This weeks Literary Ledger 14 to 21 November 2025

Welcome to your weekly roundup of all things books! We’re keeping it short and sweet, just five stories to keep you in the loop without overwhelming you. Think of this as your quick fix for staying connected to the book world.

I) Leadership Shake-Up at WH Smith Following Deloitte Report

Carl Cowling, CEO and board director of WH Smith (recently rebranded as TG Jones), has resigned following an independent Deloitte review. The company is now searching for a new chief executive.

The review, released on 18 November, found “insufficient systems, controls and review procedures for supplier income across commercial and finance functions.” It also highlighted inconsistent accounting practices within the company’s North America division. The investigation was launched after an accounting error that wiped millions from the company’s profits and caused its shares to tumble.

Cowling has addressed the situation directly, saying: “I recognise the seriousness of this situation and as Group CEO feel it is only right that I step down from my position. It has been a privilege to lead WH Smith for the past six years.”

II) AI and the Future of Writing: Creatives Speak Out”

There’s a growing fear among novelists, with 51% of published UK authors believing AI could eventually replace their work. This comes from a new Cambridge University report, carried out by the Minderoo Centre for Technology & Democracy. Even more worrying, 59% of writers said their work has already been used without permission or payment to train large language models (LLMs). It’s a huge copyright concern, and many authors feel exploited as a result.

This is exactly what creatives in the UK were anxious about when Donald Trump visited with major tech figures to discuss AI investment, the sense that the creative arts could be pushed aside or threatened. With AI expanding so quickly, it’s incredibly difficult to set firm boundaries or establish meaningful protections around something so fast-moving and unpredictable.

Every time I hear about AI, I feel torn. Of course it’s helpful and an incredible development, but when it comes anywhere near dismantling creative work. or being used as a cheap alternative that takes opportunities away from people who spend years perfecting their craft, I can’t support it. Creatives absolutely have a reason to be worried. Maybe I’m naive, but right now AI still can’t do what humans do when it comes to making good literature. You can tell when something has no heart in it, it feels flat and personality-less.

Whether I’ll be able to say the same in the future, once AI has developed even further and we keep pouring time, energy, and money into it, I honestly don’t know.

III) Science Fiction & Fantasy Sales Soar as 2025 Promises Even More Growth

Unsurprisingly, Science Fiction and Fantasy had its biggest year on record in 2024, with sales reaching just under £84 million. In 2025, numbers are only expected to rise, with NielsenIQ reporting £79.9 million in sales so far. Romanasy is partly responsible for this boom, with authors generating huge revenue, for example, Rebecca Yarros’s Onyx Storm sold 296,581 copies, bringing in £4.4 million that year.

When it comes to classic fantasy, older, historically dominant authors are now less central to sales as opposed to the romantasy genre. A prime example is SenLin Yu’s Alchemised, published on 23 September, which became one of the biggest SFF debuts of the year. Interestingly, it began as a piece of fanfiction, showing just how much the landscape of fantasy publishing is evolving.

IV) Big Changes at Little, Brown Books for Young Readers

Little, Brown Books for Young Readers (LBYR) has implemented several strategic changes to its editorial operations, including the launch of a new boutique imprint and the creation of two distinct editorial groups.

Alvina Ling, currently VP and Editor-in-Chief for the division, has been named VP and Publisher of another, as-yet-unnamed imprint. Details about the imprint (including its name, logo, and launch list) will be announced next year.

The LBYR editorial team will now be divided into two groups: one focused on Young Readers (ages 0–12) and the other on Older Readers and Upper Nonfiction (12+).

LBYR has also hired Erin Berger, a veteran children’s publisher, who joined on 10 November as VP and Publishing Director for Young Readers. Meanwhile, Lisa Yoskowitz, formerly VP and Executive Editorial Director at LBYR, has been promoted to VP and Publishing Director for Older Readers.

V) Hunger Games: Sunrise on the Reaping: Trailer Reactions

On 20 November, the official teaser trailer for The Hunger Games: Sunrise on the Reaping dropped, and boy, am I excited! The film is set to be released on 20 November 2026, so we’ve got a whole year to wait.

First thoughts: I’m always a bit biased when it comes to the Hunger Games franchise, so shoot me! But here’s what I think. Glenn Close as Druisilla looks incredible, both unrecognisable and exactly how I imagined her. Just from her entrances and her few lines, it’s clear she’s going to fully embody the role. Portraying someone as unhinged and peculiar as a selfish, brainwashed Capitol citizen isn’t easy, but she seems to have nailed it.

The arena looks incredible, and I’m so intrigued to see how it will make me feel in terms of apprehension and fear. In all the previous Hunger Games arenas, the settings weren’t “dazzling” or light, which made you feel a deep sense of dread and discomfort. This time, however, it has rolling hills, vibrant flowers, and is bursting with colour. I obviously know what’s lurking behind that beauty, but I’m really curious to see how it will feel in contrast to the previous arenas.

Just looking at the sheer number of tributes is terrifying. If 24 tributes already felt intimidating, 48 is absolutely insane to think about. Seeing them all standing on their podiums is even more alarming.

The numbered countdown? Absolutely brilliant. It works perfectly, especially evoking a different era of the Hunger Games setting. Snow’s 10th Hunger Games had a post-World War II Reconstruction feel. Haymitch’s era carries a 1980s vibe, reflecting a cyclical history, with styles and trends resurfacing over time. Overall, the visual aesthetic they’re establishing is great: it maintains the iconic look of the series while heightening the tension, fear, and anticipation that define the Games.

Snow looks fantastic. Ralph Fiennes is an absolutely brilliant choice. I love him, and he’s perfect to slot in between Tom Blyth and Donald Sutherland. The same goes for Jesse Plemons, such a strong casting choice. The casting is insane. I just wish the team behind Hunger Games was in charge of all adaptations. That said, I do have a few qualms…

The clothes look too processed, modern, and cheap. I’m not overly impressed, everything feels a bit too clean. Especially compared to the first time we see Katniss in The Hunger Games and her home in District 12, where the characters looked worn, poor, and realistically gritty. In the short clip I saw (and I know that’s not much to go on), everyone just looks too polished. The close-ups of Lenore Dove and Haymitch, for example, why are they glowing and dewy? I’d love it if they looked a bit rougher, a bit stinky, like they're in poverty...which they are.

I also don’t like the flint. It’s so much bigger than I imagined and looks a bit too clunky. Unlike the Mockingjay pin, which is sleek and simple, the flint with its rainbow ombré isn’t great to look at. I know that’s how it’s described in the book, but we didn’t seem to mind changing Haymitch’s brown hair, so for aesthetic reasons, I wish it had been handled differently. Apart from that, though, very exciting!