Editorial Reviews for Nominees
|
|
|
Review of "Cooper's Campervan Adventures: Montana" by Bridget Farry, Illustrated by Dave Globerson7/31/2025  Score: 95+/100 (9.5+ out of 10)
Cooper's Campervan Adventures: Montana is an extraordinary and adorable children's book by Bridget Farry, starring Cooper (the rescue dog), and featuring outstanding illustrations by Dave Globerson! Seriously, Globerson's illustrations are some of our favorites of the year, probably somewhere around Muntasir Dipto's illustrations in Our Song, Our Voice and Julia Moroko's illustrations in The Girl and The Ocean. A lot of this appears hand-drawn and hand painted. The results are amazing! There appear to be hand-drawn textures like the vegetables in the market on page 7. And everything appears beautifully and painstakingly watercolored onto a canvas or textured paper. It's also nice to see some of the ink or pencil linework. But perhaps the thing the illustrator did best of all is conveying Cooper's expressions and emotions through very tactful, subtle touches. One of our favorites is Cooper's contended expression (at being scratched under the chin) on page 9. His expression is curious on page 14. It's imaginative and excited on page 6. It's happy and optimistic on page 5. Oh, and his expression on page 17 when he's getting ready for bed and hugging him "Lambie" plush toy... it's priceless! This whole project actually reminded us a lot of Melissa Kahl's illustrations in Ellie's Masterclass, which is a very similar book: beautiful, painstakingly illustrated and featuring an adorable pup going on adventures with his/her owner. Cooper stole our hearts as the adorable, adventurous, expressive, and lovable rescue dog who joins is human mama and human papa on their cross-country campervan adventures. Specifically, in this book, Cooper and his humans travel to the wide-open state of Montana, a place brimming with natural beauty and wildlife. Farry captures the spirit of Montana perfectly—its towering mountains, glacial rivers, and breathtaking forests feel alive on the page. We loved how the book introduces kids to the concept of outdoor adventures in national parks while subtly teaching values like respecting nature and leaving no trace. The inclusion of Montana’s iconic wildlife—like the moose, bears, and squirrels—adds authenticity and excitement, making it feel like a real adventure rather than just a story. It’s as much a celebration of the great outdoors as it is of friendship, family, and the bond between humans and their pets. Speaking of Montana's wildlife, one of our favorite scenes (as we shared on Facebook and X) is of Cooper observing a friendly squirrel looking on from the back of a large moose. It reminded us of Rocky and Bullwinkle! Speaking of Cooper and squirrels... this book really does a good job at playfully and adorably getting into the psyche, mindset, and behavior of a dog. Dogs love spotting and chasing squirrels! Cooper thinks about it more than once. He also loves collecting sticks while his humans are fishing. Oh, and while they're shopping for food, he—of course—is busy chewing on some. Cooper is such a good boy. He's magnetic and such a joy to follow. Check it out here!
0 Comments
 Score: 89+/100 (8.9+ out of 10)
Knightfall is a character-centered fantasy novel by C.L. Embry. We'll say this as a positive: this is a really ambitious book with a lot of substance to work with. The world-building is ambitious. The characters, especially Axel, show a lot of promise. Oh, and there's even some good humor in here! Seriously, this book has one of the funniest scenes of this contest. This book involves political drama, fantasy, alchemy (as a sort of magic system and plot device), political intrigue, and even some philosophy and romance. The issue with all that is... in our opinion, it doesn't seem to hit the mark on either of these things (or in either of these many genres). It isn't focused enough on the politics of the world to be a great political drama. It isn't focused enough on the magic/alchemy system to be a great magical fantasy book. It also isn't focused enough on either the philosophy or romance to be great at those either. The best way we can describe this book is that it's a medieval-fantasy story about a guy: a guy named Axel. The narrative of this book constantly reminds you that Axel is a thoughtful guy with an overactive mind. He’s not a grand hero or a chosen one—he’s just a man burdened by self-doubt, old wounds, and an unshakable hunger for meaning in a world that feels increasingly hollow. He kind of reminded us of Jack Morrison from Diablo Canyon mixed with Hamlet from the Shakespeare play... an older, Temu version of Hamlet who should know better. And that becomes a bit problematic because there are times he thinks and acts like a somewhat-mature adult and times when he thinks and acts like a hormonal 12-year-old who just discovered puberty. Just think about how whiny and needy Hamlet was and you'll get the point. While others around him drink, fight, or obey without question, Axel thinks. He overanalyzes. He spirals. He remembers everything that’s ever been said to him—every insult, every betrayal, every fleeting moment of connection—and he turns it over like a coin he can’t stop examining. In fact, one of the defining decisions/events in the book is when he decides to reconnect with Ysabelle, the woman to whom he was once betrothed. In many ways, Axel is the book. His mind becomes the lens through which we experience this broken kingdom, and his emotional weather—restless, searching, cynical yet yearning—colors every interaction, every twist of fate. It’s not always comfortable, but it’s relentlessly human. The story doesn’t just track his rise through the ranks of the BlackGuard; it maps the slow, painful unraveling of a man trying to find truth in a place that punishes honesty and buries the past. So yes, it’s a medieval fantasy. But more than that, Knightfall is a psychological excavation. And Axel is the shovel. Something that still befuddles us is how Axel really got on our nerves yet isn't too dissimilar (in concept) to some of our favorite all time characters: Takeshi from "Lost Blades" by Liz Sauco, Beldrian from "Kindred of the Unseen" by Micah Beardsley, and Natharr from "Crown Prince" by W.D. Kilpack III. Similar to these characters, he's a once-noble guardian whose loyalty and devotion have been challenged by the political turmoil going on around him. On top of that, he's got his own personal demons to deal with. Conceptually, this is a setup for a great character. The problem is, he's lost in this story which doesn't seem to know what it wants to be or where it wants to go. Perhaps it's fitting, granted that Axel himself feels trapped, stuck, and lost for much of this book. Perhaps it's fitting given the fact that Axel himself is indecisive and torn in multiple different directions. Takeshi, Beldrian, and Natharr were COOL. They were BAD@$$es who would wreck your s%#@. Axel, on the other hand, just seems so mopey and dopey. He's like Squall from Final Fantasy VIII. Yes, he has the potential to be a cool bad@$$ who causes massive damage, but he spends most of the story chasing tail (women), wondering who he is, and having a somewhat juvenile feud with Gunter. This is a really unusual and strange fantasy book (in our opinion), and that's saying a lot (considering we read a lot of fantasy). It's not unusual and strange because of a wild or wacky storyline. It's not unusual and strange because of a mindblowing magic system or edgy content. It's unusual and strange because, for more than half of it, it doesn't seem to have a clear direction, point, or even plot. That largely comes from the book attempting to do too much, lacking focus, and attempting a shotgun approach. There isn't really one definitive plot, instead there are three or four sub-plots, and all of them go back to Axel and him learning life lessons and developing as a person. The book does salvage some semblance of a plot (or plots) by the end, but it really tested our patience and lost our interests before then. That's not to say that it's bad. That's also not to say that you won't enjoy it. In fact, you might very well enjoy it. But we constantly found ourselves asking, "Where is this going?" or "What is the point?" We found ourselves facepalming, saying, "Can we just focus on something and stop jumping around?" Let us explain. Maybe that'll give you some context about what we mean. Axel, a disillusioned Watchman, is promoted to the BlackGuard—a supposedly elite military rank. We learn about different "Guards" like Gatekeepers, FrostGuard, and Iceguard, all of which fit in a hierarchy in defending/serving the kingdom. This hierarchy and the drive to gain a promotion causes notable tension with other characters, particularly Gunter. Gunter is one of the main antagonists of the book. He is Axel's bully and arch-rival, comparable to someone like Gary from the early seasons of Pokemon or Seifer Almasy from Final Fantasy VIII. Let's put it this way: Gunter is a pain in Axel's butt. He's constantly undermining and antagonizing him. Apparently, the two of them grew up together and knew each other as kids. Gunter does get some character development and explanation for why he is the way he is, but it's not much different from Tony from Chameleon Chronicles: Book One or every major character in Lost: it's daddy issues. Gunter's father was apparently very abusive, and this evokes some pity from Axel. You could make the argument that Axel's rivalry with Gunter is one of the key plots/sub-plots of this book, and it actually lasts for over three-quarters of it. Anyway, there are bigger things happening in the kingdom than Axel and Gunter's squabble. Queen Helena's 50th birthday celebration/ball has been announced. The last and only known alchemist, Lucian, has been sentenced to death, apparently taking his secrets to the grave with him. Now, we do get a huge information dump and explanation for what Lucian (and King Otto) were actually up to via Balthazzar, another major character. But for most of the book (before this exposition dump), we were really bewildered as to why we should concern ourselves with the alchemy/Lucian angle. After all, our characters find themselves chasing tail (because, of course)! That really competed for our attentions and started to make us think: "Is this supposed to be a romantic comedy, not a fantasy novel?" Speaking of the romantic comedy aspect, one of the funniest sections of the book concerns Baron Vogle’s two “ugly” daughters: Annaliese and Amelia. Both are described with such exaggerated, over-the-top unflattery—missing teeth, squinting eyes, strange proportions—that it feels almost like something out of a Shakespearean farce. The humor comes not just from their appearance, but from the social expectations placed around them: their desperation to marry, their father's oblivious pride, and the awkward, cringing reactions of the men forced to endure their company at courtly events. What makes the scene even funnier is how it plays off Axel’s dry internal commentary. Already cynical and emotionally frayed, Axel tries to keep a straight face while navigating their flirtations, barely suppressing his horror and sarcasm. It's one of the few moments where the book leans into absurdity and levity, offering a brief but memorable break from the otherwise grim psychological and political tone of the story. And, to be honest, we felt bad for Annaliese and Amelia. That's an achievement: the author and the book got us to feel something for these characters. Annaliese says that her father told her she inherited his "ugly face" instead of her mother's. Amelia is self-conscious about being "fat" but can't seem to stop overeating. That's very relatable and quite sad. Maybe she does have an eating disorder or even something like Prader-Willi's syndrome. The book gradually builds the idea that a lot of the barons in the kingdom are potential usurpers to the throne. However, this also highlights the king's paranoia and powerhungriness which may have contributed to Lucian's fate. It’s actually more like a spiritual and psychological transformation of the self. The ancient Laws of Balthazzar—like the Law of Rhythm and the Law of Mental Alchemy—frame alchemy as a system for mastering inner balance, transcending emotional chaos, and attuning oneself to the hidden order of the universe. It’s not about making money. It’s about remaking the self. Gold becomes symbolic—not literal. To truly "transmute" something is to change its essence, to purify your inner state, to shed layers of illusion and shadow until you reach something true. Lucian and the other alchemists aren't sorcerers trying to get rich; they’re philosophers, seekers of harmony. And in a kingdom built on repression, ego, and control, that kind of truth is the most dangerous thing of all. Gosh, you know what would've been really cool? If most of this information wasn't just held onto, then dumped on the reader more than half way through. Oh, and by the way, those aren't even all the major plots in this book. Remember when we said that this book attempts to be a romance? Well, meet Ysabelle, the woman to whom Axel was once betrothed (as we mentioned before). To be fair, Ysabelle is more than just a pretty face or someone to be desired. She's actually a decent person. Oh, and she's apparently a great cook/baker! Her apple turnips are some of the best in the lands, and she actually gets into a squabble with a rival apple-turnip-maker over her secret recipe. So, anyway, to reiterate: our main issue with this book was the lack of focus. There were too many sub-plots demanding our attention: King Otto and the court politics The Baron and his daughters The rivalry with Gunter Balthazzar, Lucian, and the forbidden art of alchemy The relationship with Ysabelle Oh, and by the way, Ysabelle isn't Axel's only love interest. There are more sub-plots involving the others. So, what are we supposed to focus on? It really does seem like a lot of good ideas that got mushed together. We admire the author for trying and think that it's definitely ambitious. Check it out on Amazon!  Score: 92/100 (9.2 out of 10)
Well, this Tuula Pere book was surprising... in the most unsurprising of ways! We actually didn't think things would go this way. Why? Well, because Pere—our 2023 & 2024 Author of the Year—often has a great deal of depth, nuance, and moral ambiguity to her work. Things are usually never so simple. Good and evil are usually never so clear. The path toward the protagonist's goal(s) is usually never so straight. Pere is known for her twists and turns. However, this book is distinctly different. It goes the way you probably think it's going to go. Still, this book has a lot of bright spots and things we liked and appreciated about it! First and foremost, the illustrations by Dane D'Angeli are awesome! The action is clear. The characters are expressive. The background are colorful, except in scenes that imply mystery (which is fitting). The illustrations actually look hand-drawn and hand-colored, like they were created with color pencils on a canvas. We really liked that! Everything seems digital, cell-shaded, or AI these days. It's always nice to see illustrations that were actually created by a human being by hand. We also loved the idea that kids are empowered to make a difference. They can step up and do what's right when they see something wrong. They can be the heroes. They can be the problem-solvers. It's very encouraging and inspiring to see young people taking problem-solving into their own hands. Even when they lack the years of wisdom and the resources (often) to do things that adults do, they can still make a dent and a difference. We like that message. This book follows little Emma and Oliver, students who love visiting the local museum. However, there's one caveat to that: their enjoyment is often ruined by the museum's grumpy caretaker, Mr. Oddyman. Mr. Oddyman comes across as territorial and possessive over the museum, acting like it belongs to him. He always watches the guests like a hawk. Anyway, his retirement comes as a relief to Emma and Oliver. Mr. Oddyman demonstrates that he's still a grump, throwing the bouquet of flowers he was kindly given in the back seat. The plot really begins when there's a robbery in the museum. Several items including jewels have gone missing! Oh, no! A detective is on the case but, naturally, he proves to be ineffective at his job. Incidentally, Emma and Oliver encounter Mr. Oddyman, surprisingly in a better mood. He sweet talks the two kids and asks them to do him a favor: deliver some jelly jars to his sister because—he claims—his leg is injured. Now, there are several things to note here: Mr. Oddyman is clearly not acting like himself or the character that has been established, so that's suspicious. He also seems to be lying about his leg injury because he climbs a ladder soon afterward. Also, the deal he makes the two kids is actually pretty underhanded: they will essentially work for him in exchange for the apples from his trees, but—and here's the key—only the fallen apples (not the fresh ones from the trees themselves). Yeah, this guy is bad news, and Emma and Oliver have the presence of mind and instincts to identify that. You know... maybe Mr. Oddyman or this plot isn't as shallow or straightforward as we initially thought. Imagine being him: working and caring for a building for decades... you probably make just over minimum wage + occasional raises. You're surrounded by valuable treasures and artifacts—temptations. Plus you know the ins and outs of the building. Plus you have the keys! And you know what? He does reference having a sister who is probably an accomplice to the robbery. However, what else can we learn about her? She's never shown. She's only mentioned once or twice. We never hear her speak. We never get her side of the story. We never even find out if she really knew what was in the jelly jars (though it's unlikely she didn't). What if she's terminally ill? What if Mr. Oddyman is terminally ill? What if this is his way of trying to ensure that his sister and his remaining family can have financial security and something to live off of in the absence of a sizable pension or 401K? No, that doesn't make it right, but it does make it relatable and understandable. That's a lot to think about! Check it out on Amazon!  Score: 95/100 (9.5 out of 10)
The Son of Poetry is a compelling coming-of-age novel by P.M. Gill full of mystery, magic, and even a bit of chivalric romance! It gradually ventures into more supernatural elements, featuring some magical realism and mystery. We'd argue that its safe content and language is more suited for a middle-grade audience, but its shear length verges on YA. This 500+ page book follows Louis Song, a young man (about 17 to 18) who must show courage and perseverance in light of an assault (on himself), the murder of Kei Engliesin, and the disappearance of his friend, classmate, and crush, Anne Engliesin. In our opinion, the relationship between Louis Song and Anne Engliesin is one of the most beautiful and powerful relationships we've seen in fiction, at least recently. The two of them comprise the heart and soul of the book. And that's what makes the first 400 or so pages of this book so compelling and engaging: it's Louis's quest—against all odds—to find and rescue Anne, someone who means the world to him. How can you root against that? How can you not get behind that? Furthermore, this noble, romantic quest, his deep love and respect for Anne, and his desire to do right by Kei (by keeping his promise to the dying man) also lead to Louis growing as a person. He becomes courageous despite previously being fearful and drawn to self-preservation earlier in the book. He becomes a leader among his friends/peers despite being a timid neer-do-well earlier in the book. This character growth is impressive. In fact, it's extraordinary! We loved it! We loved Louis. And we LOVED Anne too! Gosh, if this book had just remained focused on the two of them for the entire duration, this could've been a 9.5+ or 9.6 book—one of the best of the year. Well, it's still one of the best novels in the contest, but to think it could've been even better... imagine that. But going back to what made it great... it celebrates both chivalry and character growth, particularly of a male character who seems plagued by insecurities, self-doubt, and understandable fears. Louis exemplifies what it means to be brave: being scared as hell to do something but doing it anyway because it's the right thing to do. Understandably, Louis suffers from some trauma as the result of an incident while "ghost hunting" with some of his classmates including Anne. In this chaotic incident, Louis finds himself bludgeoned, bloodied, and unconscious. To make matters even worse, Anne goes missing, apparently abducted—kidnapped—during the struggle! Louis is profoundly and deeply impacted by the disappearance of his dear friend and love, haunted by what may have become of her—whether she's suffering or already dead. In enters the character who is arguably the book's tritagonist, Chief Investigator Larimore. Believe it or not, Larimore isn't the book's first major derailer. That honor goes to the three school bullies in the novel, Gannet, George Muir, and Keith Guillemot, who likewise take up an inordinate amount of this book—largely drawing focus away from Louis and Anne—the characters we actually care about. But going back to Larimore... Larimore is at least the kind of investigator you would want on a missing person's case (and the later murder case) like this. Larimore is cutthroat, ruthless, and driven. He doesn't seem to sleep much, and he's always on the go. We are told that he won't leave any stone unturned. Well, more specifically, we are told: "Larimore reiterated his orders that every speck, every iota of the crime scene be combed and catalogued. Every blade of grass was to be turned over. “Nothing, no matter how small, could be overlooked." Larimore takes these investigations as seriously as you'd want an investigator if you were a loved one whose special someone was dead and/or missing. And there is actually an explanation or some hints as to why. We're told that Larimore has a tragic backstory of his own: one involving the death of his son due to illness. Specifically, Larimore failed to take his son to the hospital when he was very sick. In context, this is why Larimore leaves nothing to chance and why he always digs deeper to find the answers he wishes he would've had before that tragedy. He can empathize with others who are heartbroken, befuddled, and distraught about losing their loved one to unexpected circumstances. So these things—along with the fact that he's just a very involved and proactive character—make Larimore the third most compelling character in the book. But he's still on a completely different tier below Louis and Anne. Let's just go back to talking about them as individuals and as a duo. What makes them so effective? What makes their chemistry so great? Well, first and foremost, they genuinely seem to care about each other. And here's another thing that's important: Louis clearly respects Anne. He admires her. No, not just for her looks, but because she's truly extraordinary (both objectively and in his eyes). She's the top student in her class. She's also one of the school's most talented musicians/singers. And Louis, more than just about anyone else, recognizes these special and amazing things about her. And, yes, he also recognizes her beauty, stylishness, and attractiveness. But it's not one sided. Anne seems to appreciate and respect Louis as well. Keep in mind: Louis is not a singer or musician like Anne is. He's just along for the ride. But Anne respects and appreciates him for trying. She also respects and appreciates that he has his own interests and passions: poetry and writing. Numerous scenes indicate that Anne feels as much respect and appreciation for Louis as he does for her. And let's add to that: trust. The two trust each other. We see it in the fact that Anne introduces Louis to her parents. We see it in the fact that Anne sings "Greensleeves" to Louis, something which comes back hauntingly in one of the book's best scenes. We see it—we feel it—when Anne and Louis cling together when they're afraid near the chaotic end of the ghost hunt. Anne's first instinct is to cling to Louis when she's afraid. Louis's first instinct is to cling to Anne when he's afraid. That's chemistry. That's electricity. So, when Anne is abducted and is nowhere to be found, we feel the massive gaping hole in the heart that Louis feels. We know his hurt, his pain, and his uneasiness because his relationship with Anne was built up so well. WE CARED. And because we cared, we also hurt. Also, why are some authors so afraid to follow and use this trope? A character we care about—a damsel in distress, if you want to call her that—needs to be rescued by someone who cares about her deeply. What's so wrong about that? It works. It just does. It's compelling. We want the hero to save the girl. It's a tale as old as time. And, you know what? We should want that. We should encourage that. Boys and men should be encouraged—not discouraged—to protect girls and women. Boys and men should be encouraged—not discouraged—to take care of girls and women. Boys and men should be encouraged—not discouraged—to save girls and women. It's not misogynistic to want boys and men to be masculine. To want to be heroes. To want to save the day. It's not misogynistic to want boys and men to be guardians, protectors, and rescuers. It's not misogynistic to accept the biological fact that God made men and boys bigger and stronger, unburdened them from childbearing and having a time-of-the-month. Males are literally supposed to protect and look after females. And not just romantic partners. They are supposed to protect and look after their daughters and mothers as well. That's just the way that it is. Don't you want your sons to aspire to be heroes rather than dr*g dealers, gangsters, and miscreants? So, to see how chivalrous Louis is—to see that exemplified through his character—is beautiful. One of our favorite moments in the book is when Louis makes the promise to Kei: "I’m going for Anne, now, Mr. Engliesin. I’m keeping my promise, sir. I’ll get her back." This statement is loaded with chivalry and honor. He is making a promise to a girl's dad that he will be her hero. Good! Louis coping and coming to grips with what has happened to Anne is truly touching. He sees pictures of Anne growing up, seeing her as a real person—a whole person—who worked hard in school, was good to him (and others), and deserves to be alive and free. There's a moment when Louis pays a small yet powerful tribute to Anne by singing "Greensleeves"--the song that Anne sang to him, albeit much more beautifully. The lyrics take up a whole new context in this scene. He reflects on the final verse: "Ah, Greensleeves, now farewell, adieu, To God I pray to proper thee, For I remain thy lover true, Come once again and be with me." This verse is loaded with subtext in this context. It reflects the feeling of lovers being apart and wanting to be together again, asking God to keep them safe in the meantime. This is our favorite scene in the entire book. Another thing that great about Louis and Anne is the amount of wear and tear they take and endure together throughout the book. There's a time they're trudging through mud. There's a scene in which the two characters are in the blistering cold and Anne loses feeling in her feet and legs. Louis assures her that he's there for her and tries to carry her. The first 400 or so pages are some of the most engaging, compelling fiction we read this year. Unfortunately, this book loses a ton of momentum and starts to meander in its last 124 or so pages, focusing on characters we simply didn't care as much about. We cared a little bit about Larimore, but what about the others? There's Britanny, Hayden, Deidre, Nym, McIlroy, and the three bullies we mentioned earlier. Not to be dismissive, but neither of them hit the same way that Louis and Anne. They watered things down. Bogged it down. Muddied the water. This book starts to venture into magical realism and the supernatural. We learn from Kei that there are special places where dimensions/realms rub faces and collide at certain times—portals, in a sense. We learn about the Daoine Sith. We learn about Celtic mythic entities. We learn about Epiales, a spirit-daemon who is the personification of nightmares. We see the aptly-named Icelos, who blurs the boundaries between dream and reality. The narrative shifts from grounded psychological drama into a mythic struggle where Louis and Anne are swept into forces beyond their understanding or control. Instead of sticking with the emotional journeys of the central pair, the book begins to spread its attention thinly across a wider cast and a tangle of supernatural threats, dreamworld sequences, and philosophical meditations. There’s value in this ambitious scope, but the price is intimacy. The emotional throughline—the heartache, promise, and connection between Louis and Anne—gets diluted. The villains, once menacingly human, become less interesting as their motivations turn vague or allegorical. The story’s urgency softens as it leans harder into exposition and mythos-building, at times sacrificing clarity and pace. And let's talk about how involved the three bullies get in the plot. On one hand, we think they're supposed to serve as comic relief. We think they're supposed to be like Nelson from The Simpsons or Bulk & Skull from Mighty Morphin Power Rangers. There is a particularly funny line when Collin shouts "Use your mighty midget powers!” to Guillemore, who is diminutive. That got a laugh out of us. And there are times when the bullies are somewhat clever. One of them opens a door knob with their shirt and avoids touching the beverage the investigator provides for him so as to not leave incriminating fingerprints. However, we just didn't care that much about them—not so much that they had to become so involved in the last half of this book. Why not just stick with Louis, Anne, and maybe Larimore? Why split the reader's focus with these superfluous characters and subplots? Ok, well, there is one subplot and character dynamic that kinda got to shine in the book's last hundred pages, and that's the relationship between Louis and his mother. For much of the book, Louis didn't seem to have a very good, loving relationship wit her. In fact, it seemed like he was afraid to get too close and tell her things because she would always jump to conclusions and be on his case about everything. Again: relatable. There's actually a very nice scene with Louis and his mother near the end of this book. Anyway, we enjoyed this book overall. Check it out on Amazon!  Score: 94+/100 (9.4+ out of 10)
The fun just doesn't stop with Story Monsters LLC! Story Monsters has branched out in so many magnificent, creative ways, and their magazine--Story Monsters Ink—may be their most promising and fruitful branch yet! We recently reviewed the February 2025 installment of this magazine. It featured some heavy-hitters in children's books like David Shannon and Megan McDonald (and many other notable contributors). Well, Story Monsters Ink Issue 10, 2024 features a HUGE celebrity of its own: Lance Bass from NSYNC! Gosh, we have our memories of NSYNC. Don't you? "It's Gonna Be Me" is still so iconic that it gets played on radio stations to this day and is always a meme near the end of April/beginning of May. It's ironic that pretty much two-decades later, songs like "Digital Get Down" have a whole new meaning and context. Can you imagine we had to be like Bill Clinton and use landlines and hear that screeching sound (featured in the song) when we tried to gain internet access? While the digital and media landscapes have changed, memories and legacies tend to last a long while longer than the technologies themselves. Lance Bass seems to want to leave a lasting legacy for his own children and future generations, having authored a children's book of his own titled The Trick or Treat on Scary Street! Bass's book taps into his own cherished Halloween memories from childhood, blending nostalgia with fresh, spooky adventures that kids today can enjoy. Lance shares that the main character is modeled after his own son, Alexander, making this story a deeply personal project. This is especially touching considering that Bass says that he and his main characters would be "best friends" if the character were real. Another cool bit of trivia that Bass shares is that his twins were born on October 13th, right in the middle of Halloween season! We couldn't help but sense the love and passion he shares for his kids through this book. It's almost like a love letter to them. Illustrated by Roland Garrigue, the book captures that playful yet spooky vibe that resonates so well with kids and parents alike. Not gonna lie, we kinda want to check it out and read it! While highlighting the book, this book also shows how personable and charismatic Bass still is. He talks a lot about being a father and how it inspires him. One of our favorite parts of his section is how he talks about how his kids were obsessed with "Bye Bye Bye" so he had to play his own song over and over again for them in the car. How funny is that? Maybe that should be a consideration for our "Funny, Strange, Bizarre" Special Award. Every parent who lived through the Frozen craze knows that every daughter wanted to hear "Let It Go" over and over again. Bass comes across as really relatable in that regard. It's also really interesting reading about Bass's childhood and how it inspired him to love books (enough to want to write one himself). He talks about how he read a lot of books as a kid and especially loved the Goosebumps series and Where the Wild Things Are. Gosh, he really is from our generation! It's so nice to read about a nostalgic figure like him still kicking, living, and dreaming. That says a lot for the rest of us. As long as we still have breath in our lungs, there's still so much we can do and accomplish. This book also features Pulitzer Prize winner Jules Feiffer! Feiffer won the Pulitzer Prize in 1986 for editorial cartooning. In 2024, he released his first ever graphic novel, Amazing Grapes, via HarperCollins. Gosh, does that mean we finally have a Pulitzer Prize winner and a HarperCollins-published author in our contests (technically)? We've have Newberry Honor winners and folks from other major publishers. It seems about time. Anyway, Feiffer's Amazing Grapes is a whimsical, thought-provoking journey that blends his signature wit with poignant family themes. The story explores a family’s adventures in a new universe after a period of upheaval, weaving together personal reflection, humor, and Feiffer’s decades of storytelling mastery. At over ninety years old, Feiffer proves that creativity truly has no age limit. Speaking of that... one of our favorite parts of Feiffer's section is when he talked about all the things he's lived through: “I think all of us spend our lives, in one way or another, settling scores with our childhood—positively or negatively. Surrendering, blending in, melding in with it, our childhood never leaves us. I was born in January 1929. I lived through the Great Depression, World War II, the Korean War, McCarthyism, and I saw the country change.” Can you imagine being him and seeing/experiencing all of these things and all of these changes? This is a guy who started drawing cartoons when he was three! Look at how far he's come! Three-time Newbery Honoree Christina Soontornvat is in here as well! Our favorite moment from her entire section is when she talks about the things that are truly rewarding for her. She says: "‘The awards from adult judges mean so much—especially the ones from librarians like the Newbery Honor and the Sibert Honor. But there is no better accolade than having kids tell you things like, “Your book was the first one I read all by myself,” or, “I stayed up all night reading your book and I don’t even like to read.” Truly, those are the most rewarding moments for me…’" It’s clear that for Soontornvat, the real magic isn’t just in earning critical acclaim—it’s in knowing her stories are helping kids fall in love with reading. That kind of impact is exactly what makes children’s literature so special, and it’s easy to see why she’s become one of the most beloved voices in the genre today. Soontornvat also demonstrates how children's literature can be used to educate, encourage, and inspire young people to get involved as citizens of a democratic republic. Specifically, her book Leo’s First Vote follows a young boy as he accompanies his father—a newly naturalized U.S. citizen—to the polls for the very first time. Through their journey, Soontornvat gently introduces children to the importance of voting and civic participation, showing that every voice truly matters. Her story not only makes the concept of elections accessible and uplifting for young readers, but also plants the seeds for future engagement and a lifelong appreciation of democracy. It's strange that of all the esteemed authors featured in this magazine, the one who stood out to us the most was Jennifer Killick out of the UK. Why? Well, because she's bizarre, but in a super cool way! She's kinda like Lady Gaga, in a sense. Weird but cool. Killick, the middle-grade author of the Dread Wood and Crater Lake books, has a fascination with the macabre. Her books are relatively darker, more ominous, and more mysterious than most you'd find for that age group. But, hey, Goosebumps was pretty dark too—and look how that went! Killick makes a great point: when kids read for fun—without thinking about it as a chore or a job—they're setting themselves up for a lifetime of success! They have the advantage of literacy. In a sense, she aims to give children the advantages that she didn't have, saying: "There weren’t many reading options when I was a child—just the usual Blyton, Dahl, etc. I’d love to have grown up with the huge variety of stories young readers have now. I’m more influenced by current writers and stories than I am by any from my childhood." She is paving a new path forward without looking back. One of the things she said that really got our attentions and made us chuckle was when she talked about her sewing hobby, saying that she even sewed a 59-foot tapeworm and named him Roger! That's... something that most people have probably never even thought of doing. Seth Fishman is in here as well! Fishman brings science, humor, and imagination together like few others in children’s literature. In this issue, he’s featured for his latest picture book, Brandon and the Totally Troublesome Time Machine—a story that spins a wild adventure out of time travel, homework woes, and what happens when you try to take shortcuts instead of facing challenges head-on. Essentially, from what we understand, his main character (Brandon) keeps going back or forward in time and playing pranks on his unsuspecting former/future selves! How hilarious! Fishman, an award-winning author and literary agent, is celebrated for making big, sometimes intimidating concepts like astronomy, energy, or in this case, the consequences of your choices, both accessible and wildly entertaining for young readers. He shares that his writing process is a mix of inspiration, bursts of drafting, and lots of revision, all rooted in a deep love for storytelling and helping kids see the world in new ways. What stands out most in Fishman’s approach is his belief in learning from mistakes and turning them into teachable moments. He wants kids to know it’s okay to make errors and that some of the best learning happens when things go a little sideways. In his own words, he says, “Make mistakes. Then learn from them.” Through humor, inventive storylines, and playful illustrations, Seth Fishman shows how curiosity and creativity can lead to some pretty amazing adventures—both on the page and in life. Something else we really liked about his section is how he talked about the process of creating his books. He talks about how he has his own step-by-step routine he goes through before putting anything to page. Stacy Lynn Carroll is another standout in this issue, bringing warmth, humor, and a heartfelt message about kindness with her new picture book, The Yowlers. Already an accomplished author of young adult and adult novels, Stacy turns her talents to a story for the whole family to enjoy, and it couldn’t be more timely. The Yowlers centers around a family who’s always in a bad mood until their new neighbors, the Nicelys, move in and start spreading positivity. What starts as a simple act of neighborly kindness soon transforms even the grumpiest “yowlers” in town, showing that happiness can be just as contagious as a bad attitude. Stacy shares how the inspiration for this book came from her own experiences at home. She wanted to teach her kids about the power of attitude and kindness in a way that would be fun and relatable. The result is a story that encourages readers of all ages to pause and ask themselves, “Are you a Yowler or a Nicely?” It’s a gentle nudge to notice those around us, offer help, and accept kindness in return. What makes Stacy’s section shine is her honesty about the ups and downs of writing and publishing, especially as a busy mom of five. She talks about dedicating just a few hours a week to writing, balancing family, and never giving up despite setbacks and rejection. Her determination and positive outlook serve as an inspiration for anyone chasing a creative dream. With whimsical illustrations by Molly Ruttan and a message that feels more important than ever, The Yowlers is a delightful reminder that even the smallest acts of kindness can spark big changes in our homes and communities. Something we noticed is that the Yowlers are actually quite frightening looking at times, but become very human and even cute at other times. This seems to fit Carroll's goal of showing how negative emotions like anger and rage are natural parts of being human, but that we all have the ability to compromise, be kind, and be loving as well. Hannah Chung is highlighted in the “Book Bug” section of this issue, and it’s immediately clear why she’s an exciting voice in the world of children’s literature and illustration. Hannah is both an author and illustrator, bringing a unique creative perspective to every project she touches. In her feature, Hannah shares her journey as a creator, from her childhood love of drawing and reading to her current career in publishing. She discusses how stories and art helped her make sense of the world around her, and how that passion eventually turned into a full-time pursuit. What stands out is her commitment to storytelling that not only entertains but also comforts and uplifts young readers. Hannah’s work often explores themes of family, cultural heritage, and finding joy in small, everyday moments. Her illustrations are described as warm, expressive, and full of gentle whimsy—qualities that invite children to linger on each page and find new details every time they read. She credits her family and her Korean heritage as a source of inspiration, often weaving those influences into her stories and artwork. What we really appreciate about Hannah’s section is her honesty about the challenges of creative life. She talks about overcoming doubts, staying true to her vision, and the importance of community—whether it’s family, friends, or fellow artists. Hannah encourages aspiring creators not to give up, even when the path seems uncertain, and to remember that their unique voices matter. Through both her art and words, Hannah Chung shows just how powerful and nurturing children’s literature can be. Her presence in this issue is a wonderful example of how young creators are shaping the future of storytelling, one heartfelt picture at a time. This magazine also features great sections by talented contributors like Emma Hunsinger, Judy Newman, and Conrad J. Storad, whose “Conrad’s Classroom” column invites kids to explore the fascinating world of insects and science. The section about hornets actually taught us a thing or two! Like, did you know that only the queen hornets are set up to survive the winter? Everything else needs to start from scratch every year? With engaging articles, author interviews, and interactive features, each section brings something special to the table—making this issue of Story Monsters Ink a true celebration of creativity, learning, and the joy of reading. This magazine also highlights a lot of really cool children's books which are more than ads or summaries. They're more like reviews. Apparently, you can apply to have your book reviewed and/or featured in the magazine! How cool is that? There's a lot of really cool stuff in here. Check it out here!  Score: 85/100 (8.5 out of 10)
Do you have this unexplainable urge to get railed by a hot, possessive, controlling werewolf multiple times a day? Do you like fiction about mythical shapeshifting creatures going at it daily with humans like rabbits on a trampoline? Are you into edgy, erotic paranormal romances that bridge the gaps between species? How about ones that turn the bed into a crater filled with about three weeks of fur, fluff, feathers, and liquids that would take a scanner to identify? If that sounds like you, you might enjoy this book more than we did! The Alpha's Hunter is a steamy and erotic paranormal romance novel by Lily Redd. It is sexually charged, emotionally volatile, explicit, and unapologetic. We'd even say it's rather relentless. Well, what do we mean by that? Well, it's one of those novels in which the characters are perpetually horny and going at it again and again and again and again and again. Yes, there's some mystery about dead people, conflict between humans and werewolves potentially leading to a werewolf uprising, and a politics involving agreements that are being challenged involving the parties. But... that almost seems like window dressing—garnishments to the main course: the sex. It's to the point where you forget that this book even has a plot or a story (it does). In fact, we even started to forget that these characters had roles (like alpha wolf or hunter) or even names. Their identities and the plot just blurred far into the background of our consciousness because we were constantly reminded that one was hard and one was wet no matter what else was going on. We say it time and time again—with A Bright Summer by Kate Smoak and Her Wild Body by Noa Raveh—sex should complement your story and characters not derail or distract from them. There should be something more than just two (or more) people going at it over and over and over again. Yes, we know: it shows that there's chemistry and a connection between two (or more) characters, demonstrating their trust and magnetic attraction to one another; but it shouldn't take a half-dozen or more back-to-back erotic scenes to carry that message across. That just seems so redundant and frivilous. We've said it before and we'll say it again: too much salt or too much sugar makes good food taste overly salty or sweet—rendering it inedible. Just enough salt or just enough sugar enhances the food and makes it taste better. There's a goldilocks zone. This applies to content in books like sex, profanity, vulgarity, and extreme violence in books as well. This book is loaded with sex, profanity, and vulgarity from beginning to end. It seems like the very first time we meet all the characters, they're cussing up a storm at one another. And they're constantly cussing at each other or referring to their genitalia, often in the most vulgar and untactful way possible. Like, we're not prudes, ok? We're adults. We get it. Sex is fun. We also get that it's a great catharsis to cuss sometimes. When you're really angry or pissed off, it feels good. When you've just been in a car accident or you're in an active war-zone, it comes naturally. But the problem becomes when it's distracting or seems to be occurring just cause the author wants it to. There needs to be a reason. It needs to seem earned. It needs to seem warranted. Allow us to provide some good examples for when profanity/vulgarity and explicit sex scenes are used effectively in a work of fiction. Ellie in The Last of Us cusses up a storm and her speech is littered with profanity, vulgarity, and expletives. Well, there's a reason for this. Ellie lives in a fallen world full of death and destruction. It's a world in which you can't trust anyone. Monsters are eating people and tearing people apart. Humans are shooting, stabbing, and eating people and tearing each other apart. Furthermore, she had no positive role model or parental figure (that we know of) until she met Joel. So, she was surrounded by negative influences and in a terrible, hellish environment. Her foul speech makes perfect sense. It's fallen and broken just like the world she lives in. Furthermore The Last of Us is a story that's grounded in gritty realism. You're supposed to take it seriously. You're supposed to believe that these things could really happen in real life. But what about a romance novel with perpetually-horny werewolves? Does that earn or warrant the constant bombardment of this language? You could argue that the characters are in quite a few severe scenarios, encountering death and violence. However, like we alluded to before, it's really hard to buy into that angle when it gets relegated to the background. The characters are constantly fixated on banging each other. There are times when they're supposed to be thinking about preventing the werewolf uprising, but they're thinking about banging again. Again: salt and sugar. Just enough is just enough. Too much and the food is ruined. You're not even tasting the steak or eggs anymore, you're just tasting the salt. You're not even tasting the oatmeal or yogurt anymore, you're just tasting the sugar. It drowns out the taste of the food. Similarly, when you have this much bedroom activity, all you see and think about is the bedroom activity. When people are fighting and dying, you're thinking: hmm... I wonder when they're going to go back to the bedroom again. When people are arguing about the politics and the broken agreements between humans and werewolves, all you can think about is: hmm... I wonder if there's going to be another bedroom scene right after this. It's like perfume or cologne. Three sprits on the wrists and neck are great. Spraying it all over yourself makes it noxious and no one wants to be around the person who douses themselves in fragrance. It loses its power. It loses its uniqueness. It loses what makes it special. The same with the language. If everyone is just cussing up a storm and talking about/fixating on their genitalia left and right, it loses its power, its uniqueness, and what makes it special. Think about it: when you go on vacation once a year, it's exceptionally special. If you go on vacation every week or every month, it isn't nearly as special. You just become numb to it and bored of it. It's another day in the office. Here's a good example of how to use explicit sex in a story: Deadpool. We all know about the pegging scene, but that was part of a long montage—the "balls in holes" montage—in which it was made abundantly clear that this couple—like a healthy, normal couple—has sex regularly and frequently. They love each other, are attracted to each other, have great chemistry, and trust each other enough to engage in activities like this. Well, that's not the end of it. The explicit sex scenes in Deadpool serve another purpose beyond establishing the bond between the characters. Remember when Deadpool says that he wants to get his good looks back? Specifically, he says he wants to find Ajax (the scientist who disfigured him) to get his "sexy" back? Well, that connects the dots all the way back to those explicit sex scenes we saw before. Being sexually active with his partner made Wade/Deadpool feel sexy—attractive. Those things meant something deeply to him. He valued his looks. He valued that his partner saw him as handsome/sexy/attractive/beautiful. This is a very relatable, human thing. We can empathize with it. It seems realistic and plausible. What about the explicit and repetitive sex scenes in this novel, specifically between Marcus Blackwood (an Alpha werewolf) and Joanna Sullivan (a human hunter)? Well, you could make the argument that they establish that Marcus and Joanna have a powerful bond and attraction to one another that crosses traditional boundaries. You could even consider their relationship taboo, sorta in a Romeo-and-Juliet-sorta-way. That's definitely a great premise, and that's true to an extent, but... it shouldn't have taken 10-15 sexual encounters or detailed fantasies to establish that. Look at it this way: if it takes 10-15 shots to unalive something, that just means the first 1-9 shots didn't work or didn't do a good enough job. Every single chapter has something erotic going on or some erotic fantasy playing in a character's head. Like, don't you guys realize people are dying and being murdered? Don't you guys realize there's this big huge conflict with the werewolves and humans that could lead to an even bigger crisis? Look, if they don't care enough to take a break from the sex to deal with it, then why should we (the readers)? They're distracted, so we're distracted. They're derailed, so our consumption of the plot is derailed. And we're not sure if these sex scenes really ingratiated us to Marcus or Joanna. In fact, they may have achieved the opposite. Marcus is particularly mean and aggressive. Well, he is an alpha werewolf, but we're talking as a humanoid partner—do you really want someone this forceful, possessive, and pushy in your life? Like, call the cops. Get a restraining order. Even in romance, dominance needs to be earned—not assumed. And Joanna, while sharp and capable in theory, spends a surprising amount of time getting pinned, stared down, and sexualized when she should be solving a case or asserting control over her arc. Marcus often uses his physical size to intimidate Joanna. He corners her, pins her, and holds her in place without her consent—sometimes in the middle of emotionally charged arguments. These acts are described with dominance-focused language: “Marcus crowded her space, leaning close with a low growl,” or “He pressed her back against the wall, staring down at her with a possessive glare.” This behavior comes across as more territorial than tender. Marcus becomes furious when he learns about Joanna’s past sexual relationship with Ethan, his beta. Rather than process this emotionally, he reacts with rage and suspicion, asserting control and questioning her loyalties. He often thinks or says things like he won't allow or can't allow her to feel or do something (or others to feel or do something involving her). Or he becomes furious when others (like Ethan King) show her attention. Here are some examples of his possessiveness and controlling behavior (language censored): "I couldn’t tell her age just by looking at her —her black skin was supple and untouched by time -- but I admired her prowess, even as my wolf raged at the thought of following behind a human. Before tonight, the only time I’d allow that was if I was taking her from behind, letting her moans and the arch of her back dictate how much of my cock she could handle. How deep she needed me to thrust inside of her." "Marcus stormed toward me, his gaze burning into mine with an intensity that made my knees weak. 'You were f****g him,' he growled, his voice a low, dangerous rumble that sent a shiver down my spine." "Marcus’s snarl was a chilling sound that echoed through the room. 'She’s mine.' His voice resonated with a possessiveness that made my heart race." "Marcus whirled around, amber eyes ablaze. 'You think this is a f*****g game, Joanna?' he growled. 'You think you can just waltz into our world, fuck with my pack, and not face the consequences?'" "I turned to Joanna, my expression stern. 'Inside. Now.' ... 'What the f**k were you thinking, Joanna?' I asked, my voice low and dangerous." "When she sighed, I knew she understood. Ethan was my responsibility. And if she wanted to talk to him, it would be on my terms." Geez... dude? We get that you're, like, a really horny alpha werewolf and all, but by human standards... this is a really terrifying disposition. So much for respecting a woman's agency or free will. Instead of growing their connection through shared hardship or emotional conflict, the story leans heavily—too heavily—on primal lust. And while that might work for fans of paranormal erotica, it weakens any argument for emotional realism or romantic depth. Anyway... Let's try to leave with something positive. Joanna is a character with tremendous potential. Seriously. Joanna is pretty much a slayer—like those special beings in Buffy who could take on vampires and stuff. She's a "hunter." And a lot of the werewolves view her with trepidation, fear, and distrust. She's kind of their enemy after all, or at least the one who is helping to keep them in line. Yes, there's a coolness factor to her. We just wish she wasn't constantly distracted. We also get some of the politics of this world including with the Bureau (which regulates supernatural and werewolf activity), forming after an agreement with the US government of all things. We even get some politics in the werewolf packs themselves like with alphas, gammas, and bettas. If you are into steamy erotic fiction with werewolves, maybe you'll like this. Check it out on Amazon!  Score: 88/100 (8.8 out of 10)
Her Wild Body is an unapologetically sensual novel by Noa Raveh. It falls under the category of queer feminist erotic literature. It is an exemplary piece of Sapphic literature. Apparently, it was translated from Hebrew into English. It is structured as a non-linear, multi-voiced exploration of sapphic desire, bodily reclamation, and late-life liberation. Her Wild Body definitely isn't everybody's cup of tea. It certainly wasn't ours. However, it may appeal to readers who are drawn to poetic, emotionally raw, and explicitly sexual narratives centered on intense female desire, exploration, and autonomy. Fans of Jeanette Winterson, Audre Lorde, or Marguerite Duras may appreciate its lyrical intensity and unfiltered intimacy. It’s likely to resonate most with those seeking stories of queer identity, radical self-love, and transformative sensuality—especially told through a deeply personal, stream-of-consciousness lens. The main issue we had with this book is similar to the issue we had with a certain book we read this time last year (A Bright Summer by Kate Smoak): the erotica just doesn't relent, and it's to the point where it becomes redundant, cloying, tedious, and grating. These characters are constantly on top and inside of one another. Apparently, they have jobs and other responsibilities, but you wouldn't know that based on the fact that they're even having sex during work or in between meetings. Like, do these people have nothing else to do? Nothing else to occupy their time or minds? It's just always sex, isn't it? Look, we're not kink shaming, but we are drawing attention to the fact that these characters seems entirely defined by their sexuality. Yes, there's an abortion sub-plot and talk about being Israeli, but it really seems like the dominant thing in this entire book is just having sex as often and as wildly as possible. That doesn't lead to much of a plot. Again, there are attempts at plots like the aforementioned abortion and Israeli discussions, but those are relegated far into the background. They're practically afterthoughts. And it's unfortunate. Like, there's this really humanizing scene in which the narrator encounters a female hedgehog, they have an existential moment, then onto more sex. To be honest, the abortion sub-plot was actually compelling. It had emotional weight, vulnerability, and real-world stakes. It grounded the narrator in something raw and human—something beyond the endless cycle of lust and longing. For a moment, the book pulled back the sheets (pun intended) and offered something deeper: a meditation on loss, choice, identity, and personal rupture. For the first time, we told ourselves: this is a living, breathing human being with actual thoughts, emotions, conflicts, and drama, not some emotionless, robotic sex doll programmed for one function and one function only. But just as quickly, the narrative veered back into more erotica, as if afraid to linger in the discomfort of anything non-sexual. That momentary depth got buried under another tidal wave of orgasms and poetic moaning. Ultimately, the imbalance is what hurt the book for us. Sex is clearly meant to be the vehicle for liberation, identity, and healing—but when it becomes the only vehicle, the story feels emotionally flat and dramatically repetitive. Sensuality without restraint, without contrast, loses its impact. Without real narrative tension or stakes, Her Wild Body begins to feel like a monologue shouted into a mirror: beautifully written, but circling itself endlessly. It's just... too much. It's like perfume or cologne. When you sprit some on, it smells fine, maybe even good. When you drench yourself in it, it becomes cloying. You want to hold your breath and move to a different room from the person. It's like salt or sugar. They taste great in moderation, but when it's dumped onto the food, that's literally all you can taste—either too salty or too sweet. So, this book is so saturated with wild erotic sex that it completely overshadows literally everything else: any characters or plot this book may have had. And yes, this book—believe it or not—had a variety of characters. In fact, most of this book covered the narrator's sexual partners over the years like Noga, Shira, Tammy Gil, Mowgli, Esther Lionheart, and Tom. We're guessing that these aren't intended to be the actual names of these people, more like nicknames. We're guessing this is the case because these characters almost comically or cartoonishly fit the gimmick of their names. Mowgli is often described as being like Tarzan or Jane (alluding to jungle imagery like Mowgli from The Junglebook). Lionheart is often described as being feline or cat-like. It's... poetic. In fact, in all fairness, the poetic prose and writing in this book is rather impressive at times. Here are a few of our favorite passages, many of which make use of techniques like alliteration: "We moan and growl, loud lionesses in the cricket-dotted quiet. We are lone she-wolves, united to run through meadows." "The abortion is over. Four weeks of holocaust in my womb have come to an end." "I want to kick the doctor, yell at him and Tom: Don’t touch my children! Don’t you dare take them! But I remain silent. Instead, tears stream down my face. I grip the brick tighter, desperate to feel anything but my abdomen. I know that relaxing would ease the pain. If I let the children go, it would hurt less, but I can’t. I resist strenuously, contracting around the syringe as if trying to fight it, knowing I have no chance of winning." "She is both the riddle and the answer to questions I never knew I was asking... Painting surrounds her on all sides, flows through her veins. It is her parent, her teacher, her healer. It is solace and knowledge. It is her element and she is painting. They are not truly separate. She serves it and it materializes through her. Her tubes of color are the tools. The paintings—prayer. " "I’d taste the grace of your soft skin, you’d cause an earthquake in me. I’d go up in flames with you, coming to you. I’d be left scorched earth after you." "She exorcises my demons this way, she puts red love in black places. She cooks me like sweet caramel..." "Vitality surges here now. A carnival of senses. The universe itself courses through our veins. We don’t just live in it; it lives in us." Probably our favorite: "We moor, core to core, by the Mediterranean shore." "...you turned me into the Nile Delta. From the farthest reaches of myself, from every nerve ending, in one moment I flowed like a river to the sea.” You know, we actually gave this book a slight ratings boost after reviewing these amazing quotes and passages from it. However, we can get over the fact that we got really bored about half way through this book (for the reasons we described earlier). We would probably give it more credit if there weren't brand new sex scenes listed in the closing pages of the book. Like, if we're looking at this from a literary perspective: you can't be introducing brand new exciting scenes like this when the book is supposed to be winding down. What, are we getting a sequel or something? Why does it seem like this book is still in medes res when it only has a couple of pages left? Anyway, again, this might not be our cup of tea but maybe it's yours. Check it out on Amazon  Score: 95/100 (9.5 out of 10)
We constantly find ourselves impressed and amazed by Story Monsters! Just when you think they've settled into their niche, they branch out and excel in a completely different way. As a publisher, a name, and a brand, they have constantly demonstrated how diverse, multifaceted, and layered their products are. Everything they do just clicks in one way or another: their children's books, their documentaries, their music, and—in this specific case—their magazine! Story Monsters Ink is the most pleasant, appealing, and delightful literary magazine we've had the pleasure of reading lately. It's colorful, bright, entertaining, insightful, inspirational, educational (at times), and—best of all—features such extraordinary guests! Story Monsters Ink February 2025 Edition features two heavy hitters in the children's book industry (David Shannon and Megan McDonald), the world-renown poet and activist who presented at President Joe Biden's 2021 presidential inauguration (Amanda Gorman), a Super Bowl Champion & NFL tight-end (Martellus Bennett), a Newberry Honor Book Award winner (Andrea Beatriz Arango), and more! Raven Howell, Conrad Storad, Julianne Black DiBlasi, and everyone else at Story Monsters really do a phenomenal job at putting this all together. And, no, we're not forgetting or ignoring the extraordinary contributions by the likes of great people like Judy Newman and Kaitlyn Sage Patterson. In fact, let's start there. Kaitlyn Sage Patterson is a breath of fresh air in the world of middle-grade fiction. Her interview and feature in this issue bring to light her unique perspective on the joys and challenges of growing up in Appalachia, the importance of representation in equestrian sports, and the power of pursuing dreams, even when the odds seem stacked against you. Her voice is authentic, empathetic, and thoroughly engaging—reminding us that every child deserves stories where they can see themselves and their communities reflected. One thing that really stood out to us is what inspires Patterson to write. You know what they say? Write what you like or write what you'd want to read. You could add write what you know in there as well. Patterson grew up at the foot of the Smoky Mountains in East Tennessee. She grew up really liking horses and stories about them (the Saddle Club book series, for example). She voraciously sought after these horse stories and absolutely adored them. That passion for horses is exemplified in her new middle-grade series, Windy Creek Stables. Judy Newman “Stuffie Power” column is a heartfelt nod to the quiet magic of childhood comfort objects and the imaginative worlds children build around them. It’s whimsical, wise, and precisely the kind of content that reminds adults why nurturing children’s creativity and emotional well-being is so important. This section really spoke to us. All of us remember our childhood stuffy or personal item. Heck, maybe those things inspired the books and stories we wrote! Our founder, Steven, had a bunch of dinosaur & dragon stuffies growing up which eventually inspired the characters in his book, The Destroyer of Worlds. He says that one of them, "Bluey," actually became Azure, the protagonist of the book. Do you remember your childhood teddy bear, blanket, or binky? It's fascinating how these little things from long ago—surprisingly—leave a lasting impression on our psyches and lives. So, if you're a children's book author or have consumed/purchased a lot of children's books, you almost definitely know David Shannon. David Shannon is the author of the legendary No, David! series—a collection that has become a staple in classrooms, libraries, and homes around the world. His mischievous, round-headed character David, with his shark-toothed grin and never-ending antics, has made generations of kids (and adults) laugh out loud while also touching on the universal experience of childhood mischief. And, hey, if we're not mistaken, he's one of the few children's book characters to ever get his own float at the Macy's Thanksgiving Day Parade! But David Shannon’s talent doesn’t stop at humor. He’s a masterful illustrator and storyteller whose work spans a variety of styles and subjects, from the expressive, childlike paintings in the “David” books to more realistic or whimsical art in titles like A Bad Case of Stripes, How Georgie Radbourn Saved Baseball, and Roy Digs Dirt. Shannon’s stories resonate because they’re authentic, relatable, and always have a core of genuine warmth—even when they’re hilariously chaotic. What’s especially impressive about Shannon, as highlighted in this issue of Story Monsters Ink, is his willingness to experiment and evolve, both in his writing and his art. Whether he’s drawing with markers to mimic a classroom whiteboard or crafting a story around the fine line between what’s funny and what’s “not funny,” his creativity never stops. He makes it clear: don’t underestimate kids—they get more than we think, and they’re always hungry for a story that rings true. Megan McDonald is another heavy-hitter in the children's book industry. She is the author of the Judy Moody books for grades 2 to 4! If you’ve spent any time around elementary-aged readers, you’ve almost certainly heard of Judy Moody—the feisty, funny, and sometimes moody third-grader whose adventures (and misadventures) have entertained millions for 25 years. McDonald’s Judy Moody series is famous for its humor, relatability, and heartfelt look at sibling dynamics, friendship, and everyday childhood challenges. The stories are packed with personality, thanks to both McDonald’s lively writing and Peter H. Reynolds’ memorable illustrations. And let’s not forget about Judy’s little brother, Stink, who became such a fan favorite that he got his own spinoff series! But McDonald’s talents don’t end there. In addition to the enduring success of Judy Moody, she’s written a new chapter book series, Fairy Door Diaries, which draws readers into a whimsical world of magic and imagination—proving that her creativity is as boundless as ever. Whether she’s writing about moody third-graders or tiny magical doors, Megan McDonald’s stories always capture the joy, wonder, and sometimes the chaos of childhood in a way that makes readers want to keep turning the page. Amanda Gorman serves as the stellar cover-model of this installment. She is a world-renown poet, scholar, social justice activist, and Harvard graduate who has accomplished all she has by the age of only 27! We know her as the poet who made waves and headlines speaking at President Biden's 2021 inauguration (reciting her poem We Rise). Regardless of how you feel about socio-political perspectives and issues, it is undeniably awesome to be invited to speak at an occasion like that—with the whole nation and the world watching! In this issue, Gorman shares her insights on the power of poetry, the importance of community, and the courage it takes to raise one’s voice. Her new book, Girls on the Rise, continues her mission to inspire and uplift the next generation, reminding readers that real change begins when we choose to stand together. Next, there's former Super Bowl Champion and NFL tight-end Martellus Bennett! Bennett’s article promotes his picture book, Dear Black Boy, with a compelling message of empowerment, imagination, and representation. The feature strongly emphasizes creativity, positivity, and the importance of imagination and ambition for Black youth. Bennett proved to have the best quotes and most insights of the many talented, esteemed authors in this magazine. For example, he says, "I do love writing. I actually prefer to write things out. I feel that when we speak, the breeze catches our words, and they end up all over the place, but when we write, the words stay right where I put them. I like that." What an awesome quote about the power and lasting impact of the written word! He also says something really fascinating about why he's pouring so much of himself and his creativity into his works: "What a terrible life for a character—to be stuck in a notebook with no chance of making it out into the world. It is my dream to die with no ideas. I would like for my tombstone, or whatever they put me in, to say: Here lies a man with no more ideas... oh yeah, one more thing...” His section also really demonstrates his growth as an author/illustrator. He talks about how much he has improved. “The first edition of the book that I self-published came out six years ago, and since then, I’ve grown in so many ways. I can draw better now, I can articulate my thoughts with a tad bit more clarity, and I understand color much better—I’ve even developed my own color theories!” Andrea Beatriz Arango's section also resonated with us a lot. Yes, she's a Newberry Honor winner, but she's also a very personable and relatable person. One thing that really stood out to us about her section was the inspiration behind her new book which features fencing, It’s All or Nothing, Vale! The book focuses on themes of perseverance, recovery, identity, and personal growth. The spotlight is on Valentina ("Vale") Camacho, a dedicated young fencer coping with the aftermath of a serious accident. After months away, she's determined to return to her sport—but finds that physical healing is just the beginning of her journey. Through poetic storytelling, Arango explores how Vale confronts her fears, reclaims her passion, and struggles to redefine herself beyond the scoreboard. That's all well and good, but we remember is how Arango talked about how she didn't have personal experience with fencing other than that her sister was a fencer. She talks about how this book is actually a bit of an apology letter to her sister for not always being involved and supportive of her fencing passion. How beautiful is that? Literature can be a way of healing old wounds and making amends. What a great installment of a fantastic magazine! Check it out here!  Score: 88/100 (8.8 out of 10)
Shadows of Carath is a sci-fi fantasy novel with a lot of potential. The world is rich. The effort is monumental and ambitious. Unfortunately, in our opinion, it left a lot to be desired and a ton of room for improvement. This was a really frustrating read, but we'll try to be constructive. First and foremost, it got really caught up in the weeds. The narrative fixated on describing things in excruciating detail, whether they're relevant to the main plot or not. We had to know what kind of scars characters had, what their hair color was, or what clothes they were wearing. It kept introducing one character after another character after another character in machine-gun fashion. The introductions of new characters never seemed to end, and it became overwhelming. Like, was the author trying to tell a story or was the author trying to write a Wikipedia article about Carath listing every single political figure, sorcerer, mercenary/security/assassin group, and aspect of the economy? We get to read about things like the Trade Consortium. Does that sound exciting? As a result, we found this book to be bloated, fluffy, and choppy. We guess you could compare it to salsa. This is one of those books that was loaded with a lot of interesting ideas—arguably too many ideas—that don't seem to mesh. It's unfortunate because there really are cool things in this book. For example, there are "Supernova-class starships" in here. There are laser guns like the UX-25 and 2L-9 in here. Heck, even Merlin ("Master Merlin") from Arthurian lore is in here (for... some reason). But... why? Do these things facilitate or complement the plot or do they just serve as window dressing? The good thing about having a lot of interesting ideas is that you have a lot of substance to work with. The issue is: you need to know what to keep and what to cut. You need to know what can be stuffed and shoved into one book and what can be saved for a sequel. You need to be mindful of your audience's attention span and how much information they can soak in all at once. Also, don't forget: your story should flow and, above all, be entertaining. But this read more like an encylopedia or textbook than a sci-fi or fantasy novel. And, yes, encylopedias and textbooks can be interesting, but we were on board for some sci-fi/fantasy action and adventure. We were on board for some epic, compelling storytelling. Remember: storytelling and world-building aren't the same thing. Describing characters and things in your world isn't necessarily storytelling. A lot of this book involves two guys looking for clues like they're detectives in a crime novel and politicians and their lobbyists debating each other like they're the U.S. Congress on C-SPAN. It could be so much more interesting and compelling. Everything reads like a list of things the author wanted in the book instead of an organic part of the world or the story. You don't need to include everything you write down. Save some bullets in the chamber for a sequel or something. And instead of stopping to describe each and every blade, gun, and weapon in excruciating technical detail, why not let characters throw down with them more? Why not put them to use? Speaking of which: Where are the epic fights and space battles? There is some action, particularly in the closing pages, but we were so checked out by that point. Instead of feeling fulfilled that the book reached a climactic action scene, all we were thinking was: "Thank God, something is finally happening!" We felt that way because so much of this book involves a bunch of people sitting or standing around talking or new characters being introduced and described. We thought we were promised some warrior monk .vs. space marine .vs. space assassin .vs. sorcerer action. We keep being told how great and formidable the Na'dari and the Jym Zadi ("the Na’dari’s deadliest enemy, with fighting skills matching their own") are. Why not show us? Why not demonstrate it more? To quote Ken Watanabe from Godzilla 2014: "LET THEM FIGHT!" If this book is supposed to be about Nico Bribane and Zachary Hawkins investigating the suspicious deaths of 30 Na'dari (warrior monks) in the Carathian Empire then why is the focus of the climax of this novel on the Order of the Cobalt Spider (Lani, Vena, Jerek, etc.), CISP, the Jade Ghosts, and the Praetorian Guard? Why isn't the climax focused on Bribane and Hawkins (the supposed two main characters)? What were we building to and why were we building to it? Were we really building to this? Lani and Vena being front and center as the tragic heroes of this novel? CISP and Eight-Zero swooping in from left field to become the villains of this novel? Why tell us all that stuff about the former emperor and empress being assassinated by a Sirron? What about the staged murder-suicide? Why introduce Merlin to add a mythical magical element? What does that have to do with anything? Why tell us all this stuff about Mr. Doran and the evil lobbyist corporation (DoroEngines) providing the Supernova-class starships? What about Larinna's parents (the duke and duchess) being murdered by sorcerers? What about the Wrathelords? Are these stories even in the same universe? Are they intended to be in the same world? The same timeline? Did the author change their mind about what kind of story (sci-fi, fantasy, mystery, etc.) they were trying to tell? Why does it seem like nothing fits together and nothing is heading in any particular direction? Why are there so many dang characters and so many sub-plots? Why aren't there indentations in the copy of the book we have but there are indentations in the Kindle version? Reading this book felt like driving on a winding road plagued by potholes and speed bumps. It felt like catching every red light while driving to the DMV or being stuck in rush-hour traffic. It really felt like the narrative couldn't just go. It had to start and stop constantly. It had to keep introducing new characters and new scenarios/sub-plots. That's what made it so frustrating for us to read. Things couldn't just happen, unfold, or flow naturally. The narrative couldn't establish any tempo or any semblance of good pacing. It always seemed to start, stop, and introduce a handful of new characters every chapter. It always seemed like the author couldn't decide what they wanted their book to be about and kept changing the focus. And that's another thing: the lack of focus. The narrative gets so caught up in describing characters' scars, eye-patches, clothes, and jewelry that it loses focus on the story we're assuming it's trying to tell. Let's just present to you the characters from our notes to give you an idea of how excessive and overwhelming this number of characters is: Nico Bribane Zachary Hawkins Baron Vanat Count Dura High Commander Lesin Chairman Lym Inma of Uwao Chairman Inmak Grand Duke Ashton Duchess Larinna Overlord Ni Ma’vang Okk Edwin Rosa Lady Sonja Kobus Baron Kobus Dr. Clarisa Halon Oliver Fell Emperor Percival Pelodred I Empress Alrisa Emperor Florian (dead) Empress Gabrianna (dead) Roland Banniston Master Merlin Ren Lexor Den Baros Leopold Galin Prince Willard Prince Jerod Eight-Zero Ten-Zero Perovar Pate Cane Kaba Rash Gord Vado Kole (Agent Ten Three) Dane (Agent Ten-Two) * Yes, these two are actually referred to by these agent call names, adding to the confusion Kolin Vena Lani Jeb Dahin/Zeph Pebon Dahin Drengal Warder Clark Grand Duke Mortimer Cal’a’Vol Sergeant Saril Polli Nina Commander Ryla Mosin General Hans Mosin Commander Magnus Floyde Helena Floyde Duchess Rasondel Commander Galen Jaesys Keli Druest (an "award-winning motion picture actress") Rala Rosal Lawton Rasondel Aneya Rasondel Captain Leo Huron Archduke Brondral Commander Teufeix Commander Teufeix's Spouse Commander Hosk Gosh, just look at this paragraph: "'Of course,' Bribane replied, wiping his mouth with a cloth napkin while rising from his chair. The Rinian followed Hawkins and Fell as they walked towards Count Vanat’s table. Oliver introduced the two preceptors to the table’s occupants: Count Henry Vanat of Coulbar and his wife, Countess Fiona; their daughter, the Baroness Henrisa Saldor and her husband Lord Rolas, second son of the Duke and Duchess of Cadderwyte; Baron Ivar Kobus of Wayland and his wife Baroness Lilya; Their eldest son Lord Oscar Kobus and his wife Lady Arina Galrod Kobus, third daughter of the Duke and Duchess of Newcastle; the Kobus’ youngest son, Livar, and their daughter, Sonja." Who? What? When? Where? Why? How? Are all of these people going to matter at some point later on in the book or series? Are they going to get fleshed out eventually? Like, when is enough enough? How many named characters need to be in one book? Again, it doesn't really read like a novel, it reads like a list. It reads like a phone book. There's a difference between making your world feel real, fleshed-out, and lived in .vs. using contrivances to manufacture world-building. In other words, you shouldn't just list all the cool people and cool things in your world. That's not a story, that's a phone book. We strongly recommend that this book be revised and rewritten with more focus. Rein this in. Simplify things. Save some content for later installments. Take a handful of major characters (ideally less than five) and let them live and tell this story. There are glimpses of good writing in this book. For example, we get the great quote: "Beware of an old man in a profession where men usually die young." And, hey, you might enjoy this book more than we did. There's a lot to like and work with. If you're interested: check this out on Amazon!  Score: 95/100 (9.5 out of 10)
Meet John. John is an adorable and adventurous pink bunny rabbit who LOVES to travel! Being a curious bunny, he also LOVES to learn all about the exciting places he visits! In this vibrant, colorful, fun, and educational children's book, John visits and tours one of America's greatest and most iconic cities: San Francisco! First and foremost, the illustrations by Branillius are truly spectacular! This is particularly true when it comes to the backgrounds and settings, but the characters are cute as well. From the very beginning of this book, we were in awe of the illustrations. They don't just capture your eyes and attention, they capture your heart! Arguably our favorite illustration in the book is that of the Palace of Fine Arts. Yes, the text describes it as "golden and magical" but that comes across even more in the illustration of it. A picture speaks a thousand words! This is easily an illustration you could proudly hang on your wall. Another astonishing illustration is the initial shot of San Francisco with the Californian morning sunlight reflecting and sparkling off of window panes and the antennae of buildings as birds fly by. Gosh, it's marvelous! Yet another amazing illustration is that of the aquarium. The curved glass tunnel places viewers “inside” the aquarium, surrounded on all sides by water, fish, coral, and marine life. The dominant colors are electric blues, pinks, purples, and greens, creating an underwater fantasy effect. Neon and pastel tones make the environment pop, giving it a lively, magical feel. The background is filled with detailed coral reefs, a variety of fish, and a prominent sea creatures (possibly a stingrays or manta rays) gliding above the tunnel. And, while these three illustrations really stood out to us, that's not to say that other illustrations in this book aren't extraordinary and eye-catching. Heck, the cable car ride through the Financial District is also marvelous. What a colorful clash of happy, vibrant pastel colors! Oh, and there's the scene in which the characters are zip-zagging through the flower-filled roads of Lombard Street. It's gorgeous! This book also features Alcatraz Island, the Golden Gate Bridge, Chinatown, and more! There's so much to see and be amazed with in this book, just like there's so much to see and be amazed with in real-life San Francisco. And another charming aspect of this book are the characters. We've already introduced you to John, the pink bunny rabbit. This book also prominently features a character named Gabriel, likely a stand-in for the author himself, who seems to be John's friend and guide. John proudly sports an American flag-design shirt (which we loved, since it helps to celebrate the country in which this book takes place). One aesthetic choice that did kind of bug us for a while are Gabriel's glasses, especially when he's first introduced. They're these round tinted glasses that reminded us chillingly of Judge Doom from Who Framed Roger Rabbit?. It was kind of unsettling, to be honest, especially when Gabriel's eyes peer out of them when he's introduced. Gabriel is portrayed in the book as super enthusiastic and excited, often with dramatic poses (i.e. arms outstretched) that reflect John's. He almost came across to us as clownish or mime-like. We know that might sound weird, but that was our perception of him. Maybe it's the bright clothes and white gloves? One thing that was a bit hit-and-miss about this book are the absolutely adorable side-characters (the other animals) like the alligator photographer, bicycling elephant, giraffe, bear, kangaroo, tiger etc. But what's really unfortunate in our opinion is that we rarely get to see these characters. Some of them are only on one page! What a big bummer! John and Gabriel, while cute and interesting in their own right, are not quite as cute as these other characters. Like, how much cuter would this have been if John and Gabriel crossed paths with the cute bear, kangaroo, and tiger from the airport? It seems like a huge missed opportunity not to feature them more, especially since they're the best illustrated and aesthetically-pleasing characters in the book. Oh, and by the way, why is there a random fruit walking around? Like, anthropomorphic animals is one thing, but there's a veggietale in here! What's the lore there? There are some very human and relatable moments in this book. For example, John wonders why the Golden Gate Bridge is red instead of being golden (like its name). Hey, good question! Oh, and there's this surprisingly deep and heartfelt moment in which John decides to visit Japantown in honor of his friend who also loved anime growing up. That's sweet. And it's one of those things that if you blink, you'll miss it. It's just delicately placed in here. This is an exceptional children's book that deserves a look! Check it out on Amazon! |
Archives
November 2025
Categories |
RSS Feed
