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! About two months ago, I was very lucky to be selected as a mentee for the 6-month London Into Publishing Mentorship Scheme , run by the Society of Young Publishers. Through it, I get personalised guidance from someone with first-hand experience in the industry, which feels both surreal and encouraging. It’s such an exciting opportunity to finally have someone on the other side of that dark chasm between me and a career in publishing, someone actually shouting back instead of the usual silence. That’s why I’d 100% recommend applying for any and every internship, apprenticeship (though they’re rare), or bit of industry experience you can find. I hope this doesn’t come across as condescending (if you’re here reading my blog, you probably already know this) but I think the point is: the things you’re told, and probably already know, are repeated for a reason: most of the time, they’re true. You really do need a certain air of resolve for this to work. For me, the SYP mentorship was the last thing I applied for before deciding to take a break from applications after a lot of rejection. And then, out of the blue, this came through, and suddenly I was back on a new trajectory, with hope again. Most big publishing houses do offer opportunities at different times throughout the year, so it’s worth keeping an eye out. But something I’ve also realised is that so much of this process is a mix of hard work and luck . I couldn’t tell you why my SYP application stood out when others – for Creative Access, Penguin, or HarperCollins, etc. – didn’t. Sometimes, it really does just come down to persistence Your CV is never set in stone, refine it. If it’s not getting you anywhere, change it and see if it gains better traction. And LinkedIn… honestly, it’s your best friend. For so many reasons. It makes you visible to the right people and  it’s an incredibly versatile tool: you can follow publishing houses, keep up with what they’re reporting, spot job postings, network, and even join LinkedIn Groups. You can also look at people who already have successful publishing careers and study their paths, what did they do? How do they present themselves? Your LinkedIn should be getting more screen time than any other app. Okay, that's a bit far, but think of it as your new best friend (a very robotic, workaholic best friend who only seems to care if you landed that six-month internship you spent hours applying for). You don’t need to post constantly or engage heavily, but even interacting once a week helps build visibility with the algorithm. It’s important to know you can’t do everything, and I’ve learnt that they don’t want  everything either. Find your niche. That could be a Bookstagram, a blog, a Substack, BookTok, volunteering at a bookstore, editing a newsletter, or getting involved in youth-led magazines. Don’t limit yourself to just one avenue, but also don’t feel like you have to do them all. And let’s be real: like me, you probably don’t have the privilege of doing it all anyway. We’ve got bills to pay, we’re grown, we’ve got responsibilities. It’s not easy when you don’t have the luxury of unlimited time and resources, especially since publishing feels (more than ever) like a waiting game. You’ll most likely have to work a job you never intended to start in, for an unknown stretch of time, and that’s okay. The goal hasn’t changed, just the goalpost has shifted a little. Priorities matter, and I understand how hard it is to prioritise something so unpredictable. So don’t feel disheartened if you can’t give your all every single day. Life demands your attention elsewhere sometimes, and that doesn’t mean you’re failing, it just means you’re human. And to all my lost bookworms, Stay Steadfast x

This TikTok-famous romance novel exceeded my expectations, thanks to its refreshingly self-aware narrative. Instead of the usual trope where a man leaves his "ice queen" girlfriend for a small-town girl, Book Lovers flips the script by giving the "ice queen" her own story. Nora, the protagonist, has been dumped countless times for more "provincial" women, but this time, she gets to shine. The book smartly deconstructs classic romance formulas, pairing Nora with someone who mirrors her rather than the cliché of opposites attracting. I especially related to Nora's unapologetic high maintenance, she knows what she wants and refuses to settle. The book’s tension was perfectly paced, though Nora's sister, Libby, felt frustratingly immature. Despite this, I was pleasantly surprised by the novel's cleverness and heart, making the predictable yet satisfying ending all the more enjoyable.

I thoroughly enjoyed this novel, which became more rewarding after a slightly slow start. The story examines ambition and the difficulties of balancing personal and professional life. The characters are complex, shaped by their past experiences and struggles, including inequality and the pressures of pursuing a passion. The narrative addresses friendship, romantic tension, and personal growth, with well-placed glimpses into the future that enrich the story without revealing too much. I particularly appreciated how the author shows character development. Sadie and Sam are both flawed individuals in different ways, traits that are evident from their first meeting and drive the story. With strong pacing and thoughtful plot, this book is a satisfying read for anyone who enjoys deep, character-driven storytelling.

Wow. Just wow. I absolutely loved this book, though I’m surprised I don’t have more to say about it. It’s exquisitely written and profoundly frustrating in its refusal to answer the questions you collect throughout the novel. Unlike typical dystopias with erratic plots and imagined conflicts, this one is silent and remote, creating an eerie atmosphere. This eeriness stems from my own inability to fathom being comfortable on a plain alone, devoid of noise and haunted by terror of endless isolation. The protagonist, however, knows no such difference, adding a unique layer of intrigue and making the narrator all the more fascinating.

Meg Mason’s Sorrow and Bliss  is a powerful, intricate exploration of mental illness, love, and identity. The narrative occasionally jumps in time, which can be disorienting, but this does not overshadow the book’s emotional depth. At its heart, it examines the complexities of relationships, the challenges of mental health, and the tensions between personal desire and societal expectations. Mason’s portrayal of the protagonist’s struggles is both raw and compelling, highlighting how illness affects both self and those around her. The novel also offers a nuanced look at the enduring patience and kindness of those who support loved ones through difficult times. Ultimately, Sorrow and Bliss  balances heartbreak with hope, showing that accountability, growth, and love can coexist even amidst profound personal struggles, making it a deeply affecting and thought-provoking read.

In The Hunting Party , Lucy Foley delivers an engaging murder mystery set in the remote Scottish wilderness, featuring a group of privileged adults from Oxford. While the premise piqued my interest, I found the execution lacking, as the story leaned more toward new-money aesthetics and trivial domestic issues rather than exploring the deeper impact of elitism and privilege on the characters' identities. Although Foley's twists were predictable and her writing style can become repetitive, I appreciated her effective use of a split narrative, which added depth to the storytelling. Despite my mixed feelings and a desire for a more profound exploration of themes, the book remains an easy read with enough intrigue to keep me engaged until the end.

This novel presents a complex world that can be difficult to navigate, with dense world-building that assumes familiarity, which I found disorienting. While some readers may enjoy piecing together details, I struggled with visualising the setting and felt the approach was overly self-assured. The dialogue, too, felt stilted and unclear, detracting from the immersion, though this may have been an intentional choice to reflect the oppressive atmosphere. Despite these challenges, one of the most effective elements of the novel is its use of atmospheric tension , creating an Orwellian sense of unease. What resonated most with me was its exploration of literature as a form of resistance. The novel beautifully captures how literature can be a form of resistance, a way to preserve independence of thought.

I appreciated the author’s keen attention to small details that breathe life into everyday moments, making the ordinary significant. The narrative fluidly shifts between characters, enhancing the reading experience. However, at times, the prose felt overly self-conscious and quirky, pulling me out of the story with descriptions that bordered on excessive. The ending was particularly disappointing; while it built suspense, it felt unresolved and lazy, as if it ended mid-thought. Additionally, while the author effectively captures the white psyche, the portrayal of female characters seemed exaggerated and patronising. For example, comparing a mother’s panic over losing her child to misplacing her clitoris felt awkward and disconnected. Ultimately, the book didn’t resonate with me, as the unique style failed to hit the mark.

Since discovering Claire Keegan through Small Things Like These and Foster I've been captivated by her writing style and fresh ideas. Though Antarctica was originally published in 1999, its 2023 re-release reflects a renewed interest in her work, and it’s easy to see why. Keegan’s collection of short stories delves into themes like infidelity, grief, loneliness, and sacrifice. The worlds she creates are often cold and indifferent, with characters yearning for connection in their “strange” realities. Each piece feels satisfyingly complete, even when ending in suspense, and her narrative voice builds immediate trust with the reader. Notably, this collection ventures beyond Keegan’s usual portrayal of rural Ireland, offering a nuanced look at a 1990s American setting. Antarctica brilliantly evokes empathy and reflection, making it a must-read for anyone interested in the complexities of human experience.

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) Viking imprint publishing new Penguin Horror series this Halloween Penguin Horror are set to publish a chilling new five-book series this Halloween, featuring some true classics of the genre. A thoughtful (and slightly mischievous) way of helping us lean into a spooky season, even as we sorrowfully wave goodbye to summer (picture me being dragged away from the sunshine, reluctantly accepting the seasonal change). The series includes works by the legendary Mary Shelley (author of my all-time favourite novel), Edgar Allan Poe, and other 20th-century masters of horror. Each book arrives in a striking new paperback design, clearly inspired by 1960s and 70s aesthetics, early Gothic styles, and folklore traditions. You can explore the full collection here: https://www.penguin.co.uk/series/PENHOR/penguin-horror Below is the line-up of the five titles, with the fastest rundown known to man of what you can expect: Benighted by J.B Priesley: Travellers stranded in a storm take refuge in a decaying mansion, where the eccentric Femm family’s dark secrets emerge overnight. Classic Horror by Various Authors: Enter a world of ghosts, monsters, and creeping dread with Classic Horror: An Anthology, featuring ten timeless tales of terror from Mary Shelley, Edgar Allan Poe, Charlotte Perkins Gilman, and more. Moths by Rosalind Ashe:  Drawn to the enchanting Dower House, the Boyces and Professor Harris fall under its spell, until an unwelcome guest exposes the estate’s dark heart. Pomegranate Seed and Other Ghostly Tales by Edith Wharton: Edith Wharton’s finest ghost stories weave elegant prose with eerie atmospheres, centering on haunted houses, spectral signs, and a husband whose dark secret slowly unravels. The Witch and the Priest by Hilda Lewis:  Haunted by Joan Flower, a priest is drawn into her harrowing account of witchcraft and damnation, forcing him to confront both her fate and his own. I’m not usually great with horror, though I do like to push my reading boundaries. Horror’s one I need to tackle, I’m just a bit of a scaredy-cat. Maybe this October! Keep an eye on my Book Bites; you might spot one of these on there. II) J.K Rowling – aka Robert Galbraith – slightly ahead of the rest Robert Galbraith, J.K. Rowling’s pen name (something I only learned today), has shot to the top of the Official UK Top 50, according to the latest data from NielsenIQ BookScan’s Total Consumer Market (TCM). The Hallmarked Man   (the eighth book in her popular crime series), published on 2nd September, sold impressively in its first week, with an average selling price (ASP) of £15.47, just under half price. It’s the fourth biggest number one of the year, behind Onyx Storm  by Rebecca Yarros, Sunrise on the Reaping  by Suzanne Collins, and the World Book Day title Bluey’s Little Book . III) Margaret Atwood – something I missed last week A story I missed last week but only came across now feels important to share this week. This one comes all the way from Canada. On July 4th, the Conservative Alberta government signed a ministerial order banning any books with ‘explicit sexual content’ from schools, religious texts excepted (of course they are). We all know that no progress has ever flourished from banning or censoring books; such actions are a warning sign of a dystopian, authoritarian society in the making. Schools are expected to comply by October 1st to review thousands of titles. The largest school district in the province, the Edmonton Public School Board, released a list of 200 books to be removed from library shelves under this order, including The Handmaid’s Tale  by Margaret Atwood. In response, Atwood posted a satirical short story on her Twitter account, which you can read here: https://x.com/MargaretAtwood/status/1962219345448218647?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1962219345448218647%7Ctwgr%5E49b801a396b0c1a29c66b24a3ca14f18dc2e7c83%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fbookriot.com%2Fmargaret-atwood-satirical-book-ban-story%2F   IV) Kenneth Branagh returns to Royal Shakespeare Company After more than 30 years, Sir Kenneth Branagh is returning to the Royal Shakespeare Company! The Oscar-winning actor and director will take on the role of Prospero in The Tempest  at Stratford-upon-Avon’s Royal Shakespeare Theatre in Spring 2026, with legendary director Sir Richard Eyre at the helm for the first time. On his return, Sir Kenneth told the BBC, ‘When they asked me to come back to the company, my response was a swift and enthusiastic yes. V) The Gruffalo  Is Back: A Beloved Classic Gets a Brand-New Story After Two Decades One of my most memorable childhood stories was The Gruffalo , alongside other classics like Elmer , The Rainbow Fish , and Clarice Bean . Now, more than 20 years later, The Gruffalo  is making a comeback in a brand-new book. Author Julia Donaldson says she was inspired to write it by a campaign to reverse the decline in children’s reading. The book is set to be published in 2026. Hopefully, this will help encourage kids to pick up a book in their free time. According to the National Literacy Trust, just 35% of children aged 8 to 18 said they enjoyed reading for pleasure in 2025, the lowest level since the charity began collecting data in 2005.

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) “Wuthering Heights” Trailer Drops Oh goodness, where to even begin? I had low expectations for this film from just the set photos, the casting choices, and  Kharmel Cochrane's (casting director) comments on the surrounding discourse: “There’s definitely going to be some English Lit fans that are not going to be happy. There was one Instagram comment suggesting the casting director should be shot. But just wait until you see it, and then you can decide whether you want to shoot me or not. You really don’t need to be accurate. It’s just a book. That is not based on real life. It’s all art.” It almost feels insulting for Fennell to call it “just a book.” If it’s just a book, why base your own art on it? Why not come up with your own original idea to… ruin? I also find her comment a bit tone-deaf. I could go on forever about everything that’s already wrong here. I’m genuinely gutted over the casting choice for Heathcliff. There’s no disputing his description in the novel: “But Mr. Heathcliff forms a singular contrast to his abode and style of living. He is a dark-skinned gipsy in aspect, in dress and manners a gentleman . . .”  And somehow we landed on Jacob Elordi? It’s rare for POC actors, especially Black, mixed, or South Asian actors, to take center stage in a film like this. Yet here, even though the story itself would have allowed it without debate (though surely some would have complained anyway), it didn’t happen. It’s striking when an 1847 Emily Brontë can feel more socially aware than a 2025 filmmaker. Wuthering Heights  grapples with the effects of class and race on its characters, but this adaptation has been whitewashed and polished into something flashy and shallow. The crux of the novel is that Heathcliff is not white, and poor. It matters.  To suggest otherwise either means you didn’t read the book (which I highly doubt Emerald did) or you completely missed the point. And then there’s Catherine being played by a 35-year-old blonde Margot Robbie. The character is engaged at 15, married at 18, and, spoiler alert, dies very young. Her youth and early death are central to the story: Heathcliff loses her at such a formative age, and his obsession with that loss drives him to ruin the lives of everyone around him. Changing her age and appearance feels not only tone-deaf but utterly pointless. And to say this is going to upset a lot of English Lit fans, who exactly are you marketing this film to, then? Who did you expect to watch it? That was your audience, and you’ve completely alienated them. Because the people fawning over Jacob Elordi surely aren’t going to make up for it, are they? I saw someone comment that she didn’t even bother to read the SparkNotes, and that honestly made me chuckle. To summarise: it’s Fifty Shades of Grey  meets Wuthering Heights  fanfic, debased, corset-ripping, full of sexual innuendo, the type where they feed each other fruit and suck on fingers (I think that was actually in the trailer), have sexual fantasies across the room, and engage in the most taboo sex imaginable. It’s so predictable that I can’t help but ask: why even use the book if it’s just to insult it? Rant over, sorry! I wasn’t sure if this blog was meant to be unbiased, but I guess I’ve found my answer. The most ironic part? The trailer looked good… as its own movie. Emerald Fennell is talented with psychosexuality and eroticism, but for Wuthering Heights ? Absolutely not. II) A Summer Slump: The Decline of Children’s Book Sales in 2025 Children are the future of our world and a reflection of the direction in which humanity is evolving. One way to understand this is through literature, by looking at what children are reading, how much, and when. However, according to NielsenIQ BookScan’s Total Consumer Market (TCM) , children’s book sales have seen a decline. For the 12 weeks leading up to 23rd August, the total sales for the children’s category were worth £83.9m, a drop of 8.4% compared with the same period in 2024, when sales reached £91.6m. Making it the weakest summer since 2019. This decline is not reflected in other categories, only children’s books, so it can’t simply be blamed on a wider market trend. It’s unfortunate to see, and hopefully just a temporary blip. Once school is out, with more free time and fewer structured activities, screens may become the easiest option. It’s easier to keep them entertained, but ironically, much harder to get them to focus on anything that requires more than 30 seconds of attention. But then again, I feel almost old-fashioned saying that, is it just a lazy excuse we fall back on when we can’t think of another explanation? I’m not entirely sure. On the other hand, some suggest that hot weather dampens book sales during the summer, which is also a reasonable explanation. III) Reese Witherspoon Joins Hachette’s “Raising Readers” Campaign I came across a post on my LinkedIn feed from Hachette Book Group that I hadn’t expected: Reese Witherspoon is joining their ‘Raising Readers’ campaign as both the audiobook voice and spokesperson. Beginning this autumn, Reese Witherspoon will deliver an urgent message featured in Hachette Audio’s fiction titles. You can listen to a preview here: https://soundcloud.com/hachetteaudio/raising-readers   Witherspoon’s role is to help address the decline in children’s reading, particularly when it comes to reading for pleasure. The campaign encourages parents to guide their children to read for at least ten minutes a day, a habit that studies have shown can have a positive impact. IV) Revisit Forks: Watch All Five Twilight Movies for Free It is officially autumn, which brings with it many things: landscapes painted in orange hues, jumper weather, and misty mornings. And with the season comes a wave of media to set the mood, cult classics included. One of the most iconic? Twilight . If these films spark a sense of autumnal nostalgia for you, then you’re in luck. To mark the 20th anniversary of the publication of Stephenie Meyer’s first Twilight  novel, Lionsgate has announced that all five Twilight  films will stream for free on YouTube for the very first time. The movies will run on a continuous loop from September 7 at 12:00 PM PT through September 14 at 11:59 PM PT.  You can watch them here: https://www.youtube.com/live/f7-xgAkNxDs   It’s shaping up to be a great week for supernatural/romance enthusiasts. Shockingly, I’ve only made it as far as The Twilight Saga: Eclipse , so I might have to tune in myself. V) Wiley’s AI Efforts Grow as Education Revenue Drops CEO Matthew Kissner told The Scholarly Kitchen  when discussing AI, "We’re at a fascinating inflection point right now with AI, and it’s creating very interesting opportunities to reinvent how we approach publishing - I’ve worked in other industries where players who failed to adapt simply aren’t here today." Wiley recently executed a ‘landmark’ $20 million (approx £ 15 million) AI licensing project with a major tech company. However, not all of the company’s AI efforts have been positive. The learning group, which includes textbooks, courses, and educational products, saw revenue drop 7%. Part of this decline came from AI licensing, which fell $3 million (approx £2 million). Weakness in professional sales, such as products for businesses, also contributed to the overall decline. Still, Wiley expects modest revenue growth next year and anticipates an improvement in profitability. It begs the question: is AI truly the future of publishing, and how far will this push go? While Wiley leads the way in academic and scholarly publishing, one can’t help but wonder if AI will start to permeate the more creative side of the industry as well. The idea that huge sums of money are being poured into AI for publishing is, frankly, a sad one, especially when we think about what might be lost in the process. How far is too far?

I’ve never cried at a book’s ending like I did with Never Let Me Go . Ishiguro crafts heartbreak so subtly and sincerely that it feels essential, not overwhelming. Similar to Klara and the Sun , his restrained tone and slow pacing guide you through nostalgia-laden moments before delivering an emotional gut punch. Kathy H.’s childhood at Hailsham feels personal and real, blending comfort with quiet tragedy. The relationships between Kathy, Tommy, and Ruth are sublime, filled with unspoken tension, frustration, and surprising moments of tenderness. The rejection of rebellion in their dystopian existence is haunting in its quiet inevitability. Tommy’s outbursts and Kathy’s reserved nature hint at something deeply human. The ending is devastatingly beautiful, a masterclass in understated emotion that lingers long after. Ishiguro doesn’t rely on shock or excessive trauma; instead, he weaves a story that feels profoundly human and deeply moving.