how to write a new york times style book review

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10 Things You Didn’t Know About How the NY Times Book Review Works

Pamela paul on what goes into those pesky year-end lists.

Pamela Paul, the editor of The New York Times Book Review , hopped on reddit yesterday afternoon to answer questions about the Book Review and the recently published list of their editors’ picks for the 10 best books of the year . In addition to recommending a number of great books and writers (Nora Ephron, Christopher Hitchens, George Orwell, George Eliot, and more), dubbing Colson Whitehead one of the greatest novelists of our time, and suggesting that, of the Times ‘s Top 10, a Trump supporter might most enjoy The North Water , Paul shed a little light on how things work at the Book Review (a question that some of us have been asking ourselves lately!). Below, find a few things you may or may not have known about how books are assigned, reviewed, and considered for the year-end lists of the paper of record.

Way more books come out every year than you think.

“The Book Review at The Times reviews about 1% of the books that come out in any given year.”

Planning for the Year-End Notable Books List starts in January.

“Basically, the entire year is a winnowing process that culminates in the 10 Best Books. We start thinking about it in January. As we see books that we think are true standouts, we put copies aside so that all editors can read through contenders throughout the year, and weigh in. Books come on and off that list of contenders, and in the course of the year, we check in on it periodically and update it, depending on how people respond to individual titles. Toward the end of the year, around October, the process becomes more intense. I would describe the overall system as democratic, with a decisive wielding of the autocratic sword at the end. Ultimately, hard decisions have to be made, and not every editor at the Book Review will end up with all his or her favorites on the final list, but will hopefully have at least one book he or she lobbied hard for make the final cut.”

“Each week, we go through the previous issue and denote certain books as ‘Editor’s Choices’—these are the 9 books we especially like from that issue. At the end of the year, we pull together all of our Editor’s Choices and narrow them down to 100 Notable Books of the Year—50 fiction and 50 nonfiction. From those, we pick the 10 Best.”

The Book Review editors are probably hanging out right now.

“At The New York Times Book Review , we have no staff critics—we are all editors and we sit together and we talk all the time. I like to get up and walk around and have actual-human-contact with people. Our staff critics at The Times mostly work from home, though they do come in and we do talk to them, often on the phone. We are all people who like to talk about books, and having conversations around them—what books are you seeing, what looks good, what are you hearing, what do you like—are things we could talk about all day. Except we also have to read. And write. And edit.

Book reviews are generally a top-down process.

“Here at the Book Review , the editors select which books we want reviewed, and then we find reviewers to write about them. We review all genres, though our tastes reflect the tastes of our editors and those of readers of The New York Times . The staff critics for The Times choose which books they want to review themselves.”

“Each editor here handles a number of titles in a given week. They will come up with a list of possible reviewers and then bring it to my deputy and me. We then talk them over and sometimes add our own names to the list. Then we establish the order in which we approach people with the assignment. Sometimes, the first person on our list is too busy or has a conflict of interest (knows the author, shares an agent, blurbed an earlier book of theirs, etc.) and is disqualified, so we move to the next person on the list. In terms of finding reviewers, we are always on the lookout for smart new voices. Sometimes we find these among new authors, sometimes writers in other publications, sometimes people reach out to us directly with clips and a description of the kinds of books they’re interested in reviewing and their areas of expertise.”

There is lots of mail (you probably actually knew this).

“We have our mail opened several times a day. On most days, we have three large carts piled high with boxes and envelopes, plus 10-20 Postal Boxes filled to the top. So picture that!

There is a (loose) definition for “Best Books.”

“I like to think [the ten best books of the year] have little in common other than a high standard of ambition and excellence. By “Best Books,” we mean books that are extremely well executed in every sense: the scope of the work, originality of thought, writing on a sentence level, storytelling. It’s not necessarily about which books have the most “important” message or a position we agree with. It’s about books we think will stand the test of time, and that people will want to read 5, 10, 20 years from now.”

End of the year lists can have nothing to do with how books were reviewed.

“It is often the case that books we like don’t necessarily get hugely favorable notice in the Book Review . One recent case: Anthony Doerr’s All the Light We Cannot See got a negative review in the Book Review . But we still named it one of the 10 Best Books of the year at the time. Our 10 Best is when we editors get to exert our own opinions, no matter what our reviewers say.”

The best book reviews are emotional.

“I think the biggest mistake reviewers make is conflating a book review with a book report. Generally speaking, readers don’t want to know what happens in a book, and they certainly don’t want (nor should they get) plot spoilers. I hate that personally as a reader! Let me discover for myself. What I’m more interested in a review is seeing a writer engage with a book—intellectually and often, emotionally. I want some depth and context: What else has been written on the subject? What has this writer done previously? What kind of research did the writer do? I want to know what the writing is like—give me some examples, quote from the book, describe the style. I want to know what the writer does well and not so well. I want judgment. I want to know if a book is well done and if it’s worth my time. Is this a book I’ll actually want to read, or just read about? Hopefully, at least ONE of those things.”

Don DeLillo might have been in the Top 10 this year.

“ Zero K was one of the finalists! Almost made it.”

When it comes to reading, Pamela Paul is just like us.

“One year, when I didn’t have a job and I didn’t have a partner and I didn’t have kids and before the Internet, I read 76 books for fun, including “Moby-Dick.” That hasn’t happened since. I try to read a book a week, but big books sure do slow you down. As does life. The big sacrifice is TV; I never get to watch TV.”

“I’ve always wanted to read Dumas—one of those authors I’ve never actually gotten around to. But I also think life is too short to finish a bad book, unless you’re really getting something out of it.”

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This is Writing

How to Write a Book Review

By Kara Hutchings

A great book review is one that helps a reader decide whether they will pick up the book and read it. This article will provide guidance on how to write a book review. It will answer the question ‘what is a book review’, help you choose which book to review and explore the key elements that form a successful review.

Whether you’re a seasoned professional, student, or brand new to book reviewing, here’s our strategies and suggestions for writing an effective book review.

What you’ll learn in this article

The purpose of this article is to teach you how to write a book review. By reading this article you will learn the following: 

What is a book review?

• How to choose a book to review
• How to critically analyse a book
• The key elements of a book review
• Rating a book
• FAQs about book reviewing

Before you even pick up the book, it’s important to understand exactly what a book review is. 

A book review describes, analyzes and evaluates a book based on elements including writing style, plot, characters, significance, impact and fitness for purpose. The criteria for evaluating a book are explored in more detail below.

The most important part of a book review is the analysis and evaluation. A book review requires a critical evaluation meaning you must form an opinion about the book and support your opinion with evidence. Evidence from the book can include direct quotes, writing techniques, themes and character dialogue.

To ensure you are critically evaluating a book, it’s important to avoid falling into the trap of simply describing the plot and characters. Your opinion must be clearly stated, whether it’s positive or negative. The following is an example of a simple description, without any analysis or evaluation:

“The unnamed narrator, a woman writer, lives in Vienna with a man named Malina who works at a military museum, and she is conducting an affair with a Hungarian man named Ivan, who lives nearby and has two young children.” [1]

Book reviews can vary in tone and style, depending on the author of the review (i.e. whether you’re an academic writing a scholarly review, a journalist, or an amateur reviewer, etc) and the book you are reviewing. 

However, there are key elements that should always be addressed in order to create an effective book review. These include:

• a summary of the book,
• a critical assessment, and;
• a conclusion, including whether or not you would recommend the book to your audience.

You can read more about the key elements of a book review below. 

Choosing a book to review

The first and probably most important step of writing a book review is choosing the book you would like to review.

If you’re considering writing a book review then you most likely already have a book in mind. But if not, a good place to start is by thinking about your favourite author, or genre, and finding books in this area.

Don’t be afraid to choose a book from an author you love. Some people can feel intimidated by well-respected or famous authors and hence avoid being overly critical of them. But it’s important to choose a book that you’re actually interested in. 

Reviewing a book you don’t really want to read will feel too much like a school project.

If you’re truly interested in the book before you, you’ll find the time to properly research, carefully read, and form ideas about the book – all elements of a good book review.

If you’re hoping to get your review published online, it’s also best to select a recently published book. A newer book is less likely to have already been reviewed by another book reviewer and therefore more likely to get published.

Writing the book review

Now the fun part begins. Getting your opinion out there for the world to see. But there’s much more to a book review than simply writing. A sound structure, supported by thorough research, will ensure your book review gets the credibility it deserves.

Here’s how to get started:

Before you start writing

Before you jump into writing, it’s important that you do your research. It’s easy to know whether you do or don’t like a book. But why you have that opinion needs to be supported by research and evidence (i.e. the elements that inform your critical evaluation ).

• Download sample book reviews

A great place to start, particularly if this is your very first book review, is to read other reviews. Most of the reviews you read will follow a similar structure and touch on similar points, so use others as a guide for how you should be setting out your work. If you come across a book review that you find really engaging, ask yourself why it was so impactful and try to reproduce those elements in your own work. Because if the review was persuasive enough to encourage (or dissuade) you to read the book, it’s a successful book review.

You can browse professional book reviews from writers all around the world on websites including:

• The Telegraph (UK) website
• The New York Times Sunday Book Review
• The New York Review of Books
• National Library of Australia website
• The Australian newspaper website
• Kirkus Book Reviews
• This Is Writing

As you’re reading through the book reviews make sure to take notes on factors that will form the basis of your review

• What are the common elements of the book reviews you have read? 
• What do you like about the reviews? 
• Do you prefer reviews with controversial opinions? 
• Do you like when a serious tone is used, or do you prefer a more casual review? 
• What could you do better? 

2. Do your research

A good book review is one supported by thorough research.

Understanding the context in which a novel was written will help you form an opinion later when you start writing.

It’s difficult to form an argument about the author’s choice of language, for example, if you don’t understand the time period in which the novel was composed. If you’re reading a vampire mystery book, how can you evaluate the structure of the storyline if you don’t understand the elements of that genre?

There are a number of complex and competing elements that will influence the choices an author has made, so it’s crucial to understand the reasons behind their choices in order to form an opinion about things like style, tone, character development, plot and language. Here is a great example of a book review which considers the historical context in which the novel was composed.

To help you with your contextual research, use the below template as a starting point: 

In addition to the above criteria, you should also be reading actively and critically. As you’re reading, ask yourself questions like;

• how did the author structure their argument and how did they support it?
• has the book helped you understand the topic?
• And most importantly, would you recommend this book to others? 

We will explore how to form an opinion and making recommendations more in-depth below.

How long should a book review be?

The length of your book review depends on why you are writing the review and who it is for. Is it simply to provide your opinion to your social media followers, or are you trying to get published online? Is it for an academic purpose? Perhaps it is a university assignment.

Generally, book reviews are around 500 words. However, professional and academic book reviews can be thousands of words in length. If you’re interested in writing a professional book review, check out example book reviews on The Guardian online to get an idea of length. Ultimately, the more words you use, the more thorough your analysis can be. But always be conscious of keeping your writing concise and to the point.

If you are opting for a longer review (around the 1,000 word mark), you can break up long paragraphs of text by using headings and sub-headings. This helps make the content more digestible for the reader.

The elements of a book review

Now that you’ve finished reading the book, made extensive notes, and completed your research, it’s time to begin writing.

Any writer would know that a high-quality piece of writing is well structured. Your arguments should be developed in a logical manner, beginning with the context of the novel and a general overview of the plot, followed by an exploration of the author’s argument, your own opinions about the book, and ending with a conclusion – what rating do you give the book and would you recommend it to others.

The three key elements that you should include in your book review are:

• A summary of the content – including the plot, context, author’s argument, etc. (i.e. all the information you gathered in your initial research).
• A critical assessment of the book – your reaction to the book and whether or not it was effective in meeting its purpose.
• A recommendation – whether or not the audience you are writing for would appreciate the book.

Here’s a breakdown of each point:

1. Introduction

Your book review should begin with a captivating introduction to draw your reader in and make them want to continue reading. Generally, it’ll be around one sentence in length and give a quick overview of the main theme of the book. Here are two examples of short and snappy introductions that hook the reader in:

 “For every child kidnapped, another must be taken. Otherwise The Chain will be broken.” [2]

“Throughout college, Evvie, Maggie, and Topher were the best of friends. But time and the mistakes that come with simply being human may strain their love to the breaking point.” [3]

While trying to keep your introduction short, it’s important to also be concise. A complicated introduction can turn your reader away before they’ve even gotten to your analysis.

By trying to contain the introduction to a single, lengthy sentence , the below opening line is complicated and overloaded with commas, making it difficult to read:

The English nature writer Robert Macfarlane’s new book, “Underland: A Deep Time Journey,” has a title that evokes a burrowing theme park ride or an IMAX movie, and indeed, like Alice in Wonderland or Orpheus in the underworld, down we go. [4]

2. Describe the plot

Your introduction should lead into a description of the plot. In a few sentences, Include a description of the book’s setting, the main characters, and a loose summary of the plot. An outline of the storyline will help your audience decide whether or not they’re interested in reading the book.

However, make sure your introduction doesn’t give everything away. There should be just enough details to make the reader want to pick up the book, without giving away the whole story.

Not only do you want to touch on the plot of the book in your introduction, but you will also need to set the context. What is the historical, political, and/or social context in which the novel was written? What is the author’s background? What genre is the book written in? These questions set the scene for your critical assessment. Whether the author was successful in meeting their intended purpose will be informed by the reasons behind writing the novel.

3. Avoid spoilers

It almost goes without saying. Don’t spoil the book!

While your readers will want to know what the book is about, don’t rob them of experiencing genuine emotional reactions to the shocks and plot twists of the book. For example, if the main character dies at the end of the book, keep those details to yourself. There’ll be no point in your audience reading the book if they already know what happens.

It can be really tempting to reveal spoilers in your book review, because more often than not, the big shocks of the book are those that you want to talk about. When forming an opinion of the book’s effectiveness, your emotional reaction to surprising details are likely to be the evidence you need to prove the book’s effectiveness.

But it is possible to review a book without completely revealing the details if you choose your words carefully. After all, the purpose of your book review is to encourage others (or discourage if you didn’t enjoy the book) to read the book, and no-one is going to want to read the book if you’ve already told them the ending.

For example, ‘I Let You Go’ by Clare Mackintosh is renowned for having two ‘absolute stunner’ plot twist , however, this review on The New York Times only alludes to the twist enough to entice the reader to want to pick up the book, without completely  giving it away:

“The big plot twist in Clare Mackintosh’s first novel, I LET YOU GO, is genuinely shocking. The jolts that follow, right up until the last page, are pretty good too. And if you’re the kind of genre geek who jumps back to the ­beginning of a book to work out how you’ve been hoodwinked, you’ll find that the author has played fair and square.”[5]

4. Form an opinion

By far the most important part of writing a book review is forming an opinion. As we touched on earlier, your critical evaluation is what takes your writing from a simple summary of a book, to a review.

Keep in mind your critique doesn’t have to be all negative or all praise. A well-balanced book review would explore both sides so that the reader of your review gets the whole picture. A one-sided book review can give your audience the impression that your critique is an unfair assessment. Remember, a bad book takes just as long to write as a good one and every author deserves fair treatment. Even if you hated the book, you’ll be able to find some positives. And ultimately, make sure you are reviewing the book you read, not the book you wished the author had written.

Think back to the list you wrote when you were first reading the book. Here’s where those considerations come into play – the author’s background, the genre, the purpose of the book and the main thesis of the work are all elements that inform your opinion. Whether you did or did not enjoy the book can be supported by opinions based on factors such as whether the author effectively subverted traditional elements of the genre, or whether the author’s thesis didn’t challenge your way of thinking.

This review of the novel ‘Malina’ provides an example of the reviewer evaluating how the author’s academic experience influences her language style and the overall readability of the novel:

“Taken in bites, Bachmann’s prose is often lucid and powerful, enlivened by her poetic gifts. At length, she can be tough chewing. She wrote a doctoral dissertation on Heidegger and was a devoted reader of Wittgenstein’s “Tractatus Logico-Philosophicus,” though she’s nowhere near that tough. For every aphoristic dart she throws at the human condition (“the world is sick and doesn’t want a healthy force to prevail”), there is a sentence or meaning that remains tightly knotted, and a general lack of clear orientation prevails. Whatever verifiable facts about the plot and characters might exist beneath the novel’s psychological static, you can imagine Bachmann insisting, are none of your business.”[6]

Your book review will include multiple different arguments, so aim to break them down into separate paragraphs that each deal with individual aspects. And each paragraph should contain an evaluation with an example from the book to support it.

The following criteria can be used to help you form an evaluation: 

• objectivity
• thoroughness
• usefulness for intended purpose.

5. Include your favourite quotes

When making an argument you need examples to support your opinion. The easiest way to do this is by directly quoting the book.

For example, one of the key themes of Harper Lee’s To Kill a Mockingbird , is prejudice and the following quote directly illustrates this theme:

“You never really understand a person until you consider things from his point of view … Until you climb inside of his skin and walk around in it.” [7]

The main thing to consider when quoting the book is to keep the quotes short. A lengthy quote will take up too many words and potentially overpower your review. A short quote will help to get your point across while still letting your work shine through. The purpose of including quotes is to simply bring your argument to light.

6. Provide recommendations to your audience

Would you recommend the book to your audience?

In order to recommend the book, you need to determine who your audience is. Who are you writing the book review for? Not every book is suited to every reader. For example, a book written under the magical realism genre, wouldn’t be recommended to an audience that enjoy non-fiction.

This goes back to the point above, it’s important to remember that your individual tastes don’t necessarily reflect those of your readers. Even if you didn’t enjoy the book, there may be readers out there who it would appeal to so make sure you consider diverse tastes when making a book recommendation.

If you’re reviewing children, teenage or young adult books, it’s a good idea to give an ‘age-appropriateness’ recommendation. It can be tricky for parents when buying books for their children to know whether the book would be appropriate or not, so do the hard work for them. Check out Common Sense Media for ideas on how to give an age-appropriateness rating – this site rates books by age and learning value.

A captivating way to make a recommendation is to also compare the book to other similar ones. If the book you are reviewing has similar themes, characters, writing style, or is even composed by the same author, you will be able to make a recommendation based on how it compares to other work. You might write something along the lines of ‘If loved XXX book, you will love this one’. If your audience has already read the other book, they will be able to get a good idea of whether they will also like your book based on this comparison.

7. Rate the book

You might wonder if you’ve already expressed your opinion about the book throughout your review, why give it a rating as well?

Attaching a rating to your book review is a great way to give your audience an immediate sense of how you felt about the book. Before they even begin reading your review, they already know whether you’re recommending it or not.

The simplest way to rate a book is using a star rating. Goodreads uses a 5-star book rating system.

You can see the most popular books published in 2018 here based on the star rating. If you intend for your book review to be published on a website such as this, you will need to use the rating system provided by the site.

But if you’re self-publishing the review, you can choose whatever rating system that works best for you. You could break your rating system down into categories – maybe the book deserves four stars out of five for writing style, but only two stars for the plot development. It’s up to you.

8. Write a conclusion

The conclusion to your book review is the last thing your audience will read so you want to make sure it leaves them with a lasting impression. A reader has most likely come to your review to decide whether they will or won’t read the book, so if you want them to read the book, make it clear.

Your conclusion should follow general conclusion writing guidelines. The University of Melbourne suggests a conclusion should :

• Summaries the key points made in reaching your position; and
• Make a final comment on the topic.

While summarising the key points you should aim to balance the strengths and weakness of the book. What did the author do well? What could be improved upon? And remember, no new information should be included in the conclusion. Any interesting points you want to make about the book should be included in the body of your text.

This review of Laura Lippman’s ‘Lady in the Lake’ wraps up the book in the following short and sweet sentence:

The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom and the city it covers. [8]

9. Bibliographical details

A professional book review will also include a bibliographic citation of the book. Check out some examples on Kirkus Reviews to get an idea on how you can format your citation.

Here are the bibliographic details you should include in your review:

• Title: Clockwork Angel (The Infernal Devices)
• Author: Cassandra Clare
• Place of Publication: USA
• Date of Publication: Margaret K. McElderry Books
• Date of publication edition: August 31, 2010
• Number of pages: 496
• ISBN number*: 978-1416975861

*ISBN or ‘International Standard Book Number’ is a unique identifier for books . It is used by publishers, booksellers, libraries, internet retailers and other suppliers for ordering, listing, sales records and stock control purposes. It identifies the registrant as well as the title, edition and format of the book.

10. Editing

After you’ve completed the first draft of your book review, it’s time to start the editing process. Step away from your work for at least an hour to give your brain a rest. When you come back to review your work with fresh eyes, look out for the following:

• Is the paper well-organised?
• Are the transitions between paragraphs smooth?
• Have you backed up each point with evidence?
• Is there an introduction and a conclusion?
• Have you cited all your references?

Take the time to rewrite your work and make any changes necessary to improve it.

There are also some great tools that can assist in editing such as the Hemingway App . Copy and paste your work into the app and it will give you a readability score as well as highlight sentences that are too long and complicated.

Another useful tool is Grammarly . Grammarly is a handy application that detects spelling, punctuation, grammar, word choice, plagiarism and style, and suggests corrections. It’s also available as an app for both iOS and Android.

11. Proofread

The best way to undermine your credibility as a book reviewer is with spelling mistakes. To critique the work of another writer with a piece of writing that is littered with typos and incorrect punctuation tells your audience you don’t know what you’re talking about.

Before publishing your work, read over it a few times to catch any spelling or grammar errors, as well as double-checking your facts – including double-checking that the quotes and character names you referenced from the book are accurate, as well as the facts you’ve included about the author’s background.

If you’re not feeling confident in your proofreading skills, test yourself by reading this article from The Writing Centre . It contains seven errors (two punctuation errors, two grammatical errors and three spelling errors). See if you can spot them, then refer to this handout with the errors marked in red .

It might even be worthwhile also having another person proofread your work. Once you’ve read over your own work a few times it can be easy to miss things, so a fresh set of eyes could be useful in picking up any errors you haven’t. 

12. Have fun!

While it might seem like there are a lot of rules that go into writing a high-quality book review, the most important thing is that you enjoy what you’re doing! Your passion for the book you are reviewing will shine through in your writing.

If you have been book reviewing for some time and begin to feel burned out, take a break and remind yourself why you started writing book reviews in the first place – to share your love of reading with your fellow readers all over the world.

What is the objective of a book review?

The main purpose of a book review is to help a reader device whether to read the book themselves. For this reason, a book review should include a brief summary of the book’s content, characters and setting, as well as a critical evaluation on the success or effectiveness of the book.

Book reviews save other readers time and offer them a chance to connect with the book before they even pick it up. They help validate the worthiness of a book – if someone else enjoyed the book, I might enjoy it too .

Book reviews are also very important to authors . They give a book greater visibility and a higher chance of being found by readers whether it’s online, in bookstores, among book clubs or blogging communities. A book review is a great opportunity for an author to expand their reach, as well as a platform for other books written in a similar style or from the same genre to be found.

Can you use ‘I’ in a book review?

Whether or not you use first person to write your book review will ultimately come down to why you are writing the review.

An academic piece of writing, for example, would not use first person. So if you’re writing your review for a school, university/college assignment or to be published in an academic journal or magazine (for example, the Oxford Academic Journal of Communication ), avoid using first person.

If you’re writing the review for your personal blog or website, or writing customer reviews online, then it’s okay to be a little more casual. Depending on your writing style and the purpose of your website, first-person can make your review more personal and relatable for your audience. It’s easier to give an opinion about how you felt about a book when writing in the first person, for example – ‘I loved the way the author used XYZ to ABC’.

Where can I get my book review published?

If you’re looking to get your book review published, here’s a step-by-step guide on how to:

• Identify where you want your book review to be published

There are a number of journals devoted to book reviews if you’re interested in having your book review published in a scholarly journal like the Oxford Academic Journal of Communication , Cambridge University’s Historical Journal , or the Australian Book Review .

If you’re not interested in going down the academic route, there are a host of websites where you can publish your book review, including This is Writing. A quick Google search will help you find websites where you could potentially have your review published, or check out our list of ‘Book Blogs and Review Websites for Book Lovers ’.

Otherwise, you can self-publish your book review on your own website or blog.

• Reach out to the editor Once you’ve decided where you’d like your book review to be published, get in contact with the journal or website. Your email to the editor or website owner should include a brief introduction about yourself, the book you intend on reviewing and why you’d like to write a review for the publication.It’s important to do your homework before contacting the editor or website owner. If you have a book in mind, do a quick search of the journal or website to make sure the book hasn’t already been reviewed by someone else. It’s recommended to select a book that has been published in the last two years, as anything earlier has likely already been claimed by another reviewer.And above all else, be confident! Even if you’re brand new to book reviewing, it’s perfectly alright to reach out to editors to ask them to publish your work. Conta c t us at This is Writing to have your book review featured.
• Read the book and write the review Once the editor or website owner has accepted your proposal to write a review for their publication, it’s time to get started. Refer to our recommendations on how to structure your book review above. If you’re writing for a journal you might even be lucky enough to be sent a free copy of the book.
• Submit and wait After you’ve completed the final proofread of your work it’s time to submit it to the editor or website owner. Be sure to read the journal or website submission guidelines thoroughly. Each publisher will have unique submission guidelines relating to criteria such as spelling and grammar, and offensive content, etc. Most book review journals and websites will receive a large number of submissions, so if yours doesn’t meet the guidelines it’s not likely to be considered for publishing.If you haven’t heard back after a month, it’s worthwhile following up. Send a second email asking the editor or website owner if they’ve received your submission and tell them you’re looking forward to hearing from them. The most important thing is to keep it polite and respectful. And make sure to check the website’s submission guidelines first to see if there’s a general timeline for feedback before you start harassing them after only a few days!

Can I get paid to write book reviews?

Yes. There are a number of websites that will pay writers to create book reviews for their website.

If you’re just getting started and looking for a bit of unpaid book reviewing experience, a great place to start is by writing customer reviews on websites that sell books, such as Amazon . These websites allow customers to give a star rating for the product as well as leave a comment. On Amazon, others can then mark your review as ‘helpful’ so you’ll be able to get a good idea on how people feel about your reviewing. Interacting with other book lovers and reviewers can also help improve your own reviewing style and build an audience.

You can also share your book reviews via your social media platforms, or start your own website or blog to publish your book reviews. Check out these tips on how to create a website from the Queensland Government.

The book I have chosen to review is not the first book of the series, does it matter?

No. As mentioned earlier in this article , if you want your book review to be published, you should be aiming to review a recently released book. The newer the book, the less likely it has already been reviewed by another review. If the first book of a series was released five years ago, and the second book released this year, review the second book. Chances are, the first book has already been reviewed to death. Reviewing book two is a chance to create brand new content for your audience.

Despite this, it’s still worthwhile touching on the storyline of the novels that have come before your book in the series as this provides context on the effectiveness of the book. Was book two a good sequel to the first book? What was different? What was the same? If the reader of your review has already read the first book, a comparison between the two will help them decide if they want to read the next book of the series.

[1] John Williams. “ A Postwar Love Triangle in Which One Partner May Be Pure Fantasy ”. The New York Times . July 24, 2019. Viewed 25 July 2019.

[2] “ The Chain ”. Kirkus Review. Viewed 29 July 2019.

[3] “ The Friends We Keep ”. Kirkus Review . Viewed 29 July 2019.

[4] Dwight Garner. “ ‘Underland’ Offers Excellent Nature Writing From Deep, Dark Places ”. The New York Times . Viewed 29 July 2019,

[5] Clare Mackintosh. “ Clare Mackintosh’s ‘I Let You Go’, and More ”. The New York Times . Viewed 25 July 2019.

[6] John Williams. “ A Postwar Love Triangle in Which One Partner May Be Pure Fantasy ”. The New York Times . July 24, 2019. Viewed 25 July 2019.

[7] Harper Lee. “To Kill a Mockingbird”. J. B. Lippincott & Co . Chapter 3.

[8] “ Lady in the Lake ”. Kirkus Review . Viewed 27 July 2019.

Scott Mullins

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Writing a Book Review

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Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

Book reviews typically evaluate recently-written works. They offer a brief description of the text’s key points and often provide a short appraisal of the strengths and weaknesses of the work.

Readers sometimes confuse book reviews with book reports, but the two are not identical. Book reports commonly describe what happens in a work; their focus is primarily on giving an account of the major plot, characters, and/or main idea of the work. Most often, book reports are a K-12 assignment and range from 250 to 500 words. If you are looking to write a book report, please see the OWL resource, Writing a Book Report.

By contrast, book reviews are most often a college assignment, but they also appear in many professional works: magazines, newspapers, and academic journals. They typically range from 500-750 words, but may be longer or shorter. A book review gives readers a sneak peek at what a book is like, whether or not the reviewer enjoyed it, and details on purchasing the book.

Before You Read

Before you begin to read, consider the elements you will need to included in your review. The following items may help:

• Author: Who is the author? What else has s/he written? Has this author won any awards? What is the author’s typical style?
• Genre: What type of book is this: fiction, nonfiction, romance, poetry, youth fiction, etc.? Who is the intended audience for this work? What is the purpose of the work?
• Title: Where does the title fit in? How is it applied in the work? Does it adequately encapsulate the message of the text? Is it interesting? Uninteresting?
• Preface/Introduction/Table of Contents: Does the author provide any revealing information about the text in the preface/introduction? Does a “guest author” provide the introduction? What judgments or preconceptions do the author and/or “guest author” provide? How is the book arranged: sections, chapters?
• Book Jacket/Cover/Printing: Book jackets are like mini-reviews. Does the book jacket provide any interesting details or spark your interest in some way? Are there pictures, maps, or graphs? Do the binding, page cut, or typescript contribute or take away from the work?

As You Read

As you read, determine how you will structure the summary portion or background structure of your review. Be ready to take notes on the book’s key points, characters, and/or themes.

• Characters: Are there characters in the work? Who are the principal characters? How do they affect the story? Do you empathize with them?
• Themes/Motifs/Style: What themes or motifs stand out? How do they contribute to the work? Are they effective or not? How would you describe this author’s particular style? Is it accessible to all readers or just some?
• Argument: How is the work’s argument set up? What support does the author give for her/findings? Does the work fulfill its purpose/support its argument?
• Key Ideas: What is the main idea of the work? What makes it good, different, or groundbreaking?
• Quotes: What quotes stand out? How can you demonstrate the author’s talent or the feel of the book through a quote?

When You Are Ready to Write

Begin with a short summary or background of the work, but do not give too much away. Many reviews limit themselves only to the first couple of chapters or lead the reader up to the rising action of the work. Reviewers of nonfiction texts will provide the basic idea of the book’s argument without too much detailed.

The final portion of your review will detail your opinion of the work. When you are ready to begin your review, consider the following:

• Establish a Background, Remember your Audience: Remember that your audience has not read the work; with this in mind, be sure to introduce characters and principles carefully and deliberately. What kind of summary can you provide of the main points or main characters that will help your readers gauge their interest? Does the author’s text adequately reach the intended audience? Will some readers be lost or find the text too easy?
• Minor principles/characters: Deal only with the most pressing issues in the book. You will not be able to cover every character or idea. What principles/characters did you agree or disagree with? What other things might the author have researched or considered?
• Organize: The purpose of the review is to critically evaluate the text, not just inform the readers about it. Leave plenty room for your evaluation by ensuring that your summary is brief. Determine what kind of balance to strike between your summary information and your evaluation. If you are writing your review for a class, ask your instructor. Often the ratio is half and half.
• Your Evaluation: Choose one or a few points to discuss about the book. What worked well for you? How does this work compare with others by the same author or other books in the same genre? What major themes, motifs, or terms does the book introduce, and how effective are they? Did the book appeal to you on an emotional or logical way?
• Publisher/Price: Most book reviews include the publisher and price of the book at the end of the article. Some reviews also include the year published and ISBN.

When making the final touches to your review, carefully verify the following:

• Double-check the spelling of the author name(s), character names, special terms, and publisher.
• Try to read from the vantage point of your audience. Is there too much/enough summary? Does your argument about the text make sense?
• Should you include direct quotes from the reading? Do they help support your arguments? Double-check your quotes for accuracy.

Training Authors with CJ and Shelley Hitz

We help Christian writers take a step of faith and finally finish your book!

How to Increase Your Chances of a New York Times Book Review

June 16, 2014 By Heather Hart 6 Comments Click here for FREE training for Christian writers

Now, not every author would want to consider this as part of their marketing strategy, in fact, I  am not currently interested, but wanted to share it with you. So, if you are interested in having your book reviewed by them, here’s what you need to know.

The New York Times Book Review Submission Guidelines

1. You must send in a review copy 4 months before the official release date

The New York Times Book Review prefers to receive pre-release galleys from book publishers 4 months prior to the books publication date. However, they will accepted a finished book if a galley is not available. This does not mean you can send a book that is already published, just that if your book is finalized (yet still 3-4 months from actual publication) you can still send them the final copy.

Not familiar with a pre-release galley? Find out more in our book, “ How to Get Honest Reviews .”

2. There is No Guarantee, Returns, or Updates

You can send your book in, but they do not promise to review it, return it, or even update you on the status. They admittedly only review a small percentage of the books they receive and do not say what they do with the review copies they are sent other than that they will not return them. Likewise, they are very clear that they won’t respond to questions about the status of reviews, or notify authors if they

3. You Must be Published within the United States of America 

The New York Times Book Review will only review books that are published in the US. If you are published through a Canadian, European or otherwise non-US publisher, as a US newspaper, The New York Times Book Review isn’t open to you.

4. Your Book Must be Available in Bookstores

Their rules also state that your book has to be made available to general-interest bookstores. Obviously if they are asking for pre-release galleys, it doesn’t have to be currently on a bookstore shelf. However, making your book available to bookstores must be part of your marketing plan, and it needs to be available to them by the time of your scheduled release (usually through a distributor such as Ingram).

Those are all of the qualifications they have listed on their website , but don’t go sticking your book in the mail just yet. Before sending your book off for their consideration, you will want to take some steps towards success.

1. Read the New York Times Book Reviews

This should go without saying, but if you want your book to be reviewed by the New York Times Book Review, you should actually read it. See what kinds of books they review, get a feel for what they like and don’t like. Basically, if this is your target audience, know what they want to read. You shouldn’t write a book just for them, but if you’ve written a book, reading what professional reviewers say about other books can help you fine-tune your own. If you’re not already subscribed, you can find out how to get a subscription mailed to you (separate from the Sunday paper) here .

2.  Establish Yourself in Your Niche

If you have never before published a book and are virtually unknown, your book is likely to get lost in the high percentage of books that the New York Times Book Review doesn’t have time for. If this is something you are interested in, I recommend building yourself up first. Publish a book or two, build an online following, make some noise!! If you become a household name in your niche, you are more likely to be recognized and picked up by the editor.

3. Have Your Book Professionally Edited

The New York Times Book Review is the big leagues. Just because it’s free to send them a book, doesn’t mean that you should skimp on the costs of publishing. Make sure that you put forth your best work by having it professionally edited (maybe even by two or three different editors). You can find a list of editors we recommend here .

4. Get a Killer Cover Designed

You’ve heard the saying, “don’t judge a book by its cover,” right? Well, it’s a saying because all of us do it. If we see a poorly designed cover, we assume that the book itself will be just as crummy. It’s not always true, but without an eye-catching cover, your book is likely to be tossed aside. Most authors are just that, authors; not graphic designers. So get some help from someone who knows what they are doing and really make a great first impression.

If you are interested in submitting your book, you can mail a copy to the following address:

Editor The New York Times Book Review 620 Eighth Avenue, 5th Floor New York, NY 10018

Note: If you are sending a children’s book to them, you should address it to the “Children’s Book Editor”

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About Heather Hart

Connect With Heather Online: Instagram | Twitter | Facebook | Pinterest   For close to a decade, Heather Hart has been helping other writers make their dreams come true. As an internationally best-selling and award-winning author, with well over a dozen books in print, she knows what works and what doesn’t. Furthermore, she knows it’s possible to be a successful author without launching your own business. Her desire is to help writers keep writing… and have fun doing it. Find out more at ToolsForAuthors.com   Love What You Read? Check This Out!   Get Heather's FREE report and learn how to make small tweaks to your book marketing that lead to big changes here .   

December 18, 2014 at 10:15 pm

Would you consider reviewing a book that has already been self-published? It is called “Love, Blood, & Honor” and it is on Amazon and Kindle.

December 20, 2014 at 9:25 am

We don’t offer review services. However, many reviewers will review books that are already published. The New York Times Book Review will not. I highly recommend checking out Readers’ Favorite: https://www.trainingauthors.com/readersfavorite

April 10, 2019 at 4:06 pm

How long should you wait to publish your book after it has been submitted to NY Times? They are looking for galleys and unpublished works, right. Do you continue with the publishing process or wait four months in hopes of hearing from the NY Times?

May 11, 2022 at 3:25 pm

It seems to be a Catch-22 system glitch. Book sales rise if a book is reviewed and books are reviewed if selling. Is it possible to get pre-publication reviews?

May 18, 2022 at 8:47 pm

If you are self-published or independently published you can begin inviting people to read an advanced review copy (ARC) prior to publication and then send them the link when it goes live. However, no one is able to post a review until your book is published.

December 13, 2023 at 10:36 am

i wrote a book call Jesus poems of deliverance

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clock This article was published more than  9 years ago

How to get your book reviewed in the New York Times, if your name isn’t David McCullough

In an hour-long C-SPAN interview, book review editor Pamela Paul weighs in on what it takes to get noticed by the Times.

If you want The New York Times to review your book, it helps to be named David McCullough. Also, try magic.

In an hour-long interview with C-SPAN’s Book TV , New York Times Book Review editor Pamela Paul and preview editor Parul Seghal recently explained how the staff puts together the weekly section and — the question all authors and publishers want answered — how they choose, among countless titles, the few books that merit review. Paul, who became editor in April 2013, weighs in on whether big-name authors get special consideration, how she deals with books by colleagues and what it feels like to get a bad review. Highlights:

On turning books down:

“A long time ago it was said that 1 percent of books that come in get assigned. So it’s small, we have such small space. . . . Every time we skip a book, we have to write up a reason. A couple of sentences saying that ‘you know what, [this is] an incredibly worthy book but I just assigned something very similar,’ or ‘this is rehashing arguments that we’ve seen,’ or some sort of justification. So it’s not sort of a summary process.” (Parul Sehgal)

On whether The New York Times automatically reviews certain high-profile writers (in response to a question about David McCullough): 

“There are some authors who are pretty automatic, because even if we don’t necessarily think, for example, the latest thriller by X Big Name is necessarily his best, we know that our readers are going to want to know that. So, it’s worthy of review not necessarily because of the quality — and I’m not speaking of David McCullough here, I think everything he writes is pretty terrific — but we know that it’s going to be of interest. So we’ll assign a review and the review might not be positive, but it’s worthy of attention.” (Pamela Paul)

On how a single issue of the review comes together:

“There’s are a lot of factors that go into figuring out what books are going to be in an issue. The most obvious is pub date — the date of publication, because we’re a newspaper so it should be a relatively new book. But then we think about the mix in terms of fiction vs. nonfiction, all the genres within both of those categories. Within fiction you want to have, let’s say, science fiction, you might want to have a British novel, something in translation, include poetry. And then on nonfiction you want to have a mix of biography, foreign policy, science, hard science, mathematics. We’re kind of balancing in so many different ways. . .” (Paul)

On picking a single book for review among several similar titles:

“It’s voice; it’s perspective, it’s a very subjective thing, it’s a very imperfect art, you know? If it’s a subject that’s been really explored, you’re looking for somebody who has some kind of unique twist, some kind of different argument, something sort of magical or exciting happening in the voice or the prose.” (Sehgal)

On the right mix of authors to review:

“We try to bear in mind that the books that are of interest to our readers are multifaceted. . . There are so many distinctions that you could choose. Some people think of it very much just in terms of gender. We try to keep an eye on gender but that’s just one of the factors. I would say that ethnicity and country of origin are something we pay a lot of attention to.” (Paul)

On reviewing books by New York Times journalists:

“We don’t review all of them at The New York Times Book Review; we review a lot of them. Also, as you know, The New York Times has its Sunday book review, which is what I work on, and we also have our daily reviews, where we have our daily critics. And they can’t, obviously, review The New York Times reporters, but the daily section will often get an outside reviewer to write about them. . . I can’t tell you that people won’t be annoyed if we don’t, that I won’t get looks from other staffers if we pass over their books. We review those books when we think they’re worthy.” (Paul)

On how to review political books:

“There are two easy ways to do a book review that’s political in nature. One is, you get someone who is going to agree with that person 100 percent, and that’s very boring in terms of the review, because they’re just going to say ‘yes, yes, yes, this person is right!’ — especially if the book is a polemic or polemic in nature. Or you can get someone who is on the opposite side of the political spectrum, and then they just make fun of the book and the author and take it down, and that’s a set-up. And neither of them, I think, is interesting, they’re both very predictable. So what we try to do with books that are political in nature is get someone who we think will honestly and in an interesting way engage with the subject matter, as opposed to just do a take-down or a rah-rah.” (Paul)

On the purpose of negative reviews:

It feels terrible when it’s happening to you. But, you know what, I remind myself when we have negative reviews, is that we’re not a service arm for the publishing industry — I mean, we love the publishing industry, we support what they do — but really we’re here for readers. And readers are trying to make a decision about what they should spend their time reading and their money buying if they’re buying a book, and it’s important for us to tell [them] if it’s worth their time. So, negative reviews serve a function.” (Paul)

On self-published books:

We get them, and we don’t review them. We review about 1 percent of the books that come out in print from a publisher every year. So 99 percent of those books are being discarded. At some point you kind of have to say “okay, we’re just going to look at these books.” Otherwise we would be here 24 hours.” (Paul)

The full interview is worth watching — especially by desperate authors hoping to glimpse their titles among the piles of might-be-reviewed books all over the office.

Read more from Book Party , including:

Ignore all those stress-inducing, group-thinking, name-dropping summer book lists

The most self-serving words in publishing: “New Afterword by the Author”

David Carr, book critic

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Guest Essay

I Was Trump’s Ghostwriter. A New Biopic Gets the Most Important Thing Right.

By Tony Schwartz

Mr. Schwartz was an author of “The Art of the Deal” and is the chief executive of The Energy Project.

“The Apprentice,” a new movie that dramatizes the early years of Donald Trump’s career, ends with a scene between Mr. Trump and an actor who plays me. The year is 1986 and I’m interviewing Mr. Trump for the first time, to begin ghostwriting “The Art of the Deal,” a book that I view today as an unintended work of fiction.

Since my time collaborating with Mr. Trump, I’ve spent my adult life studying, writing about and working with leaders and other high achievers. I’ve focused especially on how their early childhood experiences have influenced their adult lives — mostly unconsciously — and on exploring the often vast gulf between how they present themselves on the outside and how they feel on the inside. Mr. Trump, for me, has always been Exhibit A.

Watching “The Apprentice” crystallized two big lessons that I learned from Mr. Trump 30 years ago and that I’ve seen play out in his life ever since with more and more extreme consequences. The first lesson is that a lack of conscience can be a huge advantage when it comes to accruing power, attention and wealth in a society where most other human beings abide by a social contract. The second lesson is that nothing we get for ourselves from the outside world can ever adequately substitute for what we’re missing on the inside.

“ The Apprentice” tells Mr. Trump’s story through the lens of the two men who most influenced him: his father, Fred, and Roy Cohn, his longtime lawyer and one of the most notorious and disgraced fixers of the 20th century. What they had in common, and passed on to Donald in spades, was their shamelessness when it came to winning and dominating others , whatever that took. The end always justified the means.

The film starts with a disclaimer that some events have been “fictionalized for dramatic purposes,” and the filmmakers clearly took artistic liberties. Journalists, historians and critics can debate which specific scenes in “The Apprentice” actually happened and which ones did not. For me, the movie felt emotionally true — and consistent with the Donald Trump I came to know three decades ago. “The Apprentice” is less about how Mr. Trump rose to power than it is about the generational impact of his family’s trauma and dysfunction, and how it shaped the person Mr. Trump became and the impact he’s had on an entire country.

During my time working on “The Art of the Deal,” Mr. Trump would call me most evenings from his Trump Tower apartment, and nearly every call began the same way. “Can you believe it, Tony?” he asked, rhetorically. “Bigger than ever.” Then he would go on to talk about some triumph he’d had that day or a hapless competitor he’d vanquished.

On the face of it, he was riding high in the mid 1980s. He had just built Trump Tower at 57th Street and Fifth Avenue, he owned two large casino hotels in Atlantic City and was on the verge of buying a third, and he traveled around in a limousine, a helicopter, a yacht or a private plane.

What Mr. Trump never let me know was that amid all those glittering external signs of success, he was in increasingly desperate financial trouble , drowning in debts that would lead him into a series of bankruptcies. I did not yet realize that he routinely lied as easily as he breathed, including to me for his own memoir, and without a hint of a guilty conscience.

What struck me from the first day I met Mr. Trump was his unquenchable thirst to be the center of attention. No amount of external recognition ever seemed to be enough. Beneath his bluster and his bombast, he struck me as one of the most insecure people I’d ever met — and one of the least self-aware. He’d crossed the bridge from Queens to Manhattan but he remained the product — and even the prisoner — of his childhood experiences. As he told a reporter in 2015, “When I look at myself in the first grade and I look at myself now, I’m basically the same.”

I buy that.

Children aren’t born seeking external success, power, wealth or dominance. What Mr. Trump seems to have buried as he grew up was the core emotional need that all human beings experience from the day they’re born: to feel safe, secure and worthy because they’re loved unconditionally by their primary caretakers. From my observations — and what the movie details — that kind of love was never available to Mr. Trump or to his siblings.

Mr. Trump’s father, Fred, was openly disdainful of any acknowledgment or expression of weakness or vulnerability. He had amassed a fortune building low-income, government-supported housing and, along the way, he developed a harsh, zero-sum view of the world: You were either a winner or a loser in life. If you weren’t a killer, you were forever at risk of being victim and a sucker. Brutality, in the service of winning, was no vice.

“The most importance influence on me, growing up, was my father,” Mr. Trump told me for “The Art of the Deal.” “I learned about toughness in a very tough business.”

Mr. Trump also learned lessons about how to earn his father’s approval and avoid his wrath by observing the fate of his older brother, Fred Jr., who was expected from an early age to someday take over his father’s business. When he chose instead to follow his passion to become a pilot — and to leave the family business — he lost the respect of his father, who began referring to him dismissively as a “glorified bus driver.” Fred Jr. died from the effects of alcoholism, at the age of 42.

“Fortunately for me,” Mr. Trump explained in “The Art of the Deal,” “I was drawn to business very early, and I was never intimidated by my father the way most people were. I stood up to him and he respected that. We had a relationship that was almost businesslike.”

I still remember the chill I felt when Mr. Trump said those words, as if it was fine to have an almost completely transactional relationship with his father.

When children can’t get what they need from their primary caretakers, they eventually turn to other means. For Mr. Trump, that seemed to manifest in relentlessly seeking attention and recognition from an early age, and measuring his value comparatively and by the numbers — whether it was his net worth, the height of his buildings or the number of people who attend his rallies. Early on, Mr. Trump figured out that sufficient bravado and bold assertions — even if they were false — could often substitute for actual accomplishments, especially if he repeated them often enough.

What “The Apprentice” captures most evocatively is Mr. Trump’s transition from pleasing his father to enlisting Mr. Cohn as a mentor and role model. Mr. Cohn’s role was to help Mr. Trump outdo his father, even as Fred used his vast wealth and political connections to clear Donald’s path. At the time that Mr. Trump first met Mr. Cohn at a private club in 1973, Fred and Donald had just been sued by the Justice Department for refusing to rent to Black people and other minorities at their Trump Village apartment buildings in Brooklyn.

The evidence of racism was overwhelming. But Mr. Cohn urged Mr. Trump to fight back rather than settle. “The Apprentice” distills Mr. Cohn’s worldview into three life lessons he shared with Mr. Trump: Attack, attack, attack; admit nothing and deny everything; and claim victory and never admit defeat. Mr. Trump took those principles to heart.

“Whatever else you could say about Roy, he was very tough,” Mr. Trump told me for “The Art of the Deal.” “Sometimes I think that next to loyalty, toughness was the most important thing in the world to him.”

Loyalty and toughness were two qualities Mr. Trump revered, and he concluded his assessment in “The Art of the Deal” with the highest praise: “Roy was the sort of guy who’d be there at your hospital bed, long after everyone else had bailed out, literally standing by you to the death.”

For Mr. Trump, however, loyalty went only one way. By the time we began work on the book, he had long since bailed on Mr. Cohn, who had been diagnosed with AIDS. It didn’t seem personal for Mr. Trump because in my experience nothing was personal for him. It was all business, and Mr. Trump seemed to have no further use for his longtime lawyer, mentor and friend.

Mr. Trump did encourage me to interview Mr. Cohn for “The Art of the Deal,” and I went to see him in his last days. Over two rambling hours, Mr. Cohn shared an odd blend of hurt, bitterness, resignation and a certain awe at how easily his longtime student had walked away from their relationship. “Donald pisses ice water,” is the way he’d put it to one reporter.

It’s long been deeply unsettling to me how many behaviors associated with psychopathy Mr. Trump exemplifies. There are seven characteristics associated with “antisocial personality disorder,” according to the Diagnostic and Statistical Manual of Mental Disorders : deceitfulness, impulsivity, failure to conform to social norms with respect to lawful behaviors, irritability and aggressiveness, reckless disregard for the safety of self or others, consistent irresponsibility and lack of remorse. I’ve observed all seven in Mr. Trump over the years, and watched them get progressively worse. It’s the last one — lack of remorse — that gives him license to freely exercise the other six.

The past is prologue and, as Mr. Trump has said, he’s essentially the same person today that he was as a child. That is the central warning “The Apprentice” poses, and it comes just weeks before the election.

Ever since Mr. Trump announced in 2015 that he was running for president, I’ve argued publicly that the only limitation on his behavior as president — then and now — is what he believes he can get away with. Mr. Trump has made it clear that he believes he can get away with a lot more today. If he does win back the presidency, it’s hard to imagine that he’ll have much more on his mind than revenge and domination — damn the consequences — in his doomed, lifelong quest to feel good enough.

Tony Schwartz was an author of “The Art of the Deal” and is the C.E.O. of The Energy Project, a leadership development consultancy.

Source photograph by Pief Weyman/Briarcliff Entertainment & Rich Spirit

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