This is a strong fantasy, and I can absolutely see why it’s considered such a king in the genre. The writing is really  good, rich, immersive, and clearly very well thought out, especially when it comes to the politics of Buckkeep. I haven’t really dabbled in political-heavy fantasy before, but I can appreciate how well it’s done here. We follow Fitz, a royal bastard, from six to about fourteen, and somehow it doesn’t feel like there are big time jumps at all. But this is  a very slow book, and I think that’s where it lost me a bit. I just wasn’t prepared for that pacing, and I was ready to be obsessed. I also couldn’t fully get a grip on Fitz, he felt quite bland to me, especially compared to characters like Burrich and the Fool, who completely carried their scenes. There’s barely any action until the last 100 pages and it doesn't pay off in the end. That said, there’s still so much to admire here. I’m definitely continuing the Farseer trilogy, I just hope Fitz gets more interesting as he grows.

I really enjoyed this, mainly because the plot twist genuinely caught me off guard, something that doesn’t happen often, even with books that promise it. While I do think the twist slightly masks the novel being otherwise quite average, I was still fully invested, especially in the final stretch where I couldn’t put it down. That said, I often find with thrillers that the focus on shocking the reader comes at the expense of stronger writing. The prose here felt quite basic, though I was willing to overlook that because of how engaging the story was. The structure, however, was clearly well thought out to pull off such an effective twist. I did notice some oversimplification in its portrayal of mental health and the psych ward setting, which felt a bit unrealistic. Overall, I’d say it’s absolutely worth reading, but largely for the twist. It’s a fast, gripping read, even if it doesn’t hold up as strongly under closer scrutiny or after reading others’ reviews.

Hello! This is my bi-weekly update on publishing. I hope you haven’t missed me too much, but here I am again with another catch-up for all you wonderful people who are dying to get into the industry just as much as I am. So, without further ado, here’s another segment of the blind leading the blind! Nothing too urgent to report, which is why this update has come a little late, I hadn’t had much going on with my journey into the industry for a while. I’ve only just started applying for publishing jobs again since my temp role ended (and I’ve learned that taking breaks when things get difficult is sometimes necessary). That said, I do have some news. Before the Christmas break, I shared a list of people in the publishing industry with my mentor who I felt could offer invaluable advice. They ranged from directors and heads of departments to talent acquisition professionals, freelancers, and assistants across editorial, marketing, recruitment, rights, and more. She very kindly reached out through her own connections to help put me in touch, and some of those names have come back to me. Hopefully, once I reach out, I’ll be able to arrange a few one-to-one conversations, widen my circle, and feel more involved than I usually do. It’s not necessarily a foot in the door, but you never know what might come of something. You have to have a little faith in the process. It’s easy to dismiss something before it’s even had the chance to blossom. My mentor also mentioned that January has been unusually quiet, which honestly gave me some comfort. A lot of people are struggling to hear back from applications, even those at higher levels, so it helps to know it’s not just me. Having someone on the inside who can guide you (or even just put your mind at ease) makes such a difference. And to all my lost bookworms, Stay Steadfast x

I recently had a meeting with my mentor, and we covered a lot. The SYP mentorship has been incredibly valuable, not only in terms of guidance, but also for opening doors and helping me make meaningful connections. Even though it might feel like a small step, the publishing industry is very close-knit, so being introduced and recognised really does matter. I shared a list of people whose careers I admire and who I felt would be helpful to speak with. In response, my mentor kindly connected me with two professionals who are doing very well in the industry: a Senior Talent Acquisition Manager and an Editorial Director. Both have generously offered to give me some of their time and share advice on anything I might need help with. Here are the key topics my mentor and I discussed before the meetings: How to write an email to someone you want to connect with Key elements to include: A brief introduction (who you are) How you found them / the connection Why you’d like to speak to them specifically A clear, polite ask (coffee or virtual chat) A time frame + your availability Example: Hi (Their Name) , I hope you’re well. My name is (Your Name) , and (Name of mutual contact) kindly shared your details with me as part of the SYP mentoring scheme. Thank you so much for agreeing to connect, I really appreciate your time. If no mutual contact: I discovered your profile while researching careers in publishing and was keen to get in touch. Thank you very much for taking the time to read my message. I wanted to contact you because I find your career path into publishing, and your work at (company/imprint) , particularly inspiring. I am currently working towards a career in the publishing industry and would love the opportunity to gain some insight from someone with your experience. It would be incredibly valuable to learn from you and hear about your journey. If you would be open to it, I would love to meet for a coffee in the coming weeks. If your schedule is busy, I would also be very happy to arrange a short virtual meeting instead, whatever works best for you. Please let me know if this might be possible, and I will happily work around your availability. Thank you again, and I hope to hear from you soon. Warm regards, (Your Name) How to prepare before a meeting Beforehand: Read their LinkedIn profile carefully Learn their career path, role, and company Prepare questions that only they  could answer Strong question prompts: “Have you noticed any common mistakes that candidates make that aren’t obvious to them?” “What parts of your job are hard to see from the outside?” “What did you not realise about this role until you were in it?” “What skills or qualities do you feel are most lacking in applications?” Prepare a range of questions so the conversation can flow easily, whether the meeting lasts 10 minutes or an hour. After the meeting Within 24–48 hours: Send a short thank-you email Mention one specific thing you found interesting or helpful If it feels appropriate, add them on LinkedIn with a short note. This helps you stand out and keeps the connection warm. Example: Hi/Dear (Their Name) , Thank you so much for meeting with me today, I really appreciate you taking the time. Your advice was incredibly insightful, and I found it especially valuable to hear so openly about the realities and culture of the publishing industry. Being welcomed into that conversation meant a great deal to me. I also really enjoyed our discussion about (topic you discussed) , particularly (what you explored about it) . Hearing your perspective helped me rethink my own understanding and gave me a new way of approaching (why it was meaningful or useful to you) . Thank you again for your generosity and openness. I would love to stay in touch, and I hope our paths cross again in the future. Warm regards, (Your Name) Keep your mentor in the loop (if they helped you make the connection) It’s good practice to update your mentor when you contact someone they introduced you to. This shows professionalism, gratitude, and respect for their network. Let them know: Who you contacted Who responded What you discussed  and any key takeaways What came from the conversation  (advice, opportunities, next steps) This is especially important when you are using contacts they have shared with you, as it helps them continue to support you and advocate for you effectively. And to all my lost bookworms, Stay Steadfast x

I’m writing this one quite late because… wow, a lot happened. To go through it all: I had meetings with both connections, the Senior Acquisitions Manager and the Editorial Director, and it was brilliant. Even just talking to them makes you feel so much closer to the whole process. It’s nice to feel like you have people on your side, or at least “seeing” you. Its progress, especially when most of the time it feels like you’re wading through mud while everyone else is in a first-class seat on some bougie aircraft, or at least in economy. At this point, I’d even take a makeshift raft and a paddle. I also secured a volunteering role at the London Book Fair 2026, which I’ll be able to write about soon. I’m really happy and grateful for the opportunity. And on top of that, I got an interview for a bookseller role at my local bookshop, and I didn’t get the job. When I walked out, I almost knew  I hadn’t got it. But you always carry a little bit of hope with you. The interview didn’t go the way I expected at all. It felt random, and the process wasn’t what I had imagined. I went in thinking they would ask direct questions that I could give direct answers to. Instead, it was very conversational. Normally, I’d think that would be better, but not when you aren’t prepared for it. We barely spoke about the things I thought we would. I didn’t feel like I was given a clear opportunity to show what I know or what I could offer. It felt like I was supposed to casually take control of the conversation and slip in what I had prepared, but then it felt like I was commandeering  the conversation. I just needed it to be more transparent than that. Of course, asking about my life and who I am is important, and I appreciated that. But that chat didn’t seem to stop. I felt like she knew me , but not what I had to offer. I kept waiting for the moment where I would be asked outright… but the questions circled around it instead. At the time, I couldn’t tell if that  was my chance. Now, after not getting it, I can see that of course it was. But when you’re nervous and desperate, it doesn’t feel that clear. I think it was the pressure. In my other meetings, everything felt lovely and natural and easy. This interview just wasn’t straightforward, and that threw me off. It also made me think about people who are neurodivergent and have to do interviews like this. The world doesn’t follow the way their minds work, so trying to decode what people really  want must be exhausting. I know it’s a learning curve. But this one really hurt. This job would have meant so much to me. It would have been a huge stepping stone. People say rejection is redirection, but the hardest part of this redirection is that I can’t see where it’s leading. At least with that job, there was a path. Now I feel like I’m back in the mud. ANYWAY! I got to take notes with the Senior Acquisitions Manager, and we had a long conversation, so I was able to get a lot out of her. I wanted to jot it down to look back on later, so here’s the info I captured: She had quite an unconventional journey into publishing . She studied fashion at university and spent a year as a fashion advisor for Chanel, thinking that’s what she wanted to do. It was only when she was scouted by a recruitment firm that she surprised herself, gave it a try, and discovered she was really good at it. After a long and successful career in recruitment, her move into publishing happened by being scouted by HarperCollins UK. She loved reading, of course, but it was really the recruitment side of things that drew her in. What I took from this is how important it is to take risks and sometimes go where life takes you. It can lead you somewhere you never expected, but often turn out even better than your original plan. It would be hard, and probably unnecessary, to follow her exact footsteps. Everyone’s story is unique. But her path does remind us, especially during periods of uncertainty or unemployment, to stay open-minded. Sometimes we have to accept opportunities even if we don’t immediately see the benefit. You never know how it might work out in your favour down the line. We spoke about AI , which she said seems to be in almost every conversation these days. In her line of work, it comes up a lot, not just because HarperCollins uses AI to sift through the first batch of applicants, which can be 500–800 or more, but also because people are now using it in their applications. This, in turn, increases the number of applications companies have to process. AI is initially used to flag work that’s been copied word-for-word from AI. She said it’s hard to predict how the company will move forward with AI, since it’s still so new and constantly evolving. It can make things both easier and harder at the same time. Good applicants and strong applications can easily get lost in the noise. People who finally land a job often mention it took dozens of applications to get accepted, which seems unbelievable, but when you’re dealing with hundreds of submissions, it makes sense. After that initial filtering, everything else is very personal and face-to-face. But let’s be honest: AI may have sped up the application process, but it hasn’t made it easier. It’s raised the stakes and expectations, and the chances of being noticed are lower, or you might be mistakenly flagged as using AI even if you didn’t. There’s no foolproof system for something that’s inherently personal. Unfortunately, we have no choice but to adapt and evolve, or risk being left behind. I hate that idea, but I’m not in a position to fight it. I asked her, “What’s a question you wish people asked for advice but never do, and what would your answer be?” She didn’t really have an answer for what she never  gets asked, but she did mention a question she always gets asked in interviews and doesn’t like: “Can you tell me about a typical week in your role?” Funny enough, that was actually one of the questions I had written down in my notes… until I quickly backspaced it into oblivion. Her reasoning made sense. During an interview, or even before, the application usually explains your role and what you’ll be doing with the team. That’s something you should have read and understood in full. In a first-stage interview (usually half an hour), they’ll also spend some time explaining the role. So at the end, to turn around and ask essentially what you should already know  and what they just told you  doesn’t look great. It also doesn’t lead to an inspiring conversation. Instead, you want to ask questions that show a bit of yourself, spark a dialogue, and create something shared. At least, that was my impression. I asked her, “Have you noticed any common mistakes that candidates make that aren’t obvious to them?” She said it mostly comes down to the basics: turning up late, having an online interview in a public or distracting space, or not showing much passion and rigour. You’d be surprised how many people don’t follow basic interview etiquette, and first impressions really are everything. The takeaway seemed to be: focus on the big “no-nos.” If you control the obvious things, the rest tends to follow. If your heart is in the right place, you can show yourself immediately as a deserving candidate. We also spoke about whether there are certain months or periods when more roles tend to be advertised . She thought there might be, but was surprised when they looked at the data, it proved otherwise. The only exception is that summer tends to be quieter but aside from that, it’s pretty consistent throughout the year. So, it’s not really something applicants or recruiters can rely on or strategise around. This one was interesting: I asked, “What’s something people often do when trying to connect with you that you find a bit off-putting?” She said it’s when people apply for a job, then email her directly, connect with her on LinkedIn to let her know they’ve applied, and then follow up a week later with another email. She understands why people do this, it’s tough out there, and everyone wants to stand out. She even commends the effort. But, she explained, it’s actually misplaced. It doesn’t help you get the job, because she and her team have processes in place. For HarperCollins, at least, you’ll always hear back through the proper channels when your application has been reviewed. Going “the extra mile” by emailing her directly doesn’t speed things up, it just bypasses the system that’s already set up to ensure fairness. I asked, “What’s your favourite memory from your time at HarperCollins?” She said it wasn’t exactly a single memory, since she’s only been there four years, but a proud moment was when she set up the Open Day, which I actually got to attend, so it felt like a full-circle moment to meet the person who organised it. She said it was rewarding to create an opportunity for people who want to get into publishing but haven’t been able to “crack it” yet. It gave attendees momentum and was generous, because unless you have an internship, work experience, or a job there, opportunities like that are rare. I thought it worked really well, and I completely agree. She mentioned that there are five key things interviewers look for: Communication style – How do you communicate with people, especially if working from home? Relationship building – How do you build relationships internally, across divisions? You can give examples from work or even university group projects (stakeholder management). Attention to detail – How do you make sure your work is accurate? For example, getting someone to check your work, or stepping away and coming back with fresh eyes. Prioritisation – In a busy environment, how do you prioritise tasks? Anything that affects other people’s deadlines should come first to keep things running smoothly. Handling things going wrong – Tell me about a time when something didn’t go to plan. For an initial interview at HarperCollins, the first stage is always around 30 minutes, which can feel very short in the moment. Her advice is to be aware of the time and avoid spending too long on any single question, because you might be moved on before finishing. Be balanced with all your answers. Finally, one thing people don’t always realise is how business-heavy publishing is . Even if an idea is amazing or completely different, if it doesn’t seem likely to perform well in the market, it probably won’t happen. Many decisions are based on data and sales, which means publishing isn’t as risk-driven as people might think. And to all my lost bookworms, Stay Steadfast x

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) British Book Awards 2026: Library of the Year Finalists The British Book Awards 2026, aka the Nibbies, have revealed their regional and country finalists. These aren’t the overall winners just yet; they’re part of the earlier stage, where regional winners are selected before one national winner is ultimately chosen. This announcement is part of a wider rollout of shortlists across multiple categories (including bookshops and small presses), which are being revealed throughout February and March 2026. It’s also worth stressing that this category isn’t actually about books, it’s about libraries as community institutions. Judges tend to focus on things like community engagement, innovation, accessibility, diversity, and overall impact on local readers and literacy. What makes these awards so special is that they celebrate the entire book trade, publishers, bookshops, libraries, and more, not just authors. The ceremony itself will take place in May 2026 in London. II) Nadiya Hussain Speaks Out After Career Shifts and Rooza Book Release Nadiya Hussain, winner of The Great British Bake Off  in 2015, has been in the UK news recently, and for what feels like three interconnected reasons. Firstly, her cooking show was dropped by the BBC. A spokesperson said: “After several wonderful series, we have made the difficult decision not to commission another cookery show with Nadiya Hussain at the moment.” Following this, she made a surprising career change, stepping into a role as a teaching assistant in a school. However, just three months later, she left the position, saying it had “played havoc with her health” due to her weakened immune system. More recently, she has spoken out about feeling less supported by major institutions, particularly the BBC, after the release of her Islamic-focused cookbook, Rooza: A Journey Through Islamic Cuisine , which centres on Ramadan and Muslim food traditions. From her perspective, earlier in her career she was seen as more “mainstream” or “universal,” but once her work became more explicitly tied to her Muslim identity, attitudes seemed to shift. That said, there are differing views within the industry. Some sources suggest her changing opportunities may have been down to factors like popularity or creative direction, with broadcasters making space for newer talent as audience interests evolve. III) International Booker Prize 2026 Longlist Revealed Thirteen books have been longlisted for the 2026 International Booker Prize, all works of fiction translated into English. The prize itself is worth a whopping £50,000, which is split between the author and translator. The 2026 longlist: The Wax Child  – Olga Ravn The Director  – Daniel Kehlmann The Nights Are Quiet in Tehran  – Shida Bazyar We Are Green and Trembling  – Gabriela Cabezón Cámara The Remembered Soldier  – Anjet Daanje The Deserters  – Mathias Énard Small Comfort  – Ia Genberg She Who Remains  – Rene Karabash On Earth As It Is Beneath  – Ana Paula Maia The Duke  – Matteo Melchiorre The Witch  – Marie NDiaye Women Without Men  – Shahrnush Parsipur Taiwan Travelogue  – Yáng Shuāng‑zǐ It’s a truly global and diverse list, both in terms of geography and subject matter, showcasing stories from across the world. Key dates to keep in mind: Longlist announced: February 2026 Shortlist (6 books): 31 March 2026 Winner announced: 19 May 2026, at the London ceremony IV) HarperCollins UK Announces Senior Sales Promotion A quick career update for anyone watching the UK publishing scene: Tom Dunstan, formerly Home and Digital Sales Director at HarperCollins UK, has been promoted to Group Sales Director. Dunstan has been with HarperCollins since 2011 and has steadily progressed through senior sales roles, making this a top-tier commercial position within the company. For those tracking rising leaders in publishing, he’s definitely someone to keep an eye on. V) Supreme Court Blocks Trump’s Global Tariffs – A Relief for Books Overseas news: the Supreme Court of the United States has ruled that Donald Trump’s global tariffs are unconstitutional, a bit of good news for the book publishing and printing world after a year of stress and uncertainty. The court said he’d gone beyond his authority. Publishers, printers, and booksellers spent much of 2025 bracing for these tariffs, even though books mostly escaped the worst of it. If, like me, you were a bit hazy on tariffs, here’s the gist: Lots of books are printed overseas, often in Asia, with paper, ink, and bindings sourced globally. Printing is chosen based on cost efficiency and scale. Tariffs made importing books more expensive, printing abroad less feasible, and costs across the whole supply chain shot up. With this ruling, publishers don’t have to worry about surprise import taxes, which makes producing books cheaper and more predictable. But don’t pop the champagne just yet. Trump could try another way to bring back tariffs. Hopefully, common sense (or the courts) will step in before anyone else suffers.

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) Alice Roberts’ Humans: A New Way to Understand Ourselves Alice Roberts is an English academic, TV presenter, and author. I first came across her on the BBC show The Secret Life of Books , where she featured in the episode on Frankenstein , speaking with experts and exploring Frankenstein’s manuscripts written by an 18-year-old Mary Shelley. I liked her straight away because of her ability to make anything feel interesting. I mean, I was already interested because I love Frankenstein , but there was something more about her, you can immediately see why she’s such a strong TV presenter. Anyway, I was really glad to hear that DK are set to publish a “groundbreaking” new book of hers, Humans . It’s being marketed as a popular science book about the human body and humanity more broadly, which makes perfect sense given that since 2012 she has been Professor of Public Engagement in Science at the University of Birmingham. From what I understand, the goal is to create a comprehensive but engaging guide to what it means to be human, rather than a narrow scientific textbook. It doesn’t just focus on one major discovery, but brings together multiple areas, anatomy, evolution, archaeology, and anthropology, into one accessible volume. I’m not a particularly “science” person myself, but this feels like the kind of book I could read and come away transformed. II) London Writers Awards 2026: Celebrating New Voices The London Writers’ Centre has announced the new cohort of writers selected for the 2026 London Writers Awards. If you’re not familiar with the Awards, as I wasn’t at first, don’t worry, I’ve got you. They’re a prestigious UK development programme for unpublished or unagented writers, with a special focus on supporting writers from underrepresented backgrounds in publishing. The programme runs for about 10 months and is completely free to attend. This year, twenty-three writers have been chosen, with their work described by the judges as “astonishing.” So, what’s in it for them? Well, they get regular feedback workshops to develop their manuscripts, masterclasses with authors and publishing professionals, industry access (agents, editors, publishers), and their work shared with hundreds of agents at the end of the programme. Not bad at all. And the track record is impressive! Many alumni have gone on to secure agents and book deals, proving that the Awards are genuinely helping to make UK publishing more diverse and accessible. III) Hachette UK Hits Record Revenue in 2025 Hachette UK had a “record-breaking” year in 2025, according to results released by its parent company, Lagardère, with revenue growing 3% year-on-year. I know what you’re thinking, and so did I, that doesn’t sound like much. And you’re right, it’s not explosive growth. What it does show is steady year-on-year growth, even if the increase itself is modest. This tells us two things: publishing isn’t collapsing, despite economic pressure, but it’s also not booming. It’s a steady, margin-sensitive industry, slow and careful growth is the new normal. IV) From Royals to Rights: Andrew Lownie vs Simon & Schuster Everyone’s talking about the Epstein files, and in the UK, the focus is now on “Prince” Andrew, especially after his recent arrest, on his birthday (class). He’s the first royal to be arrested since 1647, when King Charles I was taken by parliamentary forces and put on trial for high treason. Imagine that: a royal who is worse than the guy who sparked a civil war, and yes, he really is much, much worse than Charles I, and yet, in the centuries since, it seems almost impossible to hold powerful men accountable for monstrous actions. Hopefully something comes of this arrest and proves that no one is truly above the law… though right now, it’s hard not to feel skeptical. ANYWAY! This isn’t just a news outlet, and I’m sure you’re not here for my thoughts on royal accountability. Here’s how it relates to publishing: Author and literary agent Andrew Lownie is suing the US arm of Simon & Schuster for breach of contract. He wrote a biography about Andrew titled Entitled: The Rise and Fall of the House of York, which was supposed to be published in the US. According to Lownie, Simon & Schuster cancelled the book before release. He argues the publisher had committed to the book and then backed out improperly. The publisher did acquire the book and paid part of the advance, but then cancelled publication late in the process, which Lownie claims violated the contract. In publishing, contracts usually allow publishers to reject a manuscript if it’s deemed “not acceptable,” but that clause is often vague. Disputes like this arise when authors feel the clause is being used unfairly. Lownie is reportedly suing for around $500,000 in damages. Though interestingly, the biography was already published in the UK by HarperCollins. V) Sandy Rompotiyoke Wins 202 6 #Merky B ooks New Writers’ Prize I spoke about this a couple of weeks ago, #Merky Books, founded by Stormzy to increase representation in publishing, specifically for Black, Asian, and minority ethnic writers, as well as unpublished and unagented voices. As an imprint, they’re making waves this year by publishing one of the six Quick Reads: short, accessible books created especially for non-readers, people with short attention spans, neurodivergent readers, or those who may have fallen out of the habit of reading. Now, it’s been announced that Sandy Rompotiyoke has won the 2 026 #Merky Boo ks New Writers’ Prize with her title Hallowed Land. This prize is designed to discover unpublished writers, particularly from underrepresented backgrounds. The winner receives a publishing contrac t with #Merky Books, e ssentially launching them as a debut author.

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) From History to Books: Why I Might Finally Give Podcasts a Chance The Rest Is History , a history podcast (duh), is hosted by historian and author Dominic Sandbrook and author and translator Tom Holland. It launched in 2020 and now releases around 150 episodes a year, boasting millions of listeners and holding the title of one of the most successful history podcasts out there. Now, the production company behind it, Goalhanger (co-founded by Gary Lineker), is launching a new podcast about books called The Bookclub . Each episode is expected to focus on one book, with discussion and a “definitive ranking” of the work. It’s co-hosted by Dominic Sandbrook (of The Rest Is History ) and Tabitha Syrett, a producer on the show. Honestly, I’m a little surprised I wasn’t invited, clearly they haven’t heard of Spilling the Ink … (please know that I am being sarcastic) The episodes will cover both classic and modern works. I’m usually not much of a podcast person, either you’re a podcaster or you’re not. My dad is obsessed, and that gene clearly didn’t pass down to me or my siblings. But this might be the exception. After all, it’s a subject I’m genuinely passionate about… who knows? II) Penguin Random House Launches £150k Grant for Children’s Bookshops The National Year of Reading just keeps delivering! Penguin Random House has launched the Penguin Children’s Bookshop Grant, committing £150,000 to support independent bookshops across the UK. The grant is designed to help bookshops develop creative activities and programmes that make reading exciting and accessible for young readers. Who can apply: UK independent bookshops with a dedicated children’s section, where bookselling is the main source of income. Applicants can request between £1,500 and £5,000 to fund initiatives. Projects must be free for children, young people, and families to participate in. Applications opened in February 2026 and close at the end of March 2026. Successful bookshops will be notified in April, with projects taking place throughout 2026. III) Rising Stars: Bonnier Books UK’s Editorial Promotions to Watch Bonnier Books UK has announced several promotions within its editorial team: Kelly Smith – Promoted to Publishing Director at Zaffre (adult trade imprint). Previously Editorial Director. Ella Whiddett – Promoted to Editorial Director for Children’s Fiction. Previously Senior Commissioning Editor. Amelia Warren – Named Senior Commissioning Editor at Templar Books. Previously Editor. Georgina Kyriacou – Named Senior Commissioning Editor at Studio Press. Previously Editor. These are names to keep an eye on, they’re moving up fast, and in the tiny world of publishing, we’ll no doubt be hearing a lot more from them. IV) No New Books at Echo: Publishing Is a Business, After All More on Bonnier Books: the publisher is no longer acquiring new titles for its imprint Echo Publishing, effective immediately. Echo is a bespoke Australian imprint focused on books for the Australian and New Zealand market. Over the past five years, Bonnier invested in building Echo’s list to develop a sustainable local publishing programme. They’re not shutting Echo down entirely, but it won’t commission or buy new books moving forward. It’s a reminder that publishing is a business, if a department/imprint isn’t driving sales, it just won’t continue. V) All Style, No Substance: My Take on the 2026 “ Wuthering Heights” It feels like yesterday I was writing about my reaction to the trailer  for " Wuthering Heights" , when in reality it was all the way back in September 2025. Ah, how far we’ve come! I watched the film on Valentine’s Day, and after all this time since the trailer, I had low expectations, but even then, I realised I was being far too optimistic. As much as I tried to forget that this music-video–style adaptation is “inspired by” Emily Brontë’s classic, I obviously couldn’t. It was offensively bad in how much it debased the heart and core of the work. I am, and will always be, mad at the casting of Heathcliff. Honestly, it feels like since Saltburn , Emerald Fennell (the director) has had a crush on Jacob Elordi and just wanted to live out a personal fantasy. After all, she did say in an interview: “Like many people who love this book, I’m kind of fanatical about it – Everyone who loves this book has such a personal connection to it, and so you can only ever make the movie that you sort of imagined yourself when you read it.” Yes, she said that in response to questions about turning a " dark-skinned gypsy " into a white man. So, she was able to imagine the characters partaking in BDSM, but not “go as crazy” as to imagine Heathcliff as the colour he was written to be. She also admitted the adaptation reflects what her 14-year-old self thought of the book, which is both the laziest excuse and, honestly, something I don’t even want to delve into. Why was sadomasochism considered more important than the commentary on racism, which shaped Heathcliff’s upbringing and was such a central part of the plot? And the worst part? Realising that Edgar Linton was played by Shazad Latif, a person of colour. They race-swapped the characters, which should never  have happened. Now, the man Cathy is deeply in love with, who understands her more than anyone, is a white man. And the man who she could never fully love, the one she found irritating and indifferent towards… is the complexion we expected Heathcliff to be.  The characters are seriously underdeveloped. The montages we get feel like a desperate attempt to cover up the weak script and all the overall changes to the story. Their “ongoing tension” feels completely forced because we barely see the societal pressures keeping them apart. Even though I’d read the book, I kept watching the movie thinking, “Why can’t they just get together? What’s actually stopping them? It seems so easy…” And the chemistry? Nonexistent. Honestly, it felt like more effort went into selling their love in the press than in the actual film. By the time Catherine dies and Heathcliff is supposedly devastated, my eyes were bone dry, I wasn’t moved in the slightest. Oh, and Elordi’s wig in the first half? Rough. Another thing that really annoyed me was the age issue. I’m never one to say that women of a certain age can’t do something… unless that thing is playing a seventeen-year-old girl. Margot Robbie is thirty-five, so when I see her acting like an insolent, bratty, childish, spoiled teen, it just looks dumb. It doesn’t feel right, it feels infantilising, like watching a couple use baby talk on each other. Gross and weird. If you’re not a toddler or talking to a dog, stop it. But that’s exactly what we get: a grown woman pretending to be a teenager. If Emerald Fennell wanted that performance, why not just cast a younger actress, where the behaviour would make sense and require real acting instead of the forced affectation? This feels, frankly, like fulfilling a fanfic-style fantasy: Robbie is closer in age to Fennell than to a seventeen-year-old Catherine, so maybe the tale feels more tangible that way. The scene that really drove this home, beyond the fact that Robbie looks like she stepped straight out of the contemporary world after wrapping Barbie , is when Catherine accidentally walks in on a BDSM roleplay. She’s supposed to be shocked and horrified, as you would expect from a young girl seeing sex for the first time. But Robbie a grown adult, so no one is buying it. Even if she were a spinster in the late 18th century, she would likely have a basic understanding of sex. Especially given the environment Catherine grows up in: in the opening scene, she witnesses a hanging, hears boys joking about the condemned man’s erection, and reacts with exhilaration , she’s not prudish, shouting with glee when he dies. So why does Fennell insist on casting an older actress while demanding innocence and naivety? Is it somehow meant to be “sexier”? Who knows. Honestly, I doubt even Fennell knows.  Even the sex scenes between Cathy and Heathcliff felt surprisingly tame, which left me baffled. If the film is going to position itself as a psychosexual exploration, then go big or go home, and midway through that movie, it should have been me going home. It’s not that I wanted raunchy sex scenes; I knew from the start what I wanted from Wuthering Heights , and I knew that I wasn’t going to get it. But why sell the movie as some provocative, psychosexual charged story, if the actual sex is underwhelming? This might sound weird, and it’s not that I was bothered by the lack of nudity per se, but all the scenes between Elordi and Robbie were fully clothed and mild. And that’s fine. What isn’t  fine is that Fennel demands to take out all the substance and beauty of the book to satisfy some half-baked fantasy of erotic psychodrama… only to deliver something so disappointing. So she didn’t succeed in making Brontë proud by delivering a faithful, thoughtful adaptation, and she didn’t succeed at shocking us either, which seems to be her forte in perverse, erotic storytelling. So I’m left confused about what her intention was here. Don’t even get me started on Isabella, whose character is, of course, reduced to a sub who supposedly enjoys being abused by her husband, Heathcliff, and kept prisoner. It’s especially disappointing when a woman adapts her female characters this way, you want to expect better of them. Isabella also experiences horrific abuse from Heathcliff in the book, but she doesn’t enjoy it. She runs to London with her son to escape him. In this movie? Of course she apparently loves being treated like dirt, all because Elordi is too hot to resist, where even taking a beating becomes… desirable.

I really enjoyed this one. The pacing is brilliant, and I flew through it without a single dull moment. The concept is clever, and McFadden’s tone suits the thriller genre perfectly, sharp, direct, and built to create tension. What stood out most was how the main character experiences her dread and distress. When we’re scared or confused, our reactions are immediate, and the writing reflects that. It makes the story feel intense and urgent, as though you’re living it alongside the MC. I wasn’t completely shocked by the twist, but it didn’t take away from my enjoyment. The small clues and extra details kept me nervous and eager to uncover more, which made the payoff even more satisfying. The idea is original (and clearly strong enough to inspire a film adaptation). Although I usually gravitate towards more expressive, stylised writing , this genre doesn’t aim for that, so it isn’t a fair criticism. With only a small cast, the tight pacing keeps the story moving, and Millie’s voice, addled, disoriented, yet sharp, is perfect for the story.

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) The Gruffalo Returns: Meet Gruffalo Granny It has been over twenty years since the release of The Gruffalo  and its sequel The Gruffalo’s Child . Now, it has been announced that a brand-new Gruffalo book is on the way. Titled Gruffalo Granny , the news was revealed on BBC Radio 4. Interestingly, the series’ illustrator Axel Scheffler previously said he would never do another sequel, explaining that “it’s always a challenge to write a sequel”. However, this project has taught him to “never say never”. Julia Donaldson, meanwhile, said she has had the idea for almost two decades, but never quite found the time to write it. A first image of the new character will be released later on Friday by the publisher, Pan Macmillan. The timing feels especially fitting, as the book will be released during the National Year of Reading. Donaldson also said she was pleased that the Gruffalos would be involved in charitable activities to help reach more young readers, with support from the National Literacy Trust, who used the first two books as part of their Early Words Matter programme. II) Stormzy Brings Reading Within Reach Stormzy is backing a powerful new initiative designed to encourage people who don’t usually read to give it a try. His publishing imprint, #MerkyBooks (the award-winning imprint launched in 2018 and part of Penguin) is publishing one of this year’s six Quick Reads : short, accessible books created especially for non-readers, people with short attention spans, neurodivergent readers, or those who may have fallen out of the habit of reading. The title is Hunger Pains  by Derek Owusu, and it will be sold for just £1 in April alongside five other Quick Reads. At only 128 pages, it’s a quick and unintimidating starting point for anyone who struggles with reading. This is such a meaningful initiative. It doesn’t just say  it cares about people who find reading difficult, it actively removes one of the biggest barriers: cost. If someone already feels unsure about reading, they’re unlikely to spend money on something they see as a risk. By keeping the price so low, it removes that guilt and pressure. With the cost of living crisis, this feels especially thoughtful and aware from Stormzy and his imprint. They’re also going even further by launching audiobooks for the first time and donating half a million Quick Reads books to prisons across the UK, making reading more accessible than ever. III) AI Training at a Cost: Anthropic’s Proposal to Scan Physical Books Unredacted court documents revealed that Anthropic, the AI company behind Claude, had an internal plan to “destructively scan all the books in the world”, physically cutting up books to digitise their content for AI training. Books provide high-quality, long-form text that helps AI learn language, storytelling, and style. Anthropic bought and scanned large numbers of physical books, particularly those not easily available digitally. There are several concerns with this approach, as with much AI development: Copyright issues:  Scanning and ingesting authors’ books without permission can violate their rights. Loss of compensation:  Authors don’t earn royalties when their books are used in AI training datasets, even if the AI could generate text that competes with their work. Ethical concerns:  There are questions of consent and respect for creative labour. Destruction of physical books:  The “destructive scanning” process physically cuts up books, which can be upsetting if rare or valuable copies are involved. Cultural impact:  If AI models are trained heavily on certain sources without oversight, outputs can become biased toward those texts, and the public may lose access to the original works. IV) Hachette Relaunches with Three New Children’s Imprints Hachette Children’s Group, the children’s publishing arm of Hachette UK, has reorganised part of its operations by introducing three new imprints, marking a fresh start for the division. This change is being led by Ruth Alltimes, the new Managing Director of HCG. The move could help the group reach new audiences, establish distinct identities for different books or genres, and evolve their lists to support specific markets and editorial focus areas. The three new imprints are: Starboard  – middle grade TEMPEST  – YA/crossover Blyton Books - relaunched as a dedicated imprint within the group V) 2026 YA Book Prize: Call for Entries Now Open The Booksellers, in partnership with the Edinburgh International Book Festival, have opened submissions for the 2026 YA Book Prize, inviting entries of young adult fiction published in the UK and Ireland in the previous year. Eligibility: First published in print in the UK or Ireland between 1 January 2025 and 31 December 2025. Who can enter: Titles must be submitted by publishers. Self-published books and graphic novels are not eligible under the main prize rules. Shortlist & Award: A shortlist of around 10 books will be announced in June 2026. The winner will receive a £2,000 prize at the Edinburgh International Book Festival in August. The prize is designed to spotlight quality teen fiction, increase visibility for authors and titles, and encourage readership among young adults.

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) Sourcebooks Eyes UK Expansion Following DK Partnership Success Sourcebooks, a fast-growing independent publisher in the US, has enjoyed strong sales thanks to its partnership with DK, which began in 2019. Riding on this success, the CEO has stated that opening a UK office is inevitable to support further growth. While it’s still early days, the CEO has suggested that the future UK base could be co-located with DK’s space. II) London Book Fair to Move East: Olympia Out, ExCeL In With the London Book Fair coming up in March 2026, some unsurprising news has popped up. LBF, one of the UK’s biggest publishing events, has announced that starting in 2027 it’s moving from Olympia in West London to the ExCeL exhibition centre in East London, as part of a multi‑year deal. Organisers say the move is about finding a venue that can better support the fair’s long-term role as a major international event. ExCeL offers a bigger, more inclusive, and more accessible space, plus better WiFi and 5G support. So far, the reaction seems pretty acceptable; it looks like the move is just about improving the experience for everyone, from publishers to the public. III) Generative AI Isn’t Neutral: Authors Are Losing Out The Society of Authors (SoA), the UK trade union for writers, translators, and other creators, has co‑published a new report showing that a huge majority of authors, 86 %, say their earnings have already been hit by generative AI. Basically, most authors feel that AI tools are already affecting their income in a real way. But the report isn’t just about numbers, it also calls for a proper regulatory framework for AI in the UK. I’ve talked a lot about AI in publishing, and if you’ve been following me, you know where I stand: there need to be stricter rules on how it’s used. Without that, authors will keep being insulted and diminished, and that’s just not acceptable. IV) A New Era at Frankfurter Buchmesse: Juergen Boos Steps Down More news from the world of book fairs: the Frankfurter Buchmesse (Frankfurt Book Fair), one of the most important international events for publishing and rights trading, has announced that Joachim Kaufmann will become its next president and CEO, starting in autumn 2026. He will take over from Juergen Boos, who has led the organisation for over 20 years and is retiring after more than two decades at the helm. Kaufmann was previously CEO of Carlsen Verlag, a major German publishing house within the Bonnier Group. V) HarperCollins Launches Audiobook “Breakfast Clubs” for Primary Schools The National Year of Reading is still doing great work, and we’re hearing more updates about the initiatives making a difference, especially for children. Take HarperCollins UK, for example, who have launched a trial programme offering free audiobook‑based “breakfast club” sessions for primary schools. Here’s what it involves: Free curated audiobook playlists. Delivered through a secure platform (Glose), so schools can stream the stories easily and at no cost. Designed to complement existing breakfast club routines, helping pupils start the school day with listening activities that promote reading for pleasure. The trial runs from January through April 2026 and is open to primary schools that choose to participate. Participation is voluntary, and schools provide feedback on how the programme works for their pupils. I love this so much, reading is such an important hobby and  skill. Hopefully, initiatives like this will help counter the worrying trend that kids just aren’t reading like they used to. It shouldn’t feel like a chore, it should be a love, essentially a necessity (too much?). Reading makes you open-minded, curious, intelligent, imaginative, it really does wonders for the mind, just six minutes of reading a day can reduce stress by up to 60%!

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) A £50k Prize Where Readers Call the Shots Hachette UK has teamed up with Libraro, a community-driven digital reading platform, to launch a new £50,000 reader-led fiction prize. The aim is to discover and support emerging writers who might not have had these kinds of opportunities before. What makes this prize really interesting is that it’s reader-led, so it’s not just industry professionals calling the shots (as we’re used to seeing), but everyday readers too. Their voices play a real part in shaping the shortlist and choosing the winner, which feels like a refreshing change. The total prize pot is a huge £50,000, and it’s split across a few different elements. The winning author will receive a massive £30,000 cash prize, with another £20,000 set aside for marketing support to help promote the finished book. On top of that, the winner will also secure a publishing deal with Hachette UK. And it’s not just writers who benefit, readers do too. There are two £10,000 reader prizes up for grabs: one for the reader who refers to the winning author, and another for the most actively engaged reader on the platform. The final decision won’t just come down to votes alone either. A panel of industry judges, including Elly Griffiths, LoveReading CEO Deborah Maclaren, and book blogger Zubs J Malik, will help choose the overall winner. Key dates:  • Submissions open: 19 January 2026  • Deadline: 15–16 February 2026 (depending on the source)  • Winner announced: mid-May 2026 II) Skandar Books Find New Homes Through Literacy Trust Donation Simon & Schuster has donated 30,000 copies of A.F. Steadman’s Skandar books to the National Literacy Trust (NLT). The books will be shared through the Trust’s 21 Literacy Hubs, which support children and families in communities where poverty and low literacy levels are most common. It’s a perfect fit, as Skandar is a fantasy adventure series aimed at 9–12 year olds, exactly the age where a love of reading can really take off. This donation also ties in with the National Year of Reading 2026, a campaign focused on encouraging children and young people to read for pleasure and build confidence through books. III) £1.5 Billion Pledged to Support Arts, Culture, and Libraries More good news for the arts! The UK government has announced a £1.5 billion funding package to support arts and culture over the next five years, focusing on buildings and infrastructure. It’s a big step toward addressing the long-term underfunding that the sector has faced for years. Within that total, £27.5 million has been earmarked for the Libraries Improvement Fund (LIF). This investment is part of a wider effort to prevent closures and tackle urgent needs across more than 1,000 arts venues, museums, libraries, and heritage buildings, helping ensure communities continue to have access to culture and learning spaces. IV) Meet the 2025 ALCS Educational Writers’ Award Shortlist! The ALCS Educational Writers’ Award is the UK’s only prize dedicated to creative educational writing, books that spark curiosity, encourage wide reading, and go beyond exams for 5–11-year-olds. For the 2025 award, six fantastic books have made the shortlist, covering topics from science and the human body to art, neurodiversity, and the natural world: Hamza’s Wild World – Hamza Yassin, illustrated by Louise Forshaw (Macmillan Children’s Books) A vibrant guide to animals packed with surprising facts. How to Make a Human – Clive Gifford, illustrated by Vanja Kragulj (Weldon Owen) A playful, step-by-step look at how the human body is put together. How To Spaghettify Your Dog – Hiba Noor Khan, illustrated by Harry Woodgate (Bloomsbury) A physics primer that explains complex cosmic concepts with fun experiments and illustrations. Quantum! The Strange Science of the Smallest Stuff in the Universe – Christopher Edge, illustrated by Paul Daviz (Walker Books) A colourful journey into particle physics and the building blocks of reality. This Book Will Make You an Artist – Ruth Millington, illustrated by Ellen Surrey (Nosy Crow) Hands-on creative prompts and art history to inspire artistic play and exploration. Wonderfully Wired Brains – Louise Gooding, illustrated by Ruth Burrows (DK Children’s) Celebrates neurodiversity and shows how different brains work with care and insight. The winner will be announced on 26 February 2026 at the Goldsmiths’ Centre in London, with the author and designer/illustrator sharing a £2,000 prize. V) Joanna Lee Takes the Helm at Juniper Joanna Lee has been named Editorial Director of Juniper, the new literary fiction imprint from HarperCollins and HQ. Juniper aims to publish literary fiction that pushes boundaries and connects with readers, and it plans to release a carefully curated list of titles each year following its launch in mid-2025. Lee brings a wealth of experience to the role, having worked at Faber, Atlantic Books, and the literary agency Curtis Brown. She was also recognised as one of The Bookseller’s Rising Stars in 2025, making her the perfect person to shape Juniper’s editorial vision.