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Santos, with his extensive aviation background and a deep connection to the USS Randolph—his father’s wartime vessel—brings a unique authenticity to the narrative, which is attentive to technology, strategy, and the rigors of military life at sea. His meticulous research and passion for the subject matter are evident on every page, vividly portraying the era and the individuals who lived through these tumultuous times, with a winning emphasis on camaraderie and adaptability.
The novel’s strength lies in its ability to humanize the epic scale of war. Santos powerfully depicts the brotherhood among the Randolph crew, capturing their courage and resilience in the face of overwhelming odds. The detailed characterizations of Morris and Phegley add a poignant layer to the story as readers become deeply invested in their survival and the broader implications of their rescue, while passages depicting the training and missions of Japanese pilots prove thoughtfully empathetic. A Grand Pause does not shy away from the brutal realities of war, delving into the psychological toll on soldiers, the ever-present threat of attacks, and the constant struggle to maintain hope and morale.
Takeaway: Inspiring story of perseverance and courage in the Pacific from the end of WWII.
Comparable Titles: James D. Hornfischer’s Ship of Ghosts, Tod Olson’s Lost in the Pacific.
Production grades
Cover: A-
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A-
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James's world-building is expertly done, demonstrating real knowledge of comics, a love of surprising possibilities, and a feeling for the camaraderie and limit-pushing (what does it take to lift a Humvee?) that powers great team-ups and super-powered adventures. The relationship between Clyde and Kev feels breezily believable, with inside jokes and long-developed conversational rhythms, and James has great fun with team building, especially introducing their guides into the supernatural, like Agent Rose Hadfield, a former heavyweight lifter whose calm demeanor braces the boys for what's to come. Training and combat scenes boast a crisp flow, jolts of gore, and an eagerness to upend expectations. Even minor characters shine, such as when Clyde throws a punch at rocker Ace, only for Ace to catch it and essentially freeze Clyde's hand.
Some sullen, mission-driven perspective chapters focusing on the Russian Konstantine are convincing but less engaging than Clyde and Kev’s. Fresh paranormal elements—eerie dead lands like Erebus; excursions into dream spaces; the scheming of shadowy organizations—are woven seamlessly into a plot with momentum, even as James makes time for explorations of friendship and identity.
Takeaway: Paranormal urban fantasy of ghosts, souls, and a comic-book artist in over his head.
Comparable Titles: Sergei Lukyanenko, Charles Stross.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: B+
A new recruit in the party calls the constitution “a stagecoach in the era of rockets” and argues, with persuasive power, that “it allows the minority to stifle the will of the majority.” Fearing the “AR-25 substituting for the guillotine,” Congdon’s brisk novel, an engaging blend of social horror and science fiction, calls for peaceful change, as, with help from a few trusted allies, Tom takes his mission to the second Constitutional Convention, where he attempts to win over politicians and lawmakers to restore a united Constitutional vision.
Tom is a relatable, dry-witted protagonist that readers will see as the everyman hero rather than a firebrand. But he must tread lightly, as “everyone’s armed to the teeth,” and factions and domestic terrorists are against them. In an America facing food shortages, and questions of robot liberty, The Second Convention extrapolates from contemporary trends with insight, surprise, and a refusal to accept polarization and gridlock as the nation’s destiny.
Takeaway: Near-future story of pushing for peace and a representative constitution.
Comparable Titles: Elliot Ackerman and Admiral James SStavridis’s 2034, Omar El Akkad’s American War.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-
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Though Powell denies Jubil’s application, Jubil’s fire never wanes. He vows to travel West on his own, despite a lack of experience and warnings of danger from nearly every quarter, a decision that kickstarts the adventure of a lifetime. Piper adds romance to the mix, through the steadying influence of Jubil’s childhood friend, Nelly, who represents the familiarity of home throughout Jubil’s wild escapades. Those escapades run the gamut, too, as he encounters a slew of famous figures—including General Sherman, Sherman’s Pawnee scout White Man’s Dog, and George Armstrong Custer, among others. As Jubil faces death in the most beautiful country he’s ever imagined, he still longs for Nelly back home—a stark dichotomy that soon forces him to decide where his loyalties truly lie.
Piper delivers the historical context that readers will expect for the genre, bolstered by very appealing main characters in Jubil—a naïve, yet endlessly brave young man—and Nelly, an independent woman unwilling to compromise her own dreams. Of course, Jubil’s heroes inevitably turn out to be more flawed than he imagined, lending the novel welcome authenticity and attesting to the pursuits of well-known men, venturing into “the great unknown,” too often willing to step on the backs of others in their own endeavors for fame.
Takeaway: A young dreamer seeks adventure alongside famous Western explorers.
Comparable Titles: Sandra Dallas’s Where Coyotes Howl, Carys Davies’s West.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
National cases, like the McMartin preschool trial in California and the 1980s “Believe the Children” movement, drive the novel, and Flanigan skillfully depicts how quickly fanaticism can get carried away—and ruin lives in the process. Clinic director Mortimer propels the children’s interviews, including O’Keefe’s daughter, with leading questions and calculated tactics, and, as the case progresses, the defense is stymied time and again by the judge—who denies key evidence and increasingly rules in favor of the prosecution. O’Keefe is drawn deeper and deeper into the seedy backroads of the legal system, and when one defendant makes a shocking decision—and the verdict for the other is handed down—his helpless rage at the system’s failings is palpable.
Flanigan crafts courtroom scenes effectively, building steady suspense as the trial races forward, and brings to light the painful consequences people suffer when justice becomes prejudiced and corrupt. As the suspense builds, so, too, does the hysteria, landing the defense team—and O’Keefe’s family—in harm’s way. The legal proceedings are convincing, and Flanigan paints a starkly realistic picture of a justice system gone awry, leaving readers with a teaser ending for the next in the series.
Takeaway: Fanaticism and legal corruption drive this 1980s thriller.
Comparable Titles: Clay Chapman’s Whisper Down the Lane, James Chandler’s Misjudged.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
As he builds to a climax that’s both rousing and bittersweet, Schuette offers a bounty of betrayals, imprisonments, and battles, some coming when readers won’t expect. But the story is powered by character, by a diverse array who are bold but still human, exhibiting welcome bursts of feeling—Jason’s love for the priestess Edenia Highdaughter moves both the heart and the plot—and humor. Responding to a compliment, savvy political operator Princess Lorana says “If only my beheaded mother were alive to hear you say it.”
Schuette projects a septet of novels will follow this one, and the host of perspectives, schemes, cultures, and prophecies “of the chaos to come” suggest that he’s not only laying a foundation but that he has a sure sense of what he’s building. (New readers are advised to start with the first entry.) The good news: for all its sprawl and ambition, this entry maintains urgency and narrative clarity, its pacing as sharp as the claws of the griffons that Jason must master.
Takeaway: Knockout epic fantasy sequel that earns its hefty length.
Comparable Titles: Justin Lee Anderson, James Logan.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
More than just a story of a young woman’s search for her father, Ehrlich’s richly woven tale is an homage to Ellis’s search for herself. Her quest for answers leads her to an array of intriguing characters—both friends and foes—who play crucial roles in her future. Lucas Bilford, Ellis’s friend and publisher, pops in throughout the story, steadily standing by Ellis as she seeks the truth, while Jimmie—a rider with Levi Jack’s Wild West Exhibition—impresses Ellis with her passion for horses, a cause close to Ellis’s heart. When the two sign up with cunning business owner Hank Russel in hopes of delivering mail for the Zephyr Post, Ellis’s story transforms into an exhilarating, high-risk crusade.
Ehrlich’s nuanced characters set this novel apart, from the Indigenous Libby, Ellis’s best friend and half-Cherokee woman who wrangles on Ellis’s family ranch, to Joe, a Cherokee man working for the Wild West show, forced to play act battles to feed his family. Ehrlich hints at gripping backstories for the main players, like Libby’s history assisting with the Underground Railroad, lending the novel important historical context, and Ellis’s emotional struggles during the postwar era will resonate. This is a sensitive rendering of the trauma that comes with family separation and loss, portrayed through the eyes of a resilient, compelling female lead.
Takeaway: Young woman searches for her father in post-Civil War America.
Comparable Titles: Martha Hall Kelly’s Sunflower Sisters, Shaunna Edwards and Alyson Richman’s The Thread Collectors.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Sweeping, painterly descriptions give color to Schütz’s new world, and, though he hints at some intriguing backstory—a mention of meteoric destruction and human experiments after the fall of man—it serves as more of a teaser than a fully developed narrative arc. The worldbuilding is ambitious, exploring different folk practices between cultures, and the characters will be familiar to seasoned fantasy readers. Wide-eyed innocents Georg and Hollin face cruelty at the hands of their captors, while Aylon serves as a somewhat impressionable, curious woman whose inner monologue delivers revelation about Schütz’s mystifying world. Aylon’s stone-faced traveling companion Goonta beats a steady, if inscrutable, rhythm in the story’s background, a quietly powerful presence who proves invaluable to Aylon’s mission, but the spritely Bahree and enigmatic tracker Sheela are perhaps the strongest of the ensemble.
Some stiffness in the prose and long passages of dialogue at times slow the story’s flow. Schütz’s talent truly shines when he explores the inner workings of this imagined future and how this catastrophic event—known to all characters as the Destruction—has made its mark on the landscape. That, combined with a cracking cliffhanger ending, sets this series off to a hopeful start.
Takeaway: Ambitious fantasy series starter boosted by vivid worldbuilding.
Comparable Titles: Evan Winter, Tyler Whitesides.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: B-
Blending metaphorical story-telling and biographical narrative, Somewhere/Not/Here engrosses with coming-of-age angst, building on themes of friendship, love, and identity, as Goblin Queen searches for both Wisdom and Truth. (“We all felt we were running a bit short of it lately” she writes.) The characters are larger-than-life, with a Techno-Witch who sells "moody brooms" and spells, a punk-faerie sporting a heart that’s “cracked down the middle,” and a host of reformed well-knowns from beloved fairy tales, including a Wolf who takes a side trip to New York City with Goblin Queen—and tempers his people-eating tendencies with the big city restaurant scene.
Rife with complexity, play, and a sense of poetry, Somewhere/Not/Here drapes heavy themes with fantastical hoodwinkery, as the Goblin Queen references her “all-chemicals,” those “real magic potions – wondrous, dark, and delightful” that guide her “along the edge of reason” and flits through musings on why “Reality is turning out… to be not quite so boring a creature as I had thought.” What starts as a search for acceptance and love transforms into a deep understanding of the person reflected back in the “Magick Mirror,” an enchantment that is more therapist than looking glass. Readers up for the ride will be spellbound by this twisty, witty, and, above all, vulnerable fantasy.
Takeaway: A trippy, spellbinding quest for belonging and self-acceptance.
Comparable Titles: Francesca Lia Block's Psyche in a Dress, Melanie Karsak’s Curiouser and Curiouser.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: B+
Brookhouse (author of How It Was) infuses this novel with creative richness as the enigmatic characters exude an air of loneliness, all while housed in a picture-perfect castle. Theo encounters the promiscuous Martha, who still has imaginary friends well into her teenage years, and whose sexual overtures often challenge him; Milo’s unhappy wife Calla, who yearns for the long-lost intimacy of her marriage—and hopes to find it in Theo; and the reclusive writer Milo, who, at the fall of his literary fame, lives more in his typewritten fantasies than in reality. Theo’s search for truth coincides with the plot of Milo’s current work in progress, as Brookhouse succinctly introduces a story within a story—one that draws parallels to the family’s disarray and casual infidelities.
While the goal of coaxing Martha to be baptized by the outside world takes center stage, much of the novel’s strength lies in something deeper implied to have been lost—perhaps happiness, love, or the permanence of both. As Martha reflects that people outside her castle walls “loved one story, then cast it aside and loved another. They loved a person, then cast the person aside and loved another,” readers will catch the glimmer here of something as equally meaningful and tragic as Theo’s central mystery.
Takeaway: A quest for substance in a dysfunctional family, with a sensual twist.
Comparable Titles: A.S. Byatt’s Possession, Kate Morton’s The Forgotten Garden.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
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Lockwood’s recollections of her childhood memories as an adult are powerful, wrought in her careful tracing of her mother’s medical history—including researching common schizophrenia treatments of the era—and attempt at reconciling with her brother, all in hopes of framing her younger years against a desperate “search for truth.” Her mother’s poetry—written before the disease, and its treatments, become too overwhelming—helps with that search, and Lockwood quotes her musings often: “After our long cold winter days, // How we welcome each spring! // All life throbs and wakens now” her mother pens of their early time on the ranch.
The beauty and excitement of living on Sky Ranch is eloquently rendered in Lockwood’s narrative, with the thread of natural beauty—and the close animal relationships that went along with that—layered against the acknowledgment of her mother’s illness—and the challenges it raised for herself and her family. Lockwood’s grief when she watches her mother sink into depression and lose her joy is palpable, a heartbreaking reminder of the toll that mental illness can take on its victims and their loved ones. As much a love letter to her family ranch as a tribute to her mother’s arduous and painful journey, this stunning memoir will transfix.
Takeaway: Moving homage to ranch life and the impact of mental illness on family.
Comparable Titles: Patrick Dylan’s Safe, Wanted, and Loved, Karen Comba’s The Snipers We Couldn't See.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Leslie crafts this delicate coming-of-age fiction debut with gentle care, portraying Frankie as a talented dreamer yearning for someone to appreciate—and nurture—his inner light. That person comes in the form of an unusual teacher in his Catholic school, Ms. Mary, who’s offbeat, welcoming manner makes her stand out—and gives Frankie the chance to blossom under her warm guidance. Mary encourages Frankie’s dreams of being a filmmaker, gifting him the opportunity to share his script at the Christmas Nativity play, and opens Frankie up to profound reflection on who he is, as Mary reflects that “God is love, so God can’t and won’t do anything else. It’s you that needs to love you.”
Mary’s compassion and tenderness are the perfect catalyst for Frankie’s transformation and help him find the inner strength to come out to his family—and to himself. Frankie’s journey comes with its own hurdles, of course, but Leslie keeps the focus on the feel-good results that Frankie’s bravery and authenticity produce. Coming into his own allows a deeper connection with his family, promising new relationships, and, above all, Frankie’s revelation that “you’ve got to have the courage to follow [your] dream[s].”
Takeaway: Tender coming-of-age Christmas story, with plenty of heart.
Comparable Titles: Drew Ferguson’s The Screwed Up Life of Charlie the Second, Steven Salvatore’s And They Lived….
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: B
Marketing copy: A
Radiant Achievement blends uplifting, at-times mystical self-help bromides (“Our inner voice connects us with our soul, and its messages guide us to live our purpose”) with clear, actionable steps for finding success, happiness, confidence, and more in life. Drawing on her own story of personal transformation, Howard encourages women to develop the “powers” that they already possess, like Inner Listening, Self Reflection, and the “full-body yes” of commitment, with a rousing emphasis on centering one’s own dreams rather than those of others—and doing so even when it’s uncomfortable. Howard urges readers to break from comfort zones, to embody their own self-worth, and perhaps most crucially escape old mindsets and patterns to achieve new things.
While terms like “soul” can be vague and some of the advice is familiar, Howard offers clear-eyed, pragmatic advice throughout for syncing up one’s values and drives with achievable ambition. Howard writes with nurturing warmth but also many focused exercises and a sure sense of the potent takeaway, that seed of truth that can perhaps, with care, grow into change. Readers looking for a brisk, heartening introduction to self-transformation will find much here that inspires.
Takeaway: Welcoming guide for igniting the self-transformational radiance of women.
Comparable Titles: Jamie Kern Lima’s Worthy, Brianna Wiest’s The Mountain Is You.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
Building his memoir from ”glad I dids,” Coash provides inspiration at the expense of introspection, exploring, with insight and wit, how places like Nebraska prepare residents to succeed in the wider world. He expresses gratitude that loved ones don’t question his life decisions, preferring to avoid emotional discussions even if it means dealing with consequences on his own. Coash also doesn’t identify as a workaholic, but he uses work to both mask insecurity and smother pain, especially concerning his mother, another native of small town Bassett who fled for a bigger life. She functions as a cautionary tale: someone who remade her identity to fit a desired future. Her equally restless son would keep his options open.
Nominally a coming-of-age memoir, Running Naked is even more than the story of making of an accidental politician, someone determined to make a difference. Coash was elected to the Nebraska State Senate in 2008, and rallied his fellow Republicans to abolish the death penalty (his vivid account of the “ugly” atmosphere outside the penitentiary during an execution begins to explain why). In an election year when politicians are seen as cynical attention mongers, Coash’s frank account of the struggle to find his career path—and become a trustworthy man—will resonate with readers eager for a positive narrative about the call to public service.
Takeaway: Optimistic memoir of falling into politics after coming of age in rural Nebraska
Comparable Titles: Tom Brokaw’s Never Give Up, Cheri Register’s Packinghouse Daughter.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-
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Mallory’s eccentricity makes her a target for ridicule, and her attempts to confide in her parents fall flat as they dismiss the voices in her head as her imagination. Through this unnerving narrative, Zuiweta effectively wills Mallory's torment to her advantage, revealing a neglected and abused child whose cries for help often go unheard. Each betrayal deepens her wounds, turning her into a ticking time bomb—“Cadence won’t like that,” Mallory replies when a pastor’s daughter asks pressing questions—that is primed to explode. The betrayal of those she considered friends sabotages her capacity to trust, twisting her into a cynic. She is forced to be her own hero, even if it means becoming a monster.
With an emphatic eye revealing Mallory's chaotic internal world, Zuiweta excels in showcasing nuances of how people can fail an innocent, suggesting that this is how a serial killer is made, not born. The result is a hair-raising tug-of-war between good and evil, conscience and retribution that challenges readers to feel for and understand the young killer without necessarily justifying her actions. A satisfying yet unexpected ending will leave lovers of dark suspense yearning for the second installment.
Takeaway: Gripping coming-of-age thriller of trauma, neglect, and a murderous alter ego.
Comparable Titles: Zoje Stage's Baby Teeth, Oyinkan Braithwaite’s My Sister, the Serial Killer.
Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A
Levin sets this story of a woman scorned in the mind 1990s, the dawn of the digital era, when “E-mail was a novelty few used, at least in England.” Janie must adapt to the new technology in her quest for revenge. Samuel’s correspondence with Alison is old-school, letters in which the pair address each other with real yearning, with Samuel’s sincerity somewhat undercut by what readers may interpret as Levin’s satiric bent—despite his elaborate wooing of the respondent to his own personal ad, Samuel is surprised that love letters and dates lead to love making.
Chapters from Janie’s perspective pulse with justified bitterness, creating a tense, engaging contrast that powers the plot. She is no fool and refuses to let any make her a caricature of the abandoned aging ex. Deep concerns of reputation, deftly captured by Levin, motivate both leads throughout, which makes the muted reaction to the breakup from daughter Hannah a telling, relatable detail. Despite the title and the power of Janie’s anger, the letters and the love story overshadow the story’s most compelling element: Janie’s rage at betrayal.
Takeaway: Human story of love, betrayal and retribution, at the dawn of the digital era.
Comparable Titles: Fay Weldon, Elizabeth Berg.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-