Gilbert’s prose deftly captures the complexities of the family’s fraught relationships, forging relatable friction that brings their underlying dynamics into the spotlight. Grace, forced to cope not just with a terminally ill husband but also with regret at having allowed herself to live a limited life, treads the dangerous waters of rebellion against what she views as her husband’s unreasonable decisions, while each son’s perspective paints a different side of a domineering, rigid father, insistent that his children learn to manage their own lives, even as he refuses to be sent to “a house of the dying” when his health becomes too challenging to manage at home.
Reunion by the Lake favors the slow burn of family discord over more defined climactic scenes, and readers may wonder at the childhood incidents that led to the family’s fractured relationships as adults. Still, their frayed bonds are engrossing, marked by complex mindscapes and intricate layers of mistrust, bitterness, and self-pity that lend the narrative a tremulous feel. Though eruption feels just around the corner in nearly every scene, Gilbert chooses to end the story on a more positive note, leaving readers with a hopeful antidote in contrast to the novel’s smoldering beginnings.
Takeaway: Family dysfunction takes center stage when a dying father discloses his will.
Comparable Titles: Cynthia D’Aprix Sweeney’s The Nest, Jami Attenberg’s The Middlesteins.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
With historical astuteness, Sandvig portrays the Dakota revolt as a last stand against years of disenfranchisement and displacement. Readers witness the gut-wrenching aftermath of the conflict—burned settlements and innocent settlers, hanged men, and the gruesome internment of women and children at Fort Snelling. Emilie’s journey—heavy-heartedly leaving her mother to search for her missing father, despite the looming threat of Dakota warriors hunting mixed-bloods, and discovering long-buried family secrets along the way—teems with courage, as she continues to forge her identity and champion justice with an indomitable spirit, amid the violence and grief of losing her loved ones, freedom, and home.
Though certain subplots, such as Paltrey's opportunistic schemes, feel underdeveloped, they underscore the moral ambiguities of war and the selfish exploitation it breeds. More than a story of territorial dispute, this novel delves into the threat of cultural erasure and how injustice fuels hatred. Emilie’s moral dilemma—“But who were the wicked?... Whites who took our land in the first place? Or Dakota warriors who slaughtered innocent settlers and stole our peace?”—resonates deeply, yet Sandvig balances this with an underlying message of cultural preservation, survival, forgiveness, and hope.
Takeaway: Profound tribute to devastating history of the Dakota community.
Comparable Titles: Linda Hogan’s Mean Spirit, Louise Erdrich’s Love Medicine.
Production grades
Cover: A
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
Wagner-Wright paints a vivid picture of late 18th century America, offering rich details of daily life and society amid the story’s broader themes of commerce, competition, and personal ambition. Her adept use of technical maritime language highlights the novel’s many voyages, allowing readers an inside seat to the coastal runs and whipping storms that characterized a merchant’s life in the 1700s, and detailed descriptions of trade routes, major ports, and the goods exchanged provide a compelling backdrop. Likewise, Wagner-Wright’s inclusion of historical embargoes—and their impact on maritime families—seamlessly weaves into the story, threading layers of complexity into the plot.
Each chapter delves into the lives of its ensemble cast, revealing the individual struggles of characters like Nathaniel West and Lizzie Rowell, as they navigate the unpredictable, dangerous, but strangely rewarding life of 18th century Salem, strikingly portrayed in one captain’s words after a devastating storm blows his ship miles off course: “If I fail, I’m no worse off than I am now, but if I succeed, I’ll prove myself.” The book’s pacing may not be relentless, but Wagner-Wright’s careful adherence to historical events and the personal dramas behind them makes it a worthy read.
Takeaway: In-depth study of Salem’s maritime families in the late 18th century.
Comparable Titles: Anya Seton’s The Winthrop Woman, Paul C.R. Monk’s Call of Freedom.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A
Poignant, brutal, and unflinchingly honest words bleed onto every page as Neighbors spares nothing—recounting an affair with a married man, receiving unfair probation and false accusations, and struggling with bouts of depression and paranoia. Her disarming candor about her guilt and imperfections—having a privileged background, self-sabotaging, self-loathing—are often painful to read, but her straightforwardness offers a merciless clarity on how addiction and impulsive decisions are merely misguided escapes from a "never-ending battle" with oneself, so often rooted in trauma, familial neglect, misjudgment, and mistreatment.
The fragmented prose jumps from memory to memory and may confuse some readers, but it mirrors the mania, paranoia, and sheer magnitude of problems that Neighbors contends with, suggesting how healing is never linear. Her story, both a candid confession of the courage it takes to embrace life's imperfections and a fierce fight for the truth, proves how "everyone has a degree of mental illness," even those who seem to have it all. This unapologetically unfiltered memoir empowers, imparting resilience and a raw plea to be kind—to others, but most especially, to ourselves.
Takeaway: Razor-sharp memoir about battling mental illness amid heavy external pressures.
Comparable Titles: Kay Redfield Jamison's An Unquiet Mind, Jamie Blaine and Vicky Lanzone’s Life Is Crazy and We’re All Going to Die.
Production grades
Cover: B-
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
Carmody is careful to balance enough description of Meg’s traumatic experience to feel authentic without focusing on graphic detail. This keeps the story from feeling prurient, as Carmody emphasizes Meg’s courage, growth, and new connections, even as she still faces danger from insiders in the scheme who would rather she not testify. Carmody makes Meg an extremely reliable witness who is believed by authorities. This humane, supportive treatment of abuse survivors is encouraging, though the thriller elements, seemingly by design, are never visceral nor especially tense or twist-y.
Where this story shines is in the scenes of home life at the McGloughlins, where the family deals with its own internal conflicts but ultimately comes in with love and support, Meg’s emotional arc in learning to trust feels satisfying. Though the Christmas and wedding planning vibes could have been turned up another notch, the nergetic family banter makes a strong contrast with the stress that Meg is escaping. Carmody’s background as a caregiver is clear in Jo’s gentleness and practical support.
Takeaway: Optimistic, family-centered thriller of justice and support for victims.
Comparable Titles: Kimberly Brubaker Bradley’s Fighting Words, Laurie Matthew’s Groomed.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Color of a Mirror
The moon’s dystopian conflicts, like the culture, biotech, and everyday challenges of lunar life, extrapolate from contemporary concerns in resonant ways. As Tonic's music becomes associated with violence, the manipulative chairman of the corporation Nox exploits her growing debt, coercing her into increasingly dangerous and illegal activities. Desperate Tonic delves into the Dive, where she crosses paths with Kaet, a graffiti artist, and his ex, Blau, a hacker, as they uncover dark secrets about Nox. Revealing the streets of the Dive, concert venues, underground networks, and more, the narrative paints a haunting picture of a society that has lost touch with its humanity—a humanity that Adams-Dufresne centers, even as the mystery grows tense.
Color of a Mirror excels in world-building and delving into the psychological complexities of its fascinating characters. The plot occasionally takes a backseat to atmosphere and character, as sensory-rich prose vividly brings to life the sights, sounds, and emotions experienced through Tonic’s visor. Lovers of thoughtful SF and cyberpunk will relish this compelling tale that grapples with themes of identity, corporate greed, and the relentless struggle for personal autonomy.
Takeaway: Striking and humane SF mystery on the moon in the late 21st century.
Comparable Titles: Charlie Jane Anders’s The City in the Middle of the Night, David Pedreira’s Gunpowder Moon.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Using alternating points-of-view, Damon concisely and efficiently introduces the four main characters, with quick, vividly detailed opening chapters that immediately draw readers in. None of the featured four are doing particularly well in their own lives—Harold is an insecure man with a failing business and a failing marriage, exotic dancer CeeCee just wants the funds to open her own spa, Alex is struggling as an actor and writer, and Helen, a curmudgeonly older woman, feels disconnected from a world that has moved on without her—but their common fear, that they could be next on the killer’s list, unites them. In addition to the external tension of jurors rapidly disappearing, the ensemble cast keeps readers on their toes, with constant bickering and infighting that make this band of unlikely sleuths strangely likable.
Between the zany moments, quick thinking to get out of sticky situations, and humorous gaffs of amateur detectives, readers will relish this roller coaster ride, though some of the story’s descriptions—references to CeeCee paint her as empty but conniving, with “eye-popping boobs, the size of melons” while Helen is branded a “titty bar reject” in one scene—distract from the central mystery’s flair. Still, this is an entertaining, worthwhile whodunnit with a truly enticing cast.
Takeaway: Quick, engaging mystery of amateur detectives tracking down a serial killer.
Comparable Titles: Richard Osman’s The Thursday Murder Club, Benjamin Stevenson’s Everyone in My Family Has Killed Someone.
Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: B-
Marketing copy: A
Suspense builds as Duncan teams up with his tech-savvy friend, Tesla, who cracks open the doors to a world of international espionage and cyber warfare more intricate and dangerous than Duncan ever imagined. Oster's writing shines with its seamless integration of spy drama, geopolitical strife, and technological elements, with the inclusion of real-world cyber threats like the notorious Stuxnet virus and cameos from infamous CIA operatives Philip Agee and Aldrich Ames that lend the narrative a cinematic feel. The spy intrigue is top-notch, but Oster’s heavy lean on espionage framework and straightforward monologue sidelines the more nuanced emotional undertones of Duncan's grief and frustration. Still, it is that trade-off that ramps up the tension, as Duncan's persistent, no-holds-barred pursuit of answers leaves readers with the same gnawing question: was Deborah a hero or a villain?
Oster crafts a pulse-pounding, action-powered narrative, all while navigating the convoluted and deceptive world of espionage, the gray areas of morality, and the idea of complete transparency in marriage, making this high-stakes thriller both charged and contemplative. Readers will find themselves rooting for Duncan's clarity and closure until the end.
Takeaway: High-stakes spy thriller built on themes of marriage and betrayal.
Comparable Titles: Chris Pavone's The Expats, Olen Steinhauer's The Tourist.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A-
Harvey and the Lightning Herd
The star of that herd turns out to be Harvey, a black calf who, after the storm, can’t seem to recuperate—his gait is off, and he can’t eat without help. Helga makes it her personal mission to nurse Harvey back to health, and her care is sweet to behold, as she hand feeds him, walks beside him to retrain his stride, and snuggles him into recovery. Young readers will treasure that close bond and cheer out loud when Harvey moos for the first time. Helga is soon motivated to “find a safe place” for Harvey and the other calves, launching her business idea to sew “cowches”—cow-shaped couches to fund her own farm. That takes off, and after a lot of hard work, Helga opens The Cow Sanctuary.
Denise Tremblay’s illustrations beautifully render the calves’ expressive eyes and playful antics, and the song refrain shared throughout—“Hey, hey, babies, I wish I could change the world"—transforms into a mantra for animal conservation by the book’s end. Tacreiter, with the help of PETA, closes with opportunities for readers to become animal stewards themselves, a fitting conclusion for this animal-friendly tale.
Takeaway: Conservation-minded tale of a farmer determined to save orphaned calves.
Comparable Titles: Jessica Stremer’s Lights Out, Zoe Tucker’s Greta and the Giants.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
This is a resource that writers will consistently reference and return to, whether it’s to conquer writer’s block, gain new perspectives on character and plot development, or learn the value of rest when completing a novel. “Method, momentum, and motivation are what I believe you need whether you’re starting from scratch, hopelessly stuck, or deciding to get back to it” Adams writes, and each of her workshop days is structured for noticeable results: the guidance starts with a warm up exercise before moving on to core activities, and Adams closes each lesson with a writing cool down (referring to them as “stretches”).
The possibilities Adams presents will intrigue as much as they excite; one stretch exercise involves curating synonym lists for overused words, while Adams employs more involved methods when it comes to core assignments, like her 500/500 challenge to generate 500 new words a day, or the creative idea of a mini storyboard to better conceptualize the beginning, middle, and end of a novel. Adam's upbeat, positive tone removes pressure while inspiring creativity, and aspiring writers will take away fresh ideas sure to help them put pen to paper and move one step closer to completing their manuscript.
Takeaway: Fun, interactive writing resource to spark creativity and conquer writer’s block.
Comparable Titles: Matthew Salesses’s Craft in the Real World, Mur Lafferty's I Should Be Writing.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
Light's Shadow
Along the way, Lucas—known as Arden, down below—finds himself facing Ancient beings, searching for an exile, and facing tense dangers and mysteries. Finch’s approach to fantasy emphasizes light and dark, underground and otherworldly explorations, and a surprising mix of science, technology, myth, multi-cultural practices, and folklore, with stories of the ancient conflict, covenants, and creatures, often shared in mythic monologues or archaic texts. Readers will appreciate the engaging tour of this strange new world as Lucas uncovers the stories of how he came to be a Darktouched, the origins of the Darktouched society itself, and where he belongs within it.
Despite the novelty of the setting, Finch creates a relatable life for Lucas, a Child of Shadow, in this world of Darknames and Abovenames, ferrybots and weird KALM gear for traveling in the dark, a long-ago “Reshaping,” and persuasively cool games and sports. As Lucas finds himself getting closer to the answers that not even the oldest living Darktouched know, he discovers that his purpose is bigger than any could imagine–but readers eager to know what will have to wait for book two.
Takeaway: Inventive YA fantasy of ancient conflicts and underground culture.
Comparable Titles: Roderick Gordon’s Tunnels, T. Kingfisher’s The Hollow Places.
Production grades
Cover: A-
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A
Readers will be swept into Hollywood’s golden age as Navarro and Thornton-Cornejo unpack their father’s mementos and reveal a vibrant family history. Whispers of Thornton’s grueling younger years as an orphan and work as a bricklayer build the memoir’s foundation, while his booming success establishing a modeling empire well into the ‘50s unfolds with an aura of mystery—who was this hidden man, the driving force behind the pinup girl craze of the Second World War, and why did his family never learn of his renown during his lifetime? The authors, from the start, acknowledge that Thornton wasn’t a fan of revisiting the past, focusing his energy instead on creating a warm, caring family in their hometown of Ajijic, Mexico.
The Merchant of Venus is a fascinating glimpse into early 20th century American entertainment, complete with remarkable photographs, engrossing looks at the New York ad world, and tidbits of the famous names Thornton discovered, like Grace Kelly and Lauren Bacall. The back stretch gets wrapped up in the legal troubles that ruined his reputation during the McCarthy era—the catalyst for his retirement and subsequent move to Mexico—but the book’s enduring legacy is a portrait of a passionate family man “who lived in the hearts of many people, but most of all his wife and children.”
Takeaway: Loving tribute to the life and legend of modeling pioneer Walter Thornton.
Comparable Titles: Graham Bannock’s Hollywood Lives, Sam Irvin’s Kay Thompson.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A-
Marketing copy: A
Each task, representative of the challenges on actual tests, presents a row or rows of shapes and patterns, with the final entry in the sequence left for the reader to determine based on what patterns and rules can be discerned. A row of possible answers is below, and Kalogiannidis offers clarifying explanations of why one answer is correct. The sample tests are varied and challenging, ramping up in difficulty, introducing a host of different types of patterns and rules—they’re also satisfying to work through, especially once one has become familiar with various types of form and sequence and confident in when to make an intuitive leap. Kalogiannidis’s claim, in an introduction, that “Anyone with no severe mental impairment” can excel at these tests may be impolitic, but readers will have ample opportunity to push themselves and improve. (The tests are polished, professional, and illuminating, though that introduction could use a copyedit.)
Supplementing these sample questions are Kalogiannidis’s clear-eyed tips for preparing for tests and avoiding common pitfalls, which offer both general and highly specific guidance, as well as a library of the patterns and rules that tend to appear in such tests. This is a sharply honed tool that will benefit anyone facing an inductive reasoning test.
Takeaway: Practical, clarifying guide to inductive reasoning tests, packed with sample questions.
Comparable Titles: How2Become’s Inductive Reasoning Tests.
Production grades
Cover: B
Design and typography: A-
Illustrations: A
Editing: B
Marketing copy: B
Petunia the Perfectionist
Bader (author of Stella’s Brave Voice) transforms a very real—and often hard to discuss—issue for younger readers into a problem that can be faced and handled in this polished book. Just about anyone can relate to Petunia: she’s desperate to do well and outperform herself in every way possible, but sometimes even the most careful attention to detail doesn’t pan out in the end. When she gets distracted during a music lesson and plays the wrong note, she’s devastated—but her wise teacher quickly turns that mistake into an opportunity, praising Petunia for “create[ing] a brand-new sound” and reminding her that “when we try too hard to be perfect, it’s like our strings are pulled too tight. But if we loosen our strings, Petunia, we can make beautiful music!” That beautiful imagery will resonate with readers of any age.
Ellie Beykzadeh skillfully captures Petunia’s nuanced facial expressions throughout the story, portraying her inner emotions with expressive eyes and subtle hints of movement, and the book’s textured backgrounds give it a warm, tender feeling—the ideal vehicle to teach kids that “nobody expects you to be PERFECT.” By the story’s end, Petunia is savoring the freedom that comes with being “perfectly imperfect” and learning the important lesson of self-love, flaws and all. This is a delight.
Takeaway: Delightful story on why it’s okay to be imperfect.
Comparable Titles: Anna Kang’s It Is (Not) Perfect, Brenda Li’s The Girl Who Makes a Million Mistakes.
Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A
Gorman asserts there are valuable lessons to be learned from studying the finances of these larger-than-life men who “started out as ordinary” and modeled some of the best, as well as some of the most questionable, monetary decisions. Many, like Thomas Jefferson, the Roosevelts, and John F. Kennedy, were born into wealth; others rose from poverty. Gorman relays their journeys in detail, sharing Barack Obama’s last student loan payment just eight years before he ran for president alongside Thomas Jefferson’s careless spending and lavish parties that culminated in shocking debt in his later years.
Gorman’s true rags-to-riches president—and one that she names as incredibly successful with his personal finances—was Abraham Lincoln. Unable to afford a college education, he was an enigma in many ways: a voracious reader, with a dislike of alcohol and gambling, who transformed himself into one of the most respected American presidents of all time—all while carefully growing his personal wealth. Examples like those form the basis of Gorman’s financial pointers sprinkled throughout, from her assertion that Jimmy Carter’s consistency with his money makes him an inspiration to the flawed financial decision-making that placed several presidents at risk. She closes with a briefing on the five presidents “to emulate in your personal finances”—and a warning that the American dream may not be as achievable as we think.
Takeaway: Fascinating briefing on the financial habits of America’s Commanders in Chief.
Comparable Titles: Cyrus A. Ansary’s George Washington Dealmaker-in-Chief, Charles Renwick’s All the Presidents’ Taxes.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Bridge’s writing is eloquent and impassioned, powered by deep empathy for the victimized children and parents he represents and welcome clarity and precision about the legal complexities. He never shies away from sharing his own life story as a catalyst for his work defending children’s rights, and this conviction serves as a gripping narrative throughline. Poring over files, striving to speak with uncooperative staff members, and suffering through false motions for protective orders filed against him by the state, Bridge details his efforts to stop Eufaula’s “abuse being inflicted on children.” His account of the devastating effects of institutionalization is shocking—and will ring alarm bells for readers.
Through comprehensive details on the history of injustice and legal battles against mental facilities—specifically in Alabama—Bridge constructs a moving story of corruption, abuse, and a hard-hitting call for reform: “The deliberate destruction of childhood would not be blotted out by time,” he writes, “All of it would be condemned. What Alabama had done would be written into history.” Bridge’s most inspiring task is his determination to give silenced children a voice, an opportunity for freedom, and hope for justice. Equally heart-warming and heart-breaking, this is a full circle story of triumph that readers won't soon forget.
Takeaway: Powerful story of justice, for children trapped in a failing mental healthcare system
Comparable Titles: Dorothy Roberts's Torn Apart, Alisa Roth's Insane.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
