Case for Skepticism,” Oxford Journal of Legal Studies 31: 663–677.

-----. 2015. “Constitutional Law, Moral Judgment, and the Supreme Court as Super-Legislature,” Hastings Law Journal 66: 1601–1615.

----. 2021. “Disagreement, Anti-Realism about Reasons, and Inference to the Best Explanation,” Ethical Theory & Moral Practice : https://link.springer.com/article/10.1007/s10677-021-10219-y

-----. Forthcoming. “The Metaphysical Turn in Recent American Jurisprudence,” in Leiter, From a Realist Point of View (Oxford: Oxford University Press).

Pauer-Studer, Herlinde. 2020. Justifying Injustice: Legal Theory in Nazi Germany (Cambridge: Cambridge University Press).

[1] Another possibility (suggested by Hershovitz’s discussion of promising at 28) is that he thinks that legal practices, by their nature (as it were), aim to change people’s moral relationships, regardless of the actual practice and intentions. Some recent legal philosophers, like Mark Greenberg and Mark Murphy, do hold something like this view, although only Murphy has an argument for it. Hershovitz offers no argument for it, so I suspect it is not what he means. Even later (186), he suggests his view is “that we see our legal practices as (in part) efforts to adjust what we [morally] owe each other.” Anyone could take that approach, so it would tell us nothing about the nature of law or legal reasoning. This seems less “Law is a moral practice” than “let’s view law as if it were a moral practice.”

[2] This idiosyncratic formulation comes from Mark Greenberg (2004), but Greenberg speaks of the “ existence and content” of law. Hershovitz’s truncation is striking. In the 20th century, the positivist thesis concerned the existence question (when does a norm exist as a norm of the legal system, i.e., when is it valid); Raz added the question of how content is determined, and Greenberg runs with that. On the general problems with this framing, see Leiter (forthcoming).

[3] What officials accept as authoritative are criteria of legal validity that tell us which norms are part of the law, but particular judges can be mistaken about the application of these criteria and thus deem norms legally valid that are not so. Hershovitz’s evidence against Hart’s view is supposed to be how courts talk in hard cases (a Dworkinian move, that is hardly decisive for a theory of law) and a faculty lounge conversation among his law colleagues about whether Trump could pardon himself (89–93).

[4] My own view (Leiter 2011) is that the best answer to the question “What is law?”—Hart’s answer—invariably yields fuzzy borderline cases, especially in the highest appellate courts, and it is a mistake to think that eliminating the “fuzz” in those cases is relevant to the question we are really concerned about: namely, what ought the court do? My sense is Hershovitz thinks we should only be asking, all the time, “What ought the court do?” with the past decisions of legal institutions being relevant only to the extent they affect our moral reasoning, as past events sometimes do. This would be the end of the legal system as we know it, of course.

[5] Hershovitz’s occasional comments on moral anti-realism are silly and superficial (e.g., 24, 194–195): “I have met people who acted as if they did not owe anything to others. But I have never met anyone who acted as if she wasn’t owed anything by others” (194). Nothing in moral anti-realism requires one not to have attitudes about obligations (to others or oneself); it just denies their objectivity. He also claims, bizarrely, that if you are “skeptical about moral claims, you should be skeptical about legal claims” ( id. ) even though the latter are, on a positivist view, just certain kinds of institutional or social facts: skepticism about moral reality does not entail skepticism about social reality.

[6] At the end of the book (192–194), Hershovitz allows that one could deny that “legal” rights/duties are just “moral” rights/duties and admits that he has “not argued against” this possibility, “at least not directly” (193). Since this is probably the central question raised by his book, this is a remarkable admission. Hershovitz claims that treating moral and legal duties as distinct is “needlessly complicated” (193), although I would have thought his book was evidence of needless complication both metaphysically (he needs moral realism), and conceptually (e.g., he goes to great length, in two different chapters, to explain how it is that bad laws can nonetheless produce moral obligations, although he never offers a general theory of when this is so).

[7] Most of the dust jacket blurbs fall into that category; the exceptions are a diehard Dworkinian, as well as a former colleague, friend, and mentor.

15 Essential Chapter Books For Elementary School Kids

T here is a special joy a parent gets when watching their child fall in love with a book, but whether you’re browsing your local library, walking through your favorite bookstore, or scrolling through a seemingly-endless list of titles online, helping your child find the perfect read can be a daunting task.

But it’s an important one, especially when children are transitioning from picture books to chapter books. With most reaching at least a hundred pages, the right chapter book can not only entertain, but also build up a young reader’s reading endurance — and even their patience. Just as adults are drawn to watching “just one more episode” of their favorite binge-watchable television series, the right chapter book, especially ones with cliffhangers at the ends of chapters, can have your child begging to stay up late to read “just one more chapter.”

And wouldn’t it be great if that book was one that you and your child could enjoy reading together? Whether it’s a graphic novel, a light and silly read, a fantasy with larger-than-life characters and situations, or a story firmly grounded in reality, the right chapter book will have parents just as hooked as their children, creating the perfect bonding experience, especially as kids head back to school.

It may be tempting to suggest an “old reliable” book to your kid. After all, they’re reliable for a reason. But while there is a long list of children’s tales that are still beloved by many — from true classics like L. Frank Baum’s The Wonderful Wizard of Oz and Lewis Carroll’s Alice’s Adventures in Wonderland to comparatively newer titles, such as the works of Roald Dahl ( Charlie and the Chocolate Factory , Matilda ) and Louis Sacher’s Sideways Stories From Wayside School — new books are released each year that seem poised to become classics in their own right, captivating and sparking the imagination of today’s kids.

If you’re feeling overwhelmed by the quantity of books currently on the market, have no idea what kids are reading these days, or are just looking to introduce your child — and yourself — to something new, Fatherly has curated a list of 15 chapter books that were released within the last 10 years, broken down into different age ranges and across different genres, that will become treasured favorites once added to your child’s home library.

Lower Elementary Reads

Eerie elementary: the school is alive by jack chabert.

Most kids have stepped foot in an elementary school, but how many have spent time in one constantly being threatened by ghosts? Hopefully not too many, but young readers will get a kick out of the Eerie Elementary series, where nearly everyone is in danger at school all the time, and it’s up to a small group of kids to save them through clever problem-solving. While The School Is Alive! is written in an age-appropriate way, it may be a little scary for kids who are prone to being fearful. You know your children best, but most early readers will enjoy having a few mild frights.

Yours Sincerely, Giraffe by Megumi Iwasa

This charming story of two unlikely pen pals, a giraffe and penguin, is a great way for children to learn that animals — or, even better yet, people — who look different and come from different parts of the world can still find a lot that they have in common. The narrative unfolds not only through narration and illustrations, but also the correspondence between the animals, making for a fun reading experience. At just over a hundred pages and fewer than 10 chapters, Yours Sincerely, Giraffe is an excellent book for elementary school-aged children and beginning readers looking to build their endurance. Also, don’t miss Megumi Iwasa’s follow-up, Dear Professor Whale , another story of two animals who develop a close long distance friendship.

Sofia Martinez: My Family Adventure by Jacqueline Jules

Jacqueline Jules’ expansive Sofia Martinez series offers excellent reads for all early elementary school-aged kids, but they will especially be embraced by those within the Latinx community. My Family Adventure, the first book in the lineup, centers on Sofia, a 7-year-old with two older sisters, who is eager to stand out and do things her way. Young children will enjoy reading about a character who is among the youngest in her family and who gets in all sorts of fun situations. Sofia’s immediate and extended family dynamics are quite beautiful to see play out, and the series also wonderfully includes common Spanish words and phrases into the narrative for authenticity, with a glossary provided to non-Spanish speakers.

Dog Man by Dav Pilkey

The creator of Captain Underpants returns with a graphic novel book series centered on Dog Man, who, as the name suggests, is part dog, part man, and all hero! He’s also the faithful companion of a not-too-bright police officer, whom Dog Man helps solve problems in creative ways. Like Dav Pilkey’s other works, readers can expect broad humor and story elements that will elicit genuine laughs from your children. This is a great story about loyalty, friendship, and the importance of outside-the-box thinking. While kids may be interested in skipping the author’s note, it’s worth taking a moment to read it with your child, as Pilkey explains how his early struggles with dyslexia ultimately lead to his career as a writer. It’s an inspiring bit of personal history that should remind kids that challenges do not have to be permanent barriers to success.

The Invention of Hugo Cabret by Brian Selznick

It’s understandable why some kids may not enjoy reading period pieces, but it’s hard to imagine any child not being immediately gripped by author and illustrator Brian Selznick’s beautifully and creatively told story of Hugo Cabret, a young orphan in 1930s Paris who has inherited his family’s interest and skill in all things mechanical. Selznick’s superpower is moving the story forward, and deepening our understanding of the characters through his illustrations. Sections of the book are told without words, just as portions of a motion picture might be played out without dialogue, making this an accessible book for readers for lower-level and/or younger readers, while still being a stylistically-interesting read that will appeal to older kids and more seasoned readers as well.

Dragon Masters: Rise of the Earth Dragon by Tracey West

This fantasy-adventure story is perfect for kids with vivid imaginations, love fantasy, and are often swept away by films like How to Train Your Dragon . While there are plenty of age-appropriate battle sequences, Rise of the Earth Dragon ’s greatest strength lies in how the book subtly teaches kids about how to communicate effectively with others and draw on the strength of your friends. Tracey West’s Dragon Masters series is a great entry point for kids who are just starting to explore chapter books, as the vocabulary and storytelling won’t pose too much of a challenge for most early readers.

Upper Elementary/Lower Middle School Reads

The one and only ivan by katherine applegate.

A gripping, first-person narrative told through the perspective of Ivan, a gorilla that has been held captive for 27 years. Ivan is blissfully unaware of his figurative shackles until he meets and befriends Ruby, a baby elephant recently taken from the wild who changes his world view. It’s easy for young readers to fall in love with the vivid, albeit contained, world that Ivan paints, and adults will enjoy the clear literary kinship between Applegate’s novel and classics like E.B. White’s Charlotte’s Web and Stuart Little . Kids who have trouble parting with the characters they love will enjoy learning that The One and Only Ivan is the first book in a series, and has been recently adapted into a film currently streaming on Disney Plus . This beautiful tale of friendship and possibilities is perfect for kids in upper elementary and early middle school grades.

The Last Last-Day-of-Summer by Lamar Giles

Summer reading can often feel like a chore, but Lamar Giles’s The Last Last-Day-of-Summer is just the book parents need to get their kids away from the screen and into a book. This quirky sci-fi adventure follows Otto and Sheed, two young Black male cousins, who are working to solve a mystery while traveling through time. The first in the Legendary Alston Boys series, this book’s exciting and funny time-bending narrative makes it the right read for kids — and parents — who enjoy Phineas and Ferb . Children without siblings, and/or kids who have strong bonds with their cousins, will also enjoy seeing Otto and Sheeds’ brotherly relationship unfold.

Space Taxi: Archie Takes Flight by Wendy Mass and Michael Brawer

Archie Morningstar is an 8-year-old boy with a talking cat who stays up past his bedtime to fight crime around the cosmos. We bet you’re intrigued, and your kids will be too! This debut in the Space Taxi series kicks off on “Take Your Kid to Work Day,” when our young hero learns that his dad drives aliens around in a taxi throughout outer space in the twilight hours. This fast paced sci-fi adventure story is filled with humor and, as you might expect from a story centered among the stars, a fair amount of educational information sprinkled throughout. This is a zippy and exciting read for second- through fourth-graders.

Dog Diaries: A Middle School Story by James Patterson

Readers who have enjoyed following the adventures of Rafe, the main character in James Patterson’s best selling Middle School series, will get a real kick out of becoming better acquainted with Junior, Rafe’s faithful canine companion. This spinoff is told through Junior’s perspective, providing a new way to see a well-established literary world. Parents should be warned that there is some animal potty humor — after all, dogs will be dogs, and as all pet owners know, butt sniffs and peeing in the house comes with the territory — but this is a fun, and often silly, story of friendship and loyalty, proving that dog’s really are humans’ best friends.

My Pet Slime by Courtney Sheinmel

Representation matters in all forms, and My Pet Slime is a fun read for all kids in upper elementary grades — but especially for those who have allergies. The first book in Courtney Sheinmel’s series centers on Piper, a young girl who wishes she could have a pet. The problem, unfortunately, is that she’s allergic to just about everything. However, thanks to a little literary magic, she ends up becoming the owner of a pet out of slime that has come to life. With bright, colorful illustrations and a wonderful premise, My Pet Slime will resonate with your kids, and even teach them a thing or two about caring for a pet in the process.

Hilo: The Boy Who Crashed to Earth by Judd Winick

This fast-paced and funny graphic adventure novel is a great fit for kids in upper elementary school grades. The Boy Who Crashed to Earth is the first in a series centering on Hilo, a seemingly normal kid who is anything but normal — and anything but what he seems to be. The vividly and boldly illustrated book captures larger-than-life moments, like Hilo, who heralds from outer space, battling large robots, with all the excitement they deserve. With a visual and narrative style that seems ready to adapt for an animated show on Nickelodeon, the stories of Hilo and his diverse and well-rounded group of friends will capture the attention of even the most reluctant of readers.

Middle School Reads

The school for good and evil by soman chainani.

Even though your middle schoolers might feel too old for fairy tales, they will love The School for Good and Evil , Soman Chainini’s fresh take on the stories your children grew up loving. Like most fantasy stories, and most fairy tales, there is quite a bit of peril, violence, and some mild romance. It’s always fun when readers think they can predict what is going to happen next in a story, only to find out that their expectations have been used against them, and The School for Good and Evil delivers on that front in spades.

Blended by Sharon M. Draper

Some parents may find it difficult to discuss race with their children, but Sharon M. Draper’s Blended does an excellent job of introducing what could be challenging topics in a compelling narrative. The story centers on Isabella, an 11-year-old biracial girl who feels caught between her divorcing parents. Throughout Blended , Isabella encounters several microaggressions — intentional and/or unintentional insults about her race and gender — that end up having an impact on her self-esteem and shifting the way she sees the world. As it’s common for children in upper elementary and middle school grades to feel out of place, Blended provides a mirror for some kids to see themselves in an ultimately uplifting piece of realistic fiction. Parents should be advised that there are some mature themes, like a shooting and police brutality, but everything is presented in an age-appropriate way that will keep your kids glued to the book to find out what happens next.

Ghost by Jason Reynolds

If your middle schooler has fallen out of love with reading, or is itching for books that feel less kiddie books, then Ghost , the first in Jason Reynolds’ four-part Track series may be perfect for them. It’s a gripping coming-of-age story of Castle Cranshaw, nicknamed “Ghost,” who seems destined to be the star of his middle school track team, if only he could outrun his trauma brought about by a toxic and abusive parent first. While Ghost is somewhat mature in its themes, and — mild spoiler alert! — its unresolved ending will frustrate some, it’s a page-turning story of friendship and overcoming, or perhaps, outrunning, one’s obstacles.