Regarding Recent Review Activity
By Thio Isobel Moss
If you’re new to my website, welcome! Pull up a chair and get comfy. If you’re a returning visitor, you may have noticed a few new additions. Several reviews have—at long last—found their way into The Moss Library. I plan to post a handful each month, mostly ARCs (Advance Review Copies) provided through NetGalley, alongside a few old favorites and the occasional lucky find.
Since this will be a regular feature, it seems only fair to explain how I approach reviewing. Sometimes two books receive the same rating—say, a 4 out of 5 stars—yet feel like unlikely shelf mates. There is, after all, a meaningful difference between a book that earns a 3.5 and one that earns a 4.4, though both round to a 4. I would much prefer a rating system that respects tenths, but that way lies the temptation of hundredths, and that is simply taking things too far.
I may be fussy, but I do have my limits.
Each book I review is evaluated across several categories: Worldbuilding, Dialogue, Character Development, Plot/Story Structure, Pacing, Style/Voice, and Emotional/Thematic Impact. I don’t break down the numerical weight of each in my write-ups. Why? Because it would make for a rather bloodless read—and because some precious, rare, and wild books defy neat categorization. They possess merit beyond definition and are rated accordingly.
Why these categories? Because together, they cover a great deal of ground.
Worldbuilding isn’t limited to fantasy realms; it’s about immersion. Do I feel as though I’m living in this world? Can I sense its textures, smell its air, taste its food? Am I encountering unfamiliar customs or ways of life? In short: am I transported?
I list Dialogue separately from Character Development because, while they overlap, they are distinct tools. Every story relies on a balance of exposition, action, interiority, and dialogue. Our minds respond differently to each, and when they’re misaligned, the strain shows.
(I don’t say this to gatekeep—someone has written, or will write, a story that successfully breaks every rule. I try often enough myself. Still, the rules exist for a reason.)
Character Development is what lifts the inky inhabitants off the page and makes them feel alive. Do they have an accent, a nervous habit, a peculiar way of eating peas? Do they visit the park every Thursday despite the memories it stirs? Is their inner voice self-deprecating, smug, cruel, or naïve? It goes far beyond hair and eye color.
Plot or Story Structure can take many shapes: spiking, looping, dipping, or flattening into dullness. I tend to think of it as clockwork and circles. A simple plot, executed well, can be elegant; a complex one, handled poorly, becomes a knot of spaghetti. Structure is essential, and I do weigh it more heavily than the other categories.
Pacing is a peculiar thing. For me, it ultimately comes down to how the book invites me to read. I don’t want a voice racing ahead of my thoughts; I want control. I want to feel eager for the next word without my interest flagging. It’s a delicate balance and devilishly hard to get right.
Style/Voice is perhaps the vaguest category—a kind of literary soup. Originality, prose, intentional repetition, symbolism, and countless other techniques all simmer together here. It’s also deeply taste-dependent. Just as there are jokes I don’t quite get, there are styles I struggle to connect with, however earnestly I try.
At the end of a book, a reader ought to feel something. Emotional and Thematic Impact is that something. Ideally, I close the book reflective and eager for more. Did I inhabit the characters’ emotional lives? Were their feelings too compartmentalized—or too unrestrained—for the story to breathe? It’s another tricky balance.
Sometimes I tally the score and think, No, this was better than that. I do make allowances for the takeaway. A story may be technically uneven yet leave me happy, moved, or energized. Occasionally, I can’t quite explain why—some unidentified element simply clicked. I cherish books that reveal small truths in subtle ways. They make me think.
And there you have it.
Most of the ARCs I read come through NetGalley, though I plan to branch out. If you’re curious about exploring ARCs yourself (and I highly recommend it), you may find your tastes evolving. I’ve noticed a recent tilt toward mysteries and urban fantasy mysteries, rather than my usual straight urban fantasy—likely a result of exposure to a broader range of publishers than Kindle Unlimited, my longtime primary source, typically offers. It’s been an exciting shift.
There are, of course, numerous ways to find good books. Browsing in a bookstore is always appealing, especially if there is chai and pastries on hand — bonus points for store cats. For quality and convenience, however, a careful shuffle through an ARC site can be very rewarding. Whatever path works for you, travel on and happy reading.
An Advance Review Copy (ARC) is a complimentary edition of a book distributed by an author or publisher—often via platforms such as NetGalley or Edelweiss—prior to release, with the hope of generating early, honest reviews.
