For my second-last blog post(I'll be filing my last one after getting back from the Melbourne Writers'Festival in about 10 days'time), I thought I'd look at a topic dear--and not so dear!--to the hearts of writers and readers: book reviews.

I've been on both sides of the fence, both as reviewer and reviewee, and as reader and writer, and over the years have often thought about just what makes a good book review.  I've also thought about just how important--or not!--book reviews are in terms of the career of a book. There have been books of mine, for instance, that have been really well-reviewed, in all kinds of newspapers and magazines, and yet have not done as well as others that hardly got any reviews at all. Vice versa has also been true, however.

There's no doubt a book review _can_ influence people, though they're not as crucial as theatre reviews are to the life of a play, for instance. Sympathetic publishers and publicity people often tell writers unhappy about bad reviews that the readers don't take any notice of whether a review  is good or bad, they just remember that it _was_ reviewed. To some extent that's true. The writer may feel wounded and may want to make a voodoo doll of the reviewer, but the readers haven't even noticed.

But it depends--sometimes a bad review, wittily written and devastatingly demolishing, can in fact affect the reading public's perception of a book, especially if the review is by someone they trust. It may not work in the same way if the reviewer is unknown to them. Similarly, a good, glowing review can work in the same way, especially if the reviewer is able to show just why this particular book excited them so. Too opinionated a review can work in the writer's favour, though; people get annoyed by the reviewer's thrusting themselves forward at the expense of the book. But the worst kind of review, in terms of public perception, at least as far as I've observed, is the limp kind that tells you the story at great length and recounts the blurb with only a limited opinion expressed. That's a lazy review, and it reads that way--it also reads as though the book wasn't worth bothering with, and so probably isn't worth seeking out.

So what does make a good review? The ideal one, from a writer's point of view, is the intelligent, thoughtful one that takes your book seriously, doesn't damn it for not being something it isn't trying to be, but engages with it on its own terms. It's the kind that makes you see that the reviewer understood your book--and that even if he or she doesn't end up liking it, they can still see its merits. Good criticism is worth its weight in gold, though many reviewers prefer not to review books they don't like. And though a writer will still feel stung by an unfavourable review(this is a thin-skinned business, putting your inner self on the line!), if you feel that the reviewer has truly considered your work, then you don't feel as hostile as when it's obvious they've gone in with a pre-conceived opinion and contemptuously tossed off a review, sometimes without giving any sign of having read the book itself in any way other than skimming it. (It doesn't happen often, but when it does, it's a most unpleasant experience). But a good, favourable review should have the same sense of intelligence and understanding as a good critical review--no gush or mush, but something to hook the reader and make them feel, I really must rush out and get this book. Transferring a sense of literary excitement is a real achievement, and it's wonderful when it happens.

To summarise, I think a good review should a/give an intriguing taste of the story, but not too much; b/have a definite sense of engagement and honesty and getting below the surface; c/be elegant and maybe witty, but not at the expense of author or book; d/avoid cliche, cruelty and meandering; e/foreground the writer and the book, not the reviewer; f/not accuse the author of not having written the book you think they should have written; g/have a definite opinion but not be opinionated, so that the reader doesn't feel hectored or bullied, but intrigued; h/finish clearly and succintly.

What do you think?

 

Book reviews are a contentious issue. When I am asked to review I refuse if the work is not to my liking. I can't stand crushing authors as well as editors, designers, publishers and the array of people who have put their work in that book. However I enjoy the intellectural and cretaive process of reviewing a book. So where a book engages me, even with flaws, I enjoy the challenge of reviewing.

I never retell the story. It's a boring way to review and retelling plot can never do justice to the book. It actually takes away from the book. Thougthful comments about themes, revelations, engagement, characters in a broad context, are jum off points for a review which I hope opens discussion and encourages readers to buy a book.

Susanne Gervay
www.sgervay.com

I have a love-hate relationship with reviews. I love getting good reviews, I hate getting bad reviews ...

I have no trouble with reviews that show a genuine, careful reading of a book, where the reviewer's opinions are based on actual evidence in the book being reviewed. Good, thoughtful commentary can be a joy.
However, I've found some reviewers remarkably slipshod in their reviews, with factual errors and sweeping generalisations. They don't seem accountable for what they write.

When I review, I check and double check, to make sure I get characters' names correct, for instance...

Another thing that makes me raise my eyebrows in reviews is the recent trend for panning a work for not being what the reviewer expected. I read a film review recently where the reviewer thought the film was going to be a comedy, and proceeded to tear it apart because it wasn't!

Having said all that, I read reviews, wherever I can find them. They're an inescapable part of the creative enterprise, it seems.

I used to review books. In about 15 years, I think I reviewed... it would be something like 2000 books. (Would _really_ have to work it out!)

I tried never to review a book I didn't finish, but felt it was fair to mention sometimes when I _didn't_ finish a book because it was bad [I only ever threw one book across the room at a scene so sick I couldn't believe it was printed -- AMERICAN PSYCHO -- though I understand worse followed from others].

"To summarise, I think a good review should a/give an intriguing taste of the story, but not too much; b/have a definite sense of engagement and honesty and getting below the surface; c/be elegant and maybe witty, but not at the expense of author or book; d/avoid cliche, cruelty and meandering; e/foreground the writer and the book, not the reviewer; f/not accuse the author of not having written the book you think they should have written; g/have a definite opinion but not be opinionated, so that the reader doesn't feel hectored or bullied, but intrigued; h/finish clearly and succintly."


I believe I did most of that - mention the opening and development of the story (except where even that was giving too much away), try VERY VERY HARD not to give any hint of the ending [to me: the core of the book], but mention those elements which were done well and / or kept me reading. Occasionally, the sheer prolificness of an author [esp. Piers Anthony] allowed me to review several at once, and mention some of the common themes (or even the themes done deiliberately differently]. Essentially, if I liked a book, say why, and hope to influence others to read it. Several authors were gracious enough to write and say they enjoyed my review of their book, and I absurdly preen myself that one of my quotes was used on a Pratchett book [it may still be].

I did occasional "criticism" but that is a different thing -- reviewing is observing content, criticism is investigating content. I stopped doing both when I began to see reading as a _chore_ (because I had to keep notes on my initial reactions), and have since gone back to simply enjoying books for books.

Sophie's comments on book reviews struck a cord with me. I have sometimes rushed out to order a book because of a review that sold it to me. Some of those books I found disappointing although I could see why the reviewer liked them.
With my chief interest being in books for children, I read most of the reviews in Magpies magazine and it is those reviews that really make the books interesting to me that I follow up in bookstores. Therefore the reviewer is important to me. I am unlikely to buy a book that is considered poor, by the reviewer. I mainly review picture books. I choose the book to review by browsing in the bookstore until I find a book that appeals to me instantly because of the language (including the humour) or the illustrations. My aim is to encourage parents to choose wonderful books to delight their small children and so form the basis of literacy and a love of literature.

I agree with everything Sophie has said about reviewing, and as a reviewer, I hope that I give a fair account of every book I review. Reading is of course subjective, but I still think it is my duty as a reviewer to let readers know when I find a book boring or badly-written - but also to let them know why.

One thing that Sophie didn't mention which I think also marks a good review is that a good review should, in a sense, tell a story. It should have a coherent, unifying idea threaded through it, holding the whole review together and guiding readers through the reviewer's response to the book (or books). This could be as simple as picking a common theme from a collection of books reviewed as a group, or a broader comment about the direction the reviewed book's genre is taking. What is important is that, as Sophie (and others) have said, the review should not retell the story of the book. Instead it should tell its own story.

I agree entirely that balance is the key to a good review. I speak as one reviewed rather than reviewing. A reviewer should be well informed about the book and its context. Where the reviewer expresses strong opinions (or any opinions, for that matter) about the book, negative or positive, they should be supported by sound argument, and possibly examples. Ideally the review will whet the reader's appetite to try the book, but also allow that reader to make up his or her own mind.

PS One of the best-written reviews I've ever had was Sophie's review of my first novel, Daughter of the Forest, in the now-defunct publication Coode Street Journal.

I endorse what's been said so far, but I would add that the reviewer should have a fair knowledge of the genre. I've read a lot of reviews of spec fic literature (fantasy and science ficiton, for example) where the reviewer is reviewing the book because it's by a mainstream author, or because it's a children's book, not because they like and know that genre. Reviewers like this often greet tired ideas as original because they don't know it's been done a thousand times before; or they are 'surprised' by how interesting a spec fic book can be 'in the hands of a master' when they've never bothered to read the masters in the field. This irritates me! Sure, Cormac McCarthy has written a profoundly moving book in 'The Road' but there are very few new ideas in it for someone well read in the genre, and it is annoying to see his book reviewed in isolation from other post-Holocaust novels as though he is creating a new genre.

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