More than Just a Rating discussion

... what would you suggest?

I would say let the review go for a day or so. Let your thoughts percolate and then try to write it in 1-2 days. I've done that when I've been totally blocked on writing a review for a book. It usually works like a charm.

Another thing is just write anything that comes to mind, and then go back and edit until it is coherent and says what you want to say.

That's probably a good idea. I tend to push myself to write reviews before moving on to the next book, for fear of forgetting too much or becoming totally unmotivated.

But if the book is good, it's probably memorable for a couple of days. And if it's not, well, that might be the focus of your review ("forgettable; wished it had made more of an impact").

I used to worry if I let myself go too long before writing a review. I have been fine if I go less than five days. I haven't tried to go longer yet.

Ok, good to know. Thank you!

You're welcome!

When I'm stumped I open Word and just start typing. I'll blurt out what struck me, write a bit about the plot and go back and clean things up in a day or two. If I wait too long I'll forget everything and end up with a one line review.

BarkLessWagMore wrote: "When I'm stumped I open Word and just start typing. I'll blurt out what struck me, write a bit about the plot and go back and clean things up in a day or two. If I wait too long I'll forget every..."

I would second that, but I use a draft post on my blog instead of Word, but that's more because copying and pasting into the blog from Word has its own issues. I need to write reviews right away, but sometimes the words don't flow and I'll just keep editing and changing until it feels right. Sometimes they never feel right and I just have to live with what I have.

Similar to Misfit, I write my reviews right away and I too sometimes have the word-block.
I usually resolve this by just typing out some of the stuff that happened in the book. Because I usually talk a little about what kind of book it is, not all of this gets edited out, but most does. It's just something to get me thinking and how you feel when describing certain parts can remind you of your impressions.

I agree with both Danielle and Misfit. I have to get the basics down while they are fresh in my mind but the nuances and reasons for my thoughts don't always come out smoothly so I write it, then let it percolate, then go back and edit (and edit and edit sometimes!)

I've also found it really helpful if something strikes me while I'm reading, to jot it down quickly on a post-it, stick it inside the book, add to it as I go, then I have all the makings of a review without having to mentally go back and revisit everything. It's already there :)

Using book darts (instead of post-it notes) helps me, as does start typing and hope for the best. But when I get stuck it's at a different stage in the process.

Sometimes I write a bunch of thoughts, but they don't add up to anything meaningful or helpful. I don't want to inflict incoherent ramblings on potential readers.* So maybe I need to take some of my reviews a little more seriously, actually make a rough draft, sleep on it, and try to find a focus for revision.

*Well, actually, I remember a couple of times I did. I recorded the miscellaneous thoughts, and then I said something like "the book was incoherent and rambling, much like this so-called review." Is that what's called 'snarky?'

snarky.... and lots of fun for us to giggle at, Cheryl!

I've done that too but along the lines of "this book was tedious and dull just like this review". Cheryl, what's a book dart? I keep a little notebook handy to jot down thoughts and it makes me look all professional. People actually think I'm working on something important and will leave me alone!

bookdarts.com - they slip onto the page to mark the exact line you want to remember, like a totally non-damaging paperclip or reusable highlighter - I bought the bulk pack because they are so unobtrusive I sometimes forget them and they are lost to the library...

Bookdarts are also usually available in the impulse aisle of Barnes and Nobles, but more expensive.

*Much* more expensive. You don't need the card, or the tin - just buy them in bulk, share some with your friends, you won't regret it!

So anyway, I just reviewed Peter Pan. There is no way I can say anything that hasn't been said before, and better. So, I just mentioned a couple of minor aspects that surprised me and moved on.

What else could I have considered doing? What do you all do when trying to share your opinion of a book that already has a zillion reviews, that's already at least somewhat familiar to most readers?

Thanks, I'll have to grab some of those.

you can highlight and save quotes and parts of what you read on Kindle. Then email them to others.

Cheryl, I know the story, but I don't think I've ever read it. Would it be a good one to read aloud with a grandchild? What is the youngest/oldest age a child would appreciate it? Is there lots of dialogue so that the reader could play act? Those are just a few things I might look for in a review of a book for young people.

Those are excellent questions Elizabeth for any number of children's books. I'll try to keep them in mind more often.

Btw, specifically I'd say "most people who like the adaptions would probably enjoy the book, sharing would work well with a child as young as 4, independent readers should be at least 8, no upper limit, and not enough dialogue for reader's theatre."

Well BunWat, I like your suggestion, but somehow I'm thinking you have more cajones than I.

Cheryl, this is a good time to bring up citing which specific edition the review is about. Peter Pan has been adapted in so many ways.

Of course, BunWat, thanks for clarifying in my mind. I'm not familiar with the breadth and variety of this particular work - nor many others, for that matter. Still, it seems that if any remarks in a review might pertain to a specific edition it would be good to point that out. I don't usually read material where it would matter, but I've noted the discussion on such elsewhere.

Right. But different illustrations, or audio voices, or even other considerations, can make a huge difference in how a book is appreciated. I did write an edition specific review.

I understand that translations are also combined by the policy of the librarian's manual? If so, Elizabeth's recommendation is especially relevant to experienced reviewers who want to make sure that their review is actually helpful to others.

For example, in the English book, the pirate Smee is described as 'pathetic.' The word was used in a way slightly different than I've seen before, and I never got a handle on what Barrie meant. An illustrator might be able to offer an interpretation of Smee's character. An illustrator contemporary to Barrie might interpret more accurately Barrie's intended meaning.

Also, in translation, I imagine it would be possible for 'pathetic' to mean different things to different translators. Possibly one Chinese translation would use a word that implies something more like "degraded" and another would imply "silly." (Both those meanings were possibilities as I was reading.)

And what about abridgements? Those seem to get included in combined editions, too. The Aladdin Classic, ISBN 0689866917, admits to being a simplified retelling. How can a review of that apply to the original?

Sorry the posts overlapped. I was working on my reply to BunWat while Elizabeth posted her reply to her. In other words, my post is *not* a response to Elizabeth's. Moving along...

Looks like the edition Hague illustrated is actually the abridgement, and descriptions have gotten conflated and garbled. I'm too inexperienced as a librarian to sort it out, though, even if you tell me that abridgements belong in a separate listing.

So are you saying that abridgements and adaptations should be drawn to the attention of the librarians so that they can un-combine them?

And what about translations?

BunWat wrote: "I don't know what GR policy is on abridgements, it seems like some are combined and some are not. I would prefer that they not be combined because I think if part of the text is missing, then its ..."

Usually, the policy is not to combine adaptations but is to combine abridged works, but I agree I'd rather they not be combined with full versions of books.

tx for the information, folks :)

I was surfing a bit in the 'external links' and found "Consider the Author's Purpose." So, that's something I could use when I don't know what to say about a book. I could start by saying, for example, "This was meant to be a satire of the treatment of those suffering hunger in Ireland. But even if you don't know that, the black humor makes the point clearly." With that kind of an introduction to my review, I could probably go on well enough to talk about the voice, the method, etc.

I say, take a shower. That always helps me. Just let your mind wander and think of the good and bad aspects of the book.

Allisa, I do that too! Or lying in bed, almost asleep. I draft the most brilliant, profound, indepth analyses of tons of books that way. Of course, then I can't remember what I was going to say when I get up. :)

LOL, Tammy.

Sometimes, I tell my dog about the book. I talk to my dogs a lot for inspiration. My corgis really enjoy books, I think. Or they're waiting for me to say "cookie". Can't tell.

lol - I love these ideas - I think I'll create an imaginary shower buddy to talk about books with... or would that be too distracting....

It would depend what your shower buddy looked like, Cheryl. ;D

I think I should try that "keep a notebook by the bed" trick.

Me too! I usually have dreams or something and like to write things down. I've got such a bad memory it's not good to keep things in my head. I don't know how other people do it!

If you have a physical book then take a moment to look at it. If all is lost you can talk about how crappy the binding was and how the cover art had nothing to do with the story.

lol! I'm laughing, but this is actually a worthwhile suggestion, Sarah! And, in some cases, it is totally relevant. For example, for Peter Pan, I may not feel I can contribute to the millions of words already avl. to the story, but I can certainly say something about the edition I read which might help a potential buyer choose an edition.

Definitely. I've reviews physical books before and was like, this book is great!
In the next read through it falls apart and I'm like !@#! I spent money on this!?
Books should last more than one read through!

And illustrations, and weight of paper, and contrast of paper and ink, etc. Yup!

^^

Reviving the thread, as I have developed another idea. I've been reading books about how to read, or how to teach the reading of, *L*iterature. I've not enjoyed them much, partly because the authors seem to think their way is The Way. But viewed from the perspective of a reviewer, rather than as a reader, this flaw can be seen as a strength. This is because each academician who writes this kind of book does have some clear ideas they're trying to promote.

What I mean to say is, I read a book like How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines or Booktalk: Occasional Writing On Literature And Children and I don't like it much, as it doesn't help me much in my quest to find a way to enjoy & appreciate the classics. But it does help me understand how some people who love books view them - what they see in them. And therefore in a review I can explore some of those aspects of the book.

For example, Aidan Chambers, in Booktalk, respects that sometimes children are 'bored' by books. He explains that when a reader feels bored, there could very will be intra-textual reasons for this. The author may have, for example, put a 'boring' bit in an otherwise jolly or exciting story to jar the reader out of complacency, slow her down, make her re-read the previous bit and then the 'boring' bit again, and then discover the actual depth and/or symbolism of the 'boring'/ jarring bit.

I can't see a legitimate reason to deliberately add a boring part to ones book. Boredom is the kiss of death.

Ok, I obviously didn't make myself clear.

What Chambers is pointing out is that the bit may *seem* boring. But if the reader slows down and thinks about why the pacing changed, or why the story is going away from the hero to a secondary character, or why the garden is being described in such detail, the reader will be able to explore the ideas (themes) of the story in more depth, or realize that the characters are richer than they seemed, or see metaphors in the language of the flowers.

Does that make any sense? If not, blame me, not Chambers.

You were clear, Cheryl. I don't consider that an advantage in a story. Nothing wrong with having some character reflection and changes in pace. However, that should never translate to boring.

But 'boring' is subjective. A book you and I might both be entranced by could *seem* boring to a less-experienced reader, for example. I'd be willing to bet the percentage of books, and bits of books, that are *intentionally* meant to be objectively boring, is miniscule.

Chambers isn't saying it's an advantage. He's saying - if a reader says a book, or a bit of a book, is 'boring,' the teacher should probe, to see if it's actually that the reader didn't understand what was actually happening. (And we auto-didacts can be both teacher and reader, in situations like that.)

You and I both enjoyed Jane Eyre. Other members have actually called it boring. I am confident that, if they wanted to, they could read your marvelously illuminating review, and realize that the novel is actually *not* boring.

I agree that boring is subjective, but as a writer, I think I'd be very careful about allowing my reader to get bored with my story. I think that writers can take themselves too seriously and forget that when they write they have an audience that they have to keep engaged. There's always the chance that you will lose your audience if you go off on tangents. All kinds of writing consider, I don't think that's necessarily a matter of being a seasoned reader per se, so much as what kind of writing works for you.

Thanks for reading my review.

Just so you know, I don't really disagree with you. We certainly agree on the takeaway, that different readers have different kinds of writing that works for them.

It's an interesting discussion, Cheryl. Thanks for posting about the books.