100 Books Like All Four Stars

Oh dear, I’m cheating again. Sort of. This isn’t really fantasy, either. It’s an adventure for young adults featuring teenage spy Alex Rider. But I love it too much to care, and besides, cheating is cool, kids! But there’s a specific reason why I’m finishing this list with Stormbreaker. Despite its exciting action, the book is written as a relatable and grounded affair. Alex Rider is an ordinary kid with ordinary problems. He’s ginger, often lonely, underestimated, and regularly cast aside. He’s relatable and that’s why I loved the books.

The film adaptation is a ridiculous charade of impossible stunts starring an incredibly handsome blonde-haired model and it feels like someone threw up confetti over a story that actually meant something to me. Fifteen-year-old me was justified in throwing his popcorn at the screen.

You describe a book as “Ocean’s Eleven for teens,” and I am a hundred percent in.

Like most heists, this one has the cat burglar and the genius hacker and the femme fatale and the getaway driver—except this time, they’re all teenagers. What a dream!

I just love a good heist story. They have to be so carefully crafted, so tightly plotted, and as a writer I really admire any storyteller who can do that. All three books in the Heist Society series are remarkable feats of plotting and pacing. I got to see Ally Carter give an author talk once, and she spoke about just how hard it is to write something that looks this easy. That’s so true; it really stuck with me.

This book was in my third-grade classroom library, and I read it so many times that when the school year ended, my teacher let me keep it. I’m glad she did, because I’ve never seen it anywhere else.

This was the first book I ever fell in love with about a kid doing something you thought only grown-ups were supposed to do—namely, becoming principal of her own school! Adult readers might protest that this premise is “unrealistic,” but it’s written in such a way that as a young reader it seemed completely plausible to me.

As a kid, there’s just so much that you have no control over, so the idea of earning a position with real power is incredibly appealing.

I wrote my first book and started submitting it to publishers when I was eleven years old. I dreamed of publishing a book before I graduated from high school.

Ultimately, that didn’t happen—I was 25 by the time I sold my first book. So you can see why I loved a story about a character who lived my dream; a 14-year-old girl who becomes a bestselling author. Most people didn’t believe that kids can be authors, but seeing another kid do it—even if her story is fictional—makes it feel possible.

The book Out on Assignment examines the careers of overlooked women who wrote for major metropolitan newspapers at the beginning of the twentieth century. Using archival materials, Alice Fahs describes a community of female journalists from numerous American cities. These newspaper women were part of a wave of women seeking a journalism career although their options were often limited. Although a few female journalists found hard-news reporting jobs in stunt work and undercover assignments, most found work in the women’s pages.

In these sections, they interviewed celebrities, advice columns, and suffrage news. Very little research has been done on women’s page journalism; this book provides an excellent foundation.

This cover completely drew me in because the typewriter, cityscape, and WWII airplanes all show an urgency and a story just waiting to be told. Cohen writes about prominent WWII foreign correspondents, including Dorothy Thompson and Frances Fineman, who travel the world in search of the latest war update. It was certainly not as easy to get from country to country back then—especially across vast oceans—so I really appreciated their determination to travel. 

Martha Gellhorn’s blend of reportage and imagination ensnared me when I was barely out of my teens, and her preferred form has come of age in my working life.

Not only do I think Gellhorn is a marvellous writer – at her best, one of the best – but I also identify with Gellhorn the woman. "The open road," she wrote, was "my first, oldest and strongest love." She lived from 1908 to 1998 and was writing the fighting for six decades, and although each conflict was different, her message remained the same: ‘There is neither victory nor defeat; there is only catastrophe." 

Journalism takes many forms, and this readable study by a journalist-turned-academic examines some of the more alternative styles and outlets that operate beyond the corporate mainstream media industries. Alternative they may be, but the projects studied by Forde produce proper journalism rather than the uninformed commentary or aggressive shouting adopted by some who like to style themselves as ‘alternative media.’ None of the journalists she interviews would see themselves as heroes but, by defying the odds to produce independent reporting in the cause of social justice around the world, they engage in countless small acts of heroism every day. 

This is primarily the story of three newspapers--James Gordon Bennett’s New York Herald, Horace Greeley’s New York Tribune, and the merged paper under the ownership of diplomat and politician Whitelaw Reid and his heirs, including his daughter-in-law, Helen Rogers Reid, a firecracker of an executive and woman about town. But it is also a comprehensive story of New York newspapering from the 1830s to the 1960s and about the city and country that served as the focus for news coverage during those decades. It is a poignant tale of soaring triumphs and ultimate decline as new challenges beset the newspaper business and even large cities could no longer support multiple papers.

Before Life there was the Saturday Evening Post, a roaring success capturing the spirit of Middle America at a time when Middle America defined the cultural ethos of the nation. But by the late 1950s the potent reach of television advertising undermined the general-interest magazine business model, and the Post slipped into an inexorable spiral of decline that its top executives could never quite handle or even understand. There’s plenty of pathos and human drama as they struggle with forces beyond their control.