What do you think?
Rate this book
The Grand Scheme of Things
Meet Relebogile Naledi Mpho Moruakgomo. Or, for short, Eddie: an aspiring playwright who dreams of making it big in London’s theatre world. But after repeated rejections from white talent agents, Eddie suspects her non-white sounding name might be the problem.
Enter Hugo Lawrence Smith: good looking, well-connected, charismatic and ... very white. Stifled by his law degree and looking for a way out of the corporate world, he finds a kindred spirit in Eddie after a chance encounter at a cafe.
Together they hatch an extraordinary scheme, one which will see Eddie’s play on stage and Hugo’s name in lights. Her script sent out under his name. Their plan: keep the play’s origins a secret until it reaches critical levels of success. Then expose the theatre world for its racism and hollow clout-chasing.
Caught in a lie that simply snowballs, the unlikely pair of friends begin a farcical, yet fraught odyssey, one full of romantic and platonic fumbles. But as their plan spins wildly out of control, Eddie and Hugo find themselves wondering if their friendship, and their reputations, can survive.
Enter Hugo Lawrence Smith: good looking, well-connected, charismatic and ... very white. Stifled by his law degree and looking for a way out of the corporate world, he finds a kindred spirit in Eddie after a chance encounter at a cafe.
Together they hatch an extraordinary scheme, one which will see Eddie’s play on stage and Hugo’s name in lights. Her script sent out under his name. Their plan: keep the play’s origins a secret until it reaches critical levels of success. Then expose the theatre world for its racism and hollow clout-chasing.
Caught in a lie that simply snowballs, the unlikely pair of friends begin a farcical, yet fraught odyssey, one full of romantic and platonic fumbles. But as their plan spins wildly out of control, Eddie and Hugo find themselves wondering if their friendship, and their reputations, can survive.
304 pages, Paperback
First published September 12, 2024
31 people are currently reading
7918 people want to read
About the author
Warona Jay
1 book46 followersBorn in Botswana, raised in the West Midlands, UK and living in London, Warona Jay studied law at the University of Kent and King's College London before switching to a creative writing PhD at Brunel. She was shortlisted for the Sony Young Movellist of the Year Award judged by Malorie Blackman as a teen and longlisted for Penguin Random House's WriteNow Scheme in 2020.
The Grand Scheme of Things is her debut novel.
The Grand Scheme of Things is her debut novel.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 148 reviews
April 3, 2025
I’m usually the first to dislike a book with unlikable characters and excessive drama, so I’m honestly SHOCKED 🫢 that I loved this! With that said, take this review with a grain of salt—because you’ll probably hate this book, or you’ll probably love it, or you might end up with the most wildly conflicted feelings ever.
There’s truly no guarantee with a book that takes risks like this.
I wanted to rip out every single character’s hair! Naledi, the FMC, was no exception. But deep down, I think I’m jealous of her. I don’t think I’ll ever be so passionate about something that I’d let it bring out the worst parts of me. I felt her frustration throughout the book, the way prejudices crept into every aspect of the world around her. And then there’s Hugo… whew. It took me a while to figure him out. He’s one of those people whose life choices constantly disgust you, yet you know you can count on him when it really matters. And honestly? That’s something anyone can admire. Before Naledi, there were just so many things he hadn’t even thought about in life. He’s a great representation of the privileges some people are just handed without even realizing it.
Now, aside from the “mission” of this book, it is packed with drama. I will admit there were moments when I thought, “Hmm, are we veering off course?” But then I realized… maybe this drama isn’t unnecessary at all. Naledi and Hugo’s friendship was this weird, complex thing thrown into a cutthroat industry and a completely bizarre situation, so of course it got caught up in chaos. Their flaws, both together and individually, made it even messier. But I liked that the heated moments always made me think about love, friendship, family, and all of that. And I loved how, even through all the tension, I could still feel a platonic love between Hugo and Naledi.
I love the subject matter this book sheds light on. It’s real. It exists. And yes, I’ve had conversations like this in real life. I love when a book forces me to confront the unfairness and biases in the world, even when it’s uncomfortable. I also appreciated that both characters had time to explore their personal struggles beyond their dynamic. I’m so glad I picked up this weird-ass book that’s so open to interpretation. Oh, and I hadn’t read second-person POV in a while, so that was a nice surprise!
There’s truly no guarantee with a book that takes risks like this.
I wanted to rip out every single character’s hair! Naledi, the FMC, was no exception. But deep down, I think I’m jealous of her. I don’t think I’ll ever be so passionate about something that I’d let it bring out the worst parts of me. I felt her frustration throughout the book, the way prejudices crept into every aspect of the world around her. And then there’s Hugo… whew. It took me a while to figure him out. He’s one of those people whose life choices constantly disgust you, yet you know you can count on him when it really matters. And honestly? That’s something anyone can admire. Before Naledi, there were just so many things he hadn’t even thought about in life. He’s a great representation of the privileges some people are just handed without even realizing it.
Now, aside from the “mission” of this book, it is packed with drama. I will admit there were moments when I thought, “Hmm, are we veering off course?” But then I realized… maybe this drama isn’t unnecessary at all. Naledi and Hugo’s friendship was this weird, complex thing thrown into a cutthroat industry and a completely bizarre situation, so of course it got caught up in chaos. Their flaws, both together and individually, made it even messier. But I liked that the heated moments always made me think about love, friendship, family, and all of that. And I loved how, even through all the tension, I could still feel a platonic love between Hugo and Naledi.
I love the subject matter this book sheds light on. It’s real. It exists. And yes, I’ve had conversations like this in real life. I love when a book forces me to confront the unfairness and biases in the world, even when it’s uncomfortable. I also appreciated that both characters had time to explore their personal struggles beyond their dynamic. I’m so glad I picked up this weird-ass book that’s so open to interpretation. Oh, and I hadn’t read second-person POV in a while, so that was a nice surprise!
August 29, 2024
An interesting premise for a novel: what happens if a piece of work that becomes famous under one name turns out to be the work of someone else? This book is not that simple, obviously.
Naledi is a playwright. She has sent her work to the famous Wentworth Agency under an assumed name believing that sending it under her own name (Relebogile Naledi Mpho Moruakgomo) is getting her nowhere. However once the agent Helen Hunter, meets Naledi she soon changes her mind about the play being good.
At her wits end Naledi asks an acquaintance, Hugo Lawrence Smith, to pretend the play is his. Her aim is to prove that the agency and wider theatre world is biased. Of course once the play wins a prestigious award things spiral out of control and Naledi is in danger of losing everything.
I thoroughly enjoyed 95% of this book. The characters are excellent - even if most of them aren't particularly likeable. I certainly railed enough at Hugo, Naledi and Nahid during the course of the narrative.
There was just one part of it that didn't ring true regarding Naledi's relationship with her girlfriend, Blue, after the award has been won. I simply didn't believe Naledi's reaction towards someone she purported to love. However that was the only part that grated.
Warona Jay is an author new to me but I will look out for more of her work in the future.
Thank you to Netgalley for the advance review copy.
Naledi is a playwright. She has sent her work to the famous Wentworth Agency under an assumed name believing that sending it under her own name (Relebogile Naledi Mpho Moruakgomo) is getting her nowhere. However once the agent Helen Hunter, meets Naledi she soon changes her mind about the play being good.
At her wits end Naledi asks an acquaintance, Hugo Lawrence Smith, to pretend the play is his. Her aim is to prove that the agency and wider theatre world is biased. Of course once the play wins a prestigious award things spiral out of control and Naledi is in danger of losing everything.
I thoroughly enjoyed 95% of this book. The characters are excellent - even if most of them aren't particularly likeable. I certainly railed enough at Hugo, Naledi and Nahid during the course of the narrative.
There was just one part of it that didn't ring true regarding Naledi's relationship with her girlfriend, Blue, after the award has been won. I simply didn't believe Naledi's reaction towards someone she purported to love. However that was the only part that grated.
Warona Jay is an author new to me but I will look out for more of her work in the future.
Thank you to Netgalley for the advance review copy.
August 5, 2024
⭐️⭐️⭐️ Eddie is sure that her play is brilliant, but that it has been rejected due to racism and prejudice in the theatre world. A chance meeting with Hugo starts a con in which they pass him off as the author and it does phenomenally well. They struggle with when to come clean about the true playwright.
The book makes reference to JK Rowling and how her name was changed so that boys would read Harry Potter. It made me think- what would have happened if she published under her actual name, Joanne Rowling? I can’t help but wonder.
But this situation is really different, the play is about the immigrant experience, so an immigrant would be really marketable as the playwright. I really appreciate the premise of this book, in execution it was a bit lacking. It was extremely British. Ultimately I found the conclusion unsatisfying, but it is a good story.
Thanks to @netgalley and @atriabooks for the ARC. Book to be published February 25, 2025.
#bookstagram #bookworm #bookreview #grandschemeofthings
The book makes reference to JK Rowling and how her name was changed so that boys would read Harry Potter. It made me think- what would have happened if she published under her actual name, Joanne Rowling? I can’t help but wonder.
But this situation is really different, the play is about the immigrant experience, so an immigrant would be really marketable as the playwright. I really appreciate the premise of this book, in execution it was a bit lacking. It was extremely British. Ultimately I found the conclusion unsatisfying, but it is a good story.
Thanks to @netgalley and @atriabooks for the ARC. Book to be published February 25, 2025.
#bookstagram #bookworm #bookreview #grandschemeofthings
August 25, 2025
“It’s a ridiculous thing to have to do, to have your work judged on something you can’t change about yourself, as opposed to the merits of the work itself.”
The Grand Scheme of Things is the first novel by Botswana-born British author, Warona Jay. Her stellar achievements at Kingston University in Drama and Creative Writing aren’t getting Relebogile Naledi Mpho Moruakgomo, who calls herself Eddie, anywhere when it comes to her play being performed. The rejections for her near-future dystopian work that don’t shy away from intersectional discussions of class, race, immigration, are mounting up, and eventually Eddie has to conclude it’s her name, her ethnic background, that’s putting the theatrical agencies off.
But she knows it’s good. She keeps its existence from her girlfriend and other close friends: she wants them to experience the finished production. So she sends her play to the Wentworth Agency, closely associated with the Marston B. Greaves award, under a name that sounds white, Anglo-Saxon and male. But when she gets the call, one look at her black skin, and rejection is almost instant.
Then a message from Hugo Lawrence Smith, who caught sight of her draft on her laptop in a café a year earlier, and showed a genuine interest. Despite his law studies, Hugo is more interested in theatre and acting, and wants to know how Eddie is faring with her play. In a drunken rant at a party, she reveals her frustrations. Much later, she still has to remind him “I’m not a black writer. I’m a writer who is black. There is a difference.”
Between them, they cook up a plan: his name, her play. And if it leads to success, the public revelation will expose the theatre industry’s sexist, racist attitudes. When Hugo wins the MBG for Best New Playwright, for her renamed play, and unforeseen complications arise, they eventually realise the forethought lacking in their plan. Relationships break down, affairs happen, there are kamikaze entanglements; will Eddie ever get credit for her (now wildly successful) work?
Jay uses two alternating first person narratives (Eddie and Hugo) that address the other protagonist and give two perspectives of events leading up to, and following the win. The premise of the plot bears a striking similarity to Jodi Picoult’s By Any Other Name, published a month before this one, but takes some very different twists and turns. There’s a thinly-veiled reference to JK Rowling, and a neat (too neat?) ending. A thought-provoking read.
This unbiased review is from an uncorrected proof copy provided by NetGalley and Bonnier Books.
The Grand Scheme of Things is the first novel by Botswana-born British author, Warona Jay. Her stellar achievements at Kingston University in Drama and Creative Writing aren’t getting Relebogile Naledi Mpho Moruakgomo, who calls herself Eddie, anywhere when it comes to her play being performed. The rejections for her near-future dystopian work that don’t shy away from intersectional discussions of class, race, immigration, are mounting up, and eventually Eddie has to conclude it’s her name, her ethnic background, that’s putting the theatrical agencies off.
But she knows it’s good. She keeps its existence from her girlfriend and other close friends: she wants them to experience the finished production. So she sends her play to the Wentworth Agency, closely associated with the Marston B. Greaves award, under a name that sounds white, Anglo-Saxon and male. But when she gets the call, one look at her black skin, and rejection is almost instant.
Then a message from Hugo Lawrence Smith, who caught sight of her draft on her laptop in a café a year earlier, and showed a genuine interest. Despite his law studies, Hugo is more interested in theatre and acting, and wants to know how Eddie is faring with her play. In a drunken rant at a party, she reveals her frustrations. Much later, she still has to remind him “I’m not a black writer. I’m a writer who is black. There is a difference.”
Between them, they cook up a plan: his name, her play. And if it leads to success, the public revelation will expose the theatre industry’s sexist, racist attitudes. When Hugo wins the MBG for Best New Playwright, for her renamed play, and unforeseen complications arise, they eventually realise the forethought lacking in their plan. Relationships break down, affairs happen, there are kamikaze entanglements; will Eddie ever get credit for her (now wildly successful) work?
Jay uses two alternating first person narratives (Eddie and Hugo) that address the other protagonist and give two perspectives of events leading up to, and following the win. The premise of the plot bears a striking similarity to Jodi Picoult’s By Any Other Name, published a month before this one, but takes some very different twists and turns. There’s a thinly-veiled reference to JK Rowling, and a neat (too neat?) ending. A thought-provoking read.
This unbiased review is from an uncorrected proof copy provided by NetGalley and Bonnier Books.
February 2, 2025
A couple of elements of The Grand Scheme Of Things felt undercooked– not disastrously so, but enough to distract me from the delicious schadenfreude of the villain’s eventual take-down. I could’ve done without the J.K. Rowling stand-in for instance, she seemed an unnecessary addition, and the ending felt a bit neat and rushed. It's a great idea for a great story that maybe just needed to marinate for a while longer – I’ll watch what Jay does next with interest.
My full review is up now on Keeping Up With The Penguins.
My full review is up now on Keeping Up With The Penguins.
February 18, 2025
Cool premise but overall just wanted more from this. It started out strong but around the halfway point I started losing interest in these characters - I enjoy an unlikeable narrator if done well but I just felt annoyed with Eddie and Hugo; I also wish we just stayed in Eddie’s narration instead of splitting it with Hugo’s POV. I definitely think there’s some meaningful topics here but it just didn’t quite live up to my expectations.
December 6, 2024
I like to thank the publisher and NetGalley for allowing me to read this book.
The book appealed to me because it dealt with identity, theatre, and scamming. If you ever seen BlackKlansman then you would be a bit familiar with this tale. Girl writes a play inspired by her life, thoughts and feelings about Brexit, tries to shop it to a couple companies, they turn her down. She tries under a male name? They almost accept her until they find out she is black. But a chance meeting with a guy who thought her play had potential (who is white and wants to make it into theatre, plus his aunt is a famous writer) gives her the idea to use him to be her stand in, shop the play and see if it will not only prove her point that - A.) a black woman has a harder time than a white male and B.) the company that turned her down was racist and judgemental as hell.
I think poc would enjoy this more, and I think there is a lot to take away from this tale. We still live in a world where the white male or female has a lead up over others of a different color. There are stories to tell and many are being overlooked for their non-westernized names and color of their skin.
The only reason I marked it down a star is that I read it was supposed to be funny, I didn't find it funny. I found it rather serious, and by the third of the book's marker I wanted to shake the hell out of the guy and the choices he made regarding his success.
The book appealed to me because it dealt with identity, theatre, and scamming. If you ever seen BlackKlansman then you would be a bit familiar with this tale. Girl writes a play inspired by her life, thoughts and feelings about Brexit, tries to shop it to a couple companies, they turn her down. She tries under a male name? They almost accept her until they find out she is black. But a chance meeting with a guy who thought her play had potential (who is white and wants to make it into theatre, plus his aunt is a famous writer) gives her the idea to use him to be her stand in, shop the play and see if it will not only prove her point that - A.) a black woman has a harder time than a white male and B.) the company that turned her down was racist and judgemental as hell.
I think poc would enjoy this more, and I think there is a lot to take away from this tale. We still live in a world where the white male or female has a lead up over others of a different color. There are stories to tell and many are being overlooked for their non-westernized names and color of their skin.
The only reason I marked it down a star is that I read it was supposed to be funny, I didn't find it funny. I found it rather serious, and by the third of the book's marker I wanted to shake the hell out of the guy and the choices he made regarding his success.
August 1, 2024
Relegobile Naledi Mpho Moruakgomo is an aspiring playwright who graduates top of her class and writes a brilliant play that nobody wants to know about. She tries changing her name to get her foot in the door, but when the agents see that it is a black, female, foot, she is rejected once again. Until she meets Hugo Lawrence Smith, a wealthy, privileged white boy who wants to shake off a dull legal career and embrace life in the theatre. Between them, they cook up a scheme to get Eddie's play entwined with Hugo's privilege with the idea that they will, when success comes knocking, expose the racism and hypocrisy of the theatre world forever. Unfortunately things don't go entirely as planned.
When I first started this I had a sinking feeling that this would be too much like Yellowface by R. F. Kuang, but it defied all my expectations. This is smart, funny, angry and really clever. Jay's voice is fresh and the plot twists in ways that make this unpredictable in all the best ways and altogether a really satisfying read.
When I first started this I had a sinking feeling that this would be too much like Yellowface by R. F. Kuang, but it defied all my expectations. This is smart, funny, angry and really clever. Jay's voice is fresh and the plot twists in ways that make this unpredictable in all the best ways and altogether a really satisfying read.
January 2, 2025
This book has some really well crafted scenes that get to saying what the author wanted to say in a smart and natural way that flows well with the characters' thoughts and conversation.
That said, it feels like the rest of the book was written as filler to get to those scenes.
Given the subject matter, a lot of the plot is very predictable from the beginning, and there were some moments when I genuinely considered DNFing as it felt like it was dragging on and what I was reading wasn't bringing any value to the story, the characters or the message. There was a lot of repeating the same thing or the character having the same thoughts many times that as a reader, took me out of the story and made me question why I was reading it.
I am glad I stuck through and got to all of the brilliant scenes I mentioned earlier (especially the one on the boat, I think that is one of the strongest parts of the whole book), but I wish there wasn't so much filler in between.
This is a debut and I will be looking at what the author writes next.
Thank you NetGalley and Atria Books | Washington Square Press for the opportunity to read this ARC.
That said, it feels like the rest of the book was written as filler to get to those scenes.
Given the subject matter, a lot of the plot is very predictable from the beginning, and there were some moments when I genuinely considered DNFing as it felt like it was dragging on and what I was reading wasn't bringing any value to the story, the characters or the message. There was a lot of repeating the same thing or the character having the same thoughts many times that as a reader, took me out of the story and made me question why I was reading it.
I am glad I stuck through and got to all of the brilliant scenes I mentioned earlier (especially the one on the boat, I think that is one of the strongest parts of the whole book), but I wish there wasn't so much filler in between.
This is a debut and I will be looking at what the author writes next.
Thank you NetGalley and Atria Books | Washington Square Press for the opportunity to read this ARC.
March 6, 2025
in the vein of Yellowface (a favorite from a couple years ago)
April 21, 2025
(rounded down from 4.25)
This was a bit slower than I'd like but a fantastic tale of unlikeable people making their lives worse in a convoluted way in order to somehow make their lives better overall.
Eddie (Relebogile Naledi Mpho Moruakgomo, but she's tired of repeating it to white people) is a playwright who's tired of being rejected by talent agencies when she knows her magnum opus, a play about identity and immigration, would be a big hit on London's stages. Hugo Lawrence Smith (Hu to his friends) is good-looking, a first cousin to a very well-known children's author, and very white. Tired of rejection, Eddie ropes Hugo into a scheme to resubmit her play with a new name and under his name to bait agencies to accept it and finally have a big reveal once it's a success about how the name and person writing it is often overlooked.
Soon, the two friends are caught in a complicated scheme to keep their own partners in the dark about their scheme (each of their girlfriends is getting a bit suspicious of them suddenly being such good friends and working so closely together all the time) and they have to improvise and make some very bad decisions for the sake of the big reveal at the end. Will it be worth losing everything else to unmask the racism at the heart of the London theatre scene?
The characters are all terrible people, which I always enjoy. Hugo in particular is a masterpiece because he is every "nice" white guy you've ever met who is amicable, friendly, an ally, and a bit of a scolded puppy when called out about any of his behaviours. Eddie is, in parts, jealous of her girlfriend's success in the music world, angry at the humiliating rejections from agencies, annoyed at Hugo for being an idiot, and prickly about displaying her emotions, even to her own loved ones. I enjoyed their story and how they dig themselves deeper into this mess and the messy outcome of the story felt very true to life and satisfying.
The only reason I deducted a star is because of some pacing problems, i.e. the first half moves much more slowly than it needs to, I think.
This was a bit slower than I'd like but a fantastic tale of unlikeable people making their lives worse in a convoluted way in order to somehow make their lives better overall.
Eddie (Relebogile Naledi Mpho Moruakgomo, but she's tired of repeating it to white people) is a playwright who's tired of being rejected by talent agencies when she knows her magnum opus, a play about identity and immigration, would be a big hit on London's stages. Hugo Lawrence Smith (Hu to his friends) is good-looking, a first cousin to a very well-known children's author, and very white. Tired of rejection, Eddie ropes Hugo into a scheme to resubmit her play with a new name and under his name to bait agencies to accept it and finally have a big reveal once it's a success about how the name and person writing it is often overlooked.
Soon, the two friends are caught in a complicated scheme to keep their own partners in the dark about their scheme (each of their girlfriends is getting a bit suspicious of them suddenly being such good friends and working so closely together all the time) and they have to improvise and make some very bad decisions for the sake of the big reveal at the end. Will it be worth losing everything else to unmask the racism at the heart of the London theatre scene?
The characters are all terrible people, which I always enjoy. Hugo in particular is a masterpiece because he is every "nice" white guy you've ever met who is amicable, friendly, an ally, and a bit of a scolded puppy when called out about any of his behaviours. Eddie is, in parts, jealous of her girlfriend's success in the music world, angry at the humiliating rejections from agencies, annoyed at Hugo for being an idiot, and prickly about displaying her emotions, even to her own loved ones. I enjoyed their story and how they dig themselves deeper into this mess and the messy outcome of the story felt very true to life and satisfying.
The only reason I deducted a star is because of some pacing problems, i.e. the first half moves much more slowly than it needs to, I think.
February 19, 2025
Love the exploration and challenge to structural racism, relationships with built-in power imbalances, and how willing people can be to manipulate their loved ones to achieve another goal.
I don't love the structure, I think the split narrative is not necessary and doesn't add to the overall narrative.
Regarding writing style, this story is a bit of a patchwork quilt for me. Even within either perspective, it feels like several different writers are involved. At times, I was quite moved by the writing and phraseology, only to wonder if the voice had switched a few paragraphs down. Something about the syntax would jar, and I became convinced that this might be a story that the author has been writing over years, where perhaps a younger voice hasn't been edited.
Regardless, it certainly lives up to the premise that drew me in, "American Fiction" (based on Percival Everett's "Erasure") meets "Queenie".
I don't love the structure, I think the split narrative is not necessary and doesn't add to the overall narrative.
Regarding writing style, this story is a bit of a patchwork quilt for me. Even within either perspective, it feels like several different writers are involved. At times, I was quite moved by the writing and phraseology, only to wonder if the voice had switched a few paragraphs down. Something about the syntax would jar, and I became convinced that this might be a story that the author has been writing over years, where perhaps a younger voice hasn't been edited.
Regardless, it certainly lives up to the premise that drew me in, "American Fiction" (based on Percival Everett's "Erasure") meets "Queenie".
June 11, 2025
An exploration of structural racism and the class system in the UK theatre world. Naledi (or Eddie, for short), a talented young woman trying to get a play noticed and published. Hugo is a young man with all the attributes of economic privilege, great (private) education, and strong familial links in the publishing industry. When Naledi struggles to get noticed she comes up with a crazy idea of having Hugo front the play, and prove, once and for all, how structurally discriminatory the theatre world actually is. Things spiral out of control quickly, and we see lies begetting lies, and causing upheaval in the lives of our protagonists.
The book is an interesting angle on an age-old problem. It's a modern take on the issue of racism in theatre and arts, and benefits from very strong and vibrant characters, and an unapologetic in-your-face depiction of how racism affects its victims. I particularly liked Naledi's depiction. I don't know how much the author intended this outcome, but Naledi came across, at least to me, as somewhat of psychotic sociopath, and her decisions and behaviours were amusing and disturbing at the same time.
While an interesting concept, and solid writing, I didn't think there was anything special about this book. Firstly, I struggle with rage novels. While the issues are obviously important and painful, and there is no argument about the awful effects of structural (covert) racism, I dislike it when it's all presented in a black and white way (excuse the pun), with few shades of grey. A quick scan of the characters reveals all white upper middle class British people as self-conceited villains (who, at best, have a messiah complex), while all minorities and Brits from poorer backgrounds (or Liverpool) are oppressed but essentially well meaning and good.
The other thing I disliked is the ending. I don't want to spoil it, but I would have expected something more gruesome and tragic. The ending felt forced and, in my view, was the least believable part of the story. It's a shame. Some inspiration from Shakespeare would have been amazing here.
Finally, overall it felt rushed and immature. The writing came across as jittery and lacking emotional depth and complexity. The dialogues, the relationships, and the backstories were just too simplistic, and character development, while not entirely missing, was superficial.
Overall - I'd say it's a miss. There's nothing here that stands out, and, frankly, if you want to explore the irony of how the publishing or theatre world works, Yellowface is that much better. The author clearly has talent, but this book is a bit like an unripe fruit. You see what it could have become, but maybe the author needs a few more years of experience.
My thanks to Netgalley and the publisher for providing me with a copy of this book in return for an honest review.
The book is an interesting angle on an age-old problem. It's a modern take on the issue of racism in theatre and arts, and benefits from very strong and vibrant characters, and an unapologetic in-your-face depiction of how racism affects its victims. I particularly liked Naledi's depiction. I don't know how much the author intended this outcome, but Naledi came across, at least to me, as somewhat of psychotic sociopath, and her decisions and behaviours were amusing and disturbing at the same time.
While an interesting concept, and solid writing, I didn't think there was anything special about this book. Firstly, I struggle with rage novels. While the issues are obviously important and painful, and there is no argument about the awful effects of structural (covert) racism, I dislike it when it's all presented in a black and white way (excuse the pun), with few shades of grey. A quick scan of the characters reveals all white upper middle class British people as self-conceited villains (who, at best, have a messiah complex), while all minorities and Brits from poorer backgrounds (or Liverpool) are oppressed but essentially well meaning and good.
The other thing I disliked is the ending. I don't want to spoil it, but I would have expected something more gruesome and tragic. The ending felt forced and, in my view, was the least believable part of the story. It's a shame. Some inspiration from Shakespeare would have been amazing here.
Finally, overall it felt rushed and immature. The writing came across as jittery and lacking emotional depth and complexity. The dialogues, the relationships, and the backstories were just too simplistic, and character development, while not entirely missing, was superficial.
Overall - I'd say it's a miss. There's nothing here that stands out, and, frankly, if you want to explore the irony of how the publishing or theatre world works, Yellowface is that much better. The author clearly has talent, but this book is a bit like an unripe fruit. You see what it could have become, but maybe the author needs a few more years of experience.
My thanks to Netgalley and the publisher for providing me with a copy of this book in return for an honest review.
September 8, 2024
I absolutely bought into this premise as the world hasn’t really let go of bias and preconceptions. It’s still all too real. And the fact that we are currently (again and again) right in the middle of blaming immigrants for everything this book could not be more timely. I was drawn in from the beginning and read it in two days. Plus as a theater nerd I appreciate the details of the Thespian world.
November 17, 2024
The following review is based on a complimentary ARC provided by Atria Books via Netgalley in exchange for an honest review.
Smart, insightful, at times hilarious, not to mention ambitiously plotted, The Grand Scheme of Things is a smartly executed novel filled with discussions and critiques of the West End Theatre industry, as well as British society as a whole. Highlighting the unspoken (and nearly as often spoken) prejudice against immigrants and various minority groups, Warona Jay’s debut novel is filled with strong social commentary and feels entirely relevant and shines a spotlight on the unfairness based on one’s upbringing and background. Despite its premise and at times cutting observations, this novel has much more to offer with its story. It’s also a story of young adults discovering their self-worth, confidence, and realizing their own identities. And that is on top of the elaborate web of deception Neledi/Eddie and Hugo spin, and all of the intentional and unintentional effects it has on everyone and everything around them.
Admittedly contemporary fiction novels that have multicultural or ethnic themes are not usually my go-to genre, particularly those that include harsh criticisms (sometimes at the cost of the reading experience or characters). However, I feel like the The Grand Scheme of Things is perfectly pitched and has a nice mix of humor, nuance, and balance of perspectives and opinions to avoid spiraling into an emotionally-charged rage novel. A great deal of consideration clearly went into each included theme and when paired with Jay’s sophisticated yet accessible tone, the overall experience was satisfying and impressive. I’ve seen some other reviewers mention the vague similarities to R.F. Kuang’s Yellowface, but the direction Jay takes the story and the heavy references to British culture and politics makes this comparison moot and unnecessary. While certainly not required to enjoy or appreciate the novel, there is a good amount of British political/cultural references that enhances the read, not to mention the signature lowkey sarcastic British style of humor that I personally love.
On the obvious theme of perceived identity, the novel does a wonderful job of exploring not only the prejudice that comes with one's background, but also the complexity of the topic. Words can be interpreted at face value or as being ethnically charged, intentional or unintentional, well-meaning or a back-handed compliment; you can never really know. The fact that such a lengthy internal dialogue over a single sentence comment only stresses how touchy of an issue this is, an area that the novel hits home perfectly. There are multiple occasions where as a white, privileged, wealthy man, Hugo is uncertain what to do or say to not be perceived as insulting or demeaning. Sometimes there isn’t a right thing to say no matter one's intentions and I loved the way Jay highlighted and explored that concept. There’s also the debate whether success is attributed due to the novelty of being different or being pigeonholed into a certain role and expectation because of it. Or as a playwright of color, its assumed Eddie will write plays about Black character experiences due to her background (despite being raised in Britain) vs questions raised should she write about other ethnic or white experiences. These are all great points of discussion with no clear answers or solutions, but I appreciated the tone and thoughtful manner the novel explores these topics.
One of the biggest contributing factors to why I enjoyed this novel so much was largely due to its wonderfully balanced and flawed characters. I should’ve expected it given the way the book’s synopsis is structured to highlight both characters individually, but I was pleasantly surprised by how evenly the story was split between Eddie and Hugo. While Eddie’s playwriting aspirations are clearly the plot’s primary focus, I did not expect for Hugo to also have a compelling character journey. Eddie is portrayed as being confident in who she is, has largely accepted her perceived “uniqueness” for better or for worse, and has clear goals and direction in life. Hugo on the other hand is perfect foil for Eddie being viewed as conventionally attractive and marketable, popular and wealthy, but lost in both his professional and romantic life. While Eddie is passionate, emotional, but honest with her feelings, Hugo is instead presentable, golden retriever like, but emotionally distant and disconnected with what he wants. In a story involving societal and racial prejudice, it's easy to demonize characters like Hugo for having everything Eddie doesn’t have, but I found the level of restraint and exploration of their differences to be very impressive. At times it even feels like Jay purposely portrays Hugo in a more flattering light when inevitable miscommunication and conflicts occur, though certain open-ended aspects of the book’s conclusion may swing the balance back towards Eddie at the end. The two characters also have wonderful chemistry and found it incredibly refreshing that the book purposely did not go down a romantic route with those two that would’ve felt overdone and distracting. One of my favorite parts of the book was their initial random meeting and how the two characters perceived the situation and each other so differently. The way each character was able to provide the support and encouragement each other needed when no one else in their lives could I thought was both heartwarming and very well executed.
Another area that I thought the novel excelled in was its portrayal of the struggling artist and how taxing the journey can be. Eddie’s reactions to her early rejections, setbacks, conflicted jealousy of others succeeding, it felt spot on. Despite the obvious signs that their plan of deception will be a success, the book does a great job of portraying the hopelessness and despair of being unable to break into a heavily contested and gate-kept industry. And by switching between Eddie and Hugo’s perspectives, the unbalance is even starker to look at, enhanced by Jay’s fantastic writing and dialogue for talent agent Helen.
While I felt the plot and characters were the book’s best elements, there were a few notable points that held this back from being a perfect read for me. While the plot is well-done and the book packs a ton of content into a sub 300 page book, I felt the story had a noticeably slow start due to a heavy focus on Eddie’s strained family relationships and connection to Botswana at the beginning. While this is crucial context relating to Eddie’s identity and motives in her life, the exposition felt a bit heavy and detracted my interest in the book’s playwriting premise; I would’ve preferred this context more spaced out rather than all up front at once. There is also a major turning point mid-way through the story involving Eddie’s relationship with her girlfriend Blue that felt a bit jarring and awkward. As the plot progressed, this development started to make more sense and I acknowledge its purpose within the context of the overall narrative. However, its execution left a bit to be desired and essentially painted Eddie as the villain to her own story (which may or may not have been an intentional choice given the overall trajectory of the story). While I found the book’s conclusion to be largely satisfying (thankfully avoiding an out of character happily ever after or a complete Shakespearean tragedy that would be unpleasant to read), one of the open-ended aspects involving Hugo felt at odds with the chapters from his perspective immediately preceding it. While there was a recurring trend of miscommunication involving Hugo’s romantic developments and morals, it felt like there was a sense of resolution upon Nahid’s ending with Eddie. The way the last chapter from Eddie’s perspective tosses that out the window felt a bit unnecessary or could’ve been better set-up as opposed to happening off-screen/page during the multi-year time jump. And that’s an unfortunate negative mark on what I consider an otherwise excellent conclusion to an explosive and ambitious plot.
Despite some mild reservations and nitpicks in places, I was thoroughly impressed The Grand Scheme of Things. Not only was Warona Jay able to catch and keep my attention with themes and plot elements I ordinarily wouldn't have found interesting, she was able to carefully and thoughtfully balance the prejudice and injustice immigrant and minority groups face on a daily basis. I thought this was a wonderful and smart debut novel!
Smart, insightful, at times hilarious, not to mention ambitiously plotted, The Grand Scheme of Things is a smartly executed novel filled with discussions and critiques of the West End Theatre industry, as well as British society as a whole. Highlighting the unspoken (and nearly as often spoken) prejudice against immigrants and various minority groups, Warona Jay’s debut novel is filled with strong social commentary and feels entirely relevant and shines a spotlight on the unfairness based on one’s upbringing and background. Despite its premise and at times cutting observations, this novel has much more to offer with its story. It’s also a story of young adults discovering their self-worth, confidence, and realizing their own identities. And that is on top of the elaborate web of deception Neledi/Eddie and Hugo spin, and all of the intentional and unintentional effects it has on everyone and everything around them.
Admittedly contemporary fiction novels that have multicultural or ethnic themes are not usually my go-to genre, particularly those that include harsh criticisms (sometimes at the cost of the reading experience or characters). However, I feel like the The Grand Scheme of Things is perfectly pitched and has a nice mix of humor, nuance, and balance of perspectives and opinions to avoid spiraling into an emotionally-charged rage novel. A great deal of consideration clearly went into each included theme and when paired with Jay’s sophisticated yet accessible tone, the overall experience was satisfying and impressive. I’ve seen some other reviewers mention the vague similarities to R.F. Kuang’s Yellowface, but the direction Jay takes the story and the heavy references to British culture and politics makes this comparison moot and unnecessary. While certainly not required to enjoy or appreciate the novel, there is a good amount of British political/cultural references that enhances the read, not to mention the signature lowkey sarcastic British style of humor that I personally love.
On the obvious theme of perceived identity, the novel does a wonderful job of exploring not only the prejudice that comes with one's background, but also the complexity of the topic. Words can be interpreted at face value or as being ethnically charged, intentional or unintentional, well-meaning or a back-handed compliment; you can never really know. The fact that such a lengthy internal dialogue over a single sentence comment only stresses how touchy of an issue this is, an area that the novel hits home perfectly. There are multiple occasions where as a white, privileged, wealthy man, Hugo is uncertain what to do or say to not be perceived as insulting or demeaning. Sometimes there isn’t a right thing to say no matter one's intentions and I loved the way Jay highlighted and explored that concept. There’s also the debate whether success is attributed due to the novelty of being different or being pigeonholed into a certain role and expectation because of it. Or as a playwright of color, its assumed Eddie will write plays about Black character experiences due to her background (despite being raised in Britain) vs questions raised should she write about other ethnic or white experiences. These are all great points of discussion with no clear answers or solutions, but I appreciated the tone and thoughtful manner the novel explores these topics.
One of the biggest contributing factors to why I enjoyed this novel so much was largely due to its wonderfully balanced and flawed characters. I should’ve expected it given the way the book’s synopsis is structured to highlight both characters individually, but I was pleasantly surprised by how evenly the story was split between Eddie and Hugo. While Eddie’s playwriting aspirations are clearly the plot’s primary focus, I did not expect for Hugo to also have a compelling character journey. Eddie is portrayed as being confident in who she is, has largely accepted her perceived “uniqueness” for better or for worse, and has clear goals and direction in life. Hugo on the other hand is perfect foil for Eddie being viewed as conventionally attractive and marketable, popular and wealthy, but lost in both his professional and romantic life. While Eddie is passionate, emotional, but honest with her feelings, Hugo is instead presentable, golden retriever like, but emotionally distant and disconnected with what he wants. In a story involving societal and racial prejudice, it's easy to demonize characters like Hugo for having everything Eddie doesn’t have, but I found the level of restraint and exploration of their differences to be very impressive. At times it even feels like Jay purposely portrays Hugo in a more flattering light when inevitable miscommunication and conflicts occur, though certain open-ended aspects of the book’s conclusion may swing the balance back towards Eddie at the end. The two characters also have wonderful chemistry and found it incredibly refreshing that the book purposely did not go down a romantic route with those two that would’ve felt overdone and distracting. One of my favorite parts of the book was their initial random meeting and how the two characters perceived the situation and each other so differently. The way each character was able to provide the support and encouragement each other needed when no one else in their lives could I thought was both heartwarming and very well executed.
Another area that I thought the novel excelled in was its portrayal of the struggling artist and how taxing the journey can be. Eddie’s reactions to her early rejections, setbacks, conflicted jealousy of others succeeding, it felt spot on. Despite the obvious signs that their plan of deception will be a success, the book does a great job of portraying the hopelessness and despair of being unable to break into a heavily contested and gate-kept industry. And by switching between Eddie and Hugo’s perspectives, the unbalance is even starker to look at, enhanced by Jay’s fantastic writing and dialogue for talent agent Helen.
While I felt the plot and characters were the book’s best elements, there were a few notable points that held this back from being a perfect read for me. While the plot is well-done and the book packs a ton of content into a sub 300 page book, I felt the story had a noticeably slow start due to a heavy focus on Eddie’s strained family relationships and connection to Botswana at the beginning. While this is crucial context relating to Eddie’s identity and motives in her life, the exposition felt a bit heavy and detracted my interest in the book’s playwriting premise; I would’ve preferred this context more spaced out rather than all up front at once. There is also a major turning point mid-way through the story involving Eddie’s relationship with her girlfriend Blue that felt a bit jarring and awkward. As the plot progressed, this development started to make more sense and I acknowledge its purpose within the context of the overall narrative. However, its execution left a bit to be desired and essentially painted Eddie as the villain to her own story (which may or may not have been an intentional choice given the overall trajectory of the story). While I found the book’s conclusion to be largely satisfying (thankfully avoiding an out of character happily ever after or a complete Shakespearean tragedy that would be unpleasant to read), one of the open-ended aspects involving Hugo felt at odds with the chapters from his perspective immediately preceding it. While there was a recurring trend of miscommunication involving Hugo’s romantic developments and morals, it felt like there was a sense of resolution upon Nahid’s ending with Eddie. The way the last chapter from Eddie’s perspective tosses that out the window felt a bit unnecessary or could’ve been better set-up as opposed to happening off-screen/page during the multi-year time jump. And that’s an unfortunate negative mark on what I consider an otherwise excellent conclusion to an explosive and ambitious plot.
Despite some mild reservations and nitpicks in places, I was thoroughly impressed The Grand Scheme of Things. Not only was Warona Jay able to catch and keep my attention with themes and plot elements I ordinarily wouldn't have found interesting, she was able to carefully and thoughtfully balance the prejudice and injustice immigrant and minority groups face on a daily basis. I thought this was a wonderful and smart debut novel!
February 18, 2025
Thank you to NetGalley, author Warona Jay, and Atria Books-- Washington Square Press for providing me with a free ARC in exchange for my honest opinion!
I ate this UP!! This is my absolute favorite type of literary fiction-- juicy, fast-paced, and still reflective. Jay has an extremely fresh and original voice, and I appreciated her writing both from Eddie and Hugh's perspectives. For this being a shorter book, there is so much that happens to where the story feels much longer (in a good way). I never knew where the story was going to unfold, and I do think as a whole I was satisfied by the events that took place. The Grand Scheme of Things has a ton of great reflection on both external and internal bias, in companies, industries, strangers, friends, etc. I think perhaps the most fascinating thing about this book, especially given that we get to read from his perspective, is how complicated Hugh is as a character. Because in certain ways, he seems like a great guy-- but then there are things that he does that prove the exact opposite. And both co-exist, with him not realizing the true impact of what he's doing/what he is because he thinks he's a good guy. Ultimately proving one of the points of the story!! Much to think about and reflect upon finishing. I do think the writing of alternative perspectives in a voice that directly addressed the other character didn't quite work for me, and there were times I got really frustrated with Eddie constantly avoiding telling ANYONE the truth. I would have liked to see a bit more of her than Hugh as well, but ultimately, I like the way their stories unfolded separately and together. I eagerly look forward to reading more of Jay's work in the future!
I ate this UP!! This is my absolute favorite type of literary fiction-- juicy, fast-paced, and still reflective. Jay has an extremely fresh and original voice, and I appreciated her writing both from Eddie and Hugh's perspectives. For this being a shorter book, there is so much that happens to where the story feels much longer (in a good way). I never knew where the story was going to unfold, and I do think as a whole I was satisfied by the events that took place. The Grand Scheme of Things has a ton of great reflection on both external and internal bias, in companies, industries, strangers, friends, etc. I think perhaps the most fascinating thing about this book, especially given that we get to read from his perspective, is how complicated Hugh is as a character. Because in certain ways, he seems like a great guy-- but then there are things that he does that prove the exact opposite. And both co-exist, with him not realizing the true impact of what he's doing/what he is because he thinks he's a good guy. Ultimately proving one of the points of the story!! Much to think about and reflect upon finishing. I do think the writing of alternative perspectives in a voice that directly addressed the other character didn't quite work for me, and there were times I got really frustrated with Eddie constantly avoiding telling ANYONE the truth. I would have liked to see a bit more of her than Hugh as well, but ultimately, I like the way their stories unfolded separately and together. I eagerly look forward to reading more of Jay's work in the future!
Read
March 12, 2025the premise of this one was so interesting i just had to read it—a black woman teaming up with a white man to expose the racial prejudices of the publishing industry, publishing her play under his name before eventually coming clean to the public. i really liked the themes of merit and authenticity relating to poc in the world of publishing, it's always going to be a struggle and i appreciated naledi's grappling with the scheme she concocts to ensure her recognition. it's hugo's character where this kind of falls apart for me a little....i felt like i never really got to Know what he wanted, other than a purpose in life beyond what his privileges offer him, which is a bit too basic? he seemed almost Too helpful and willing to cooperate with naledi and at one point i thought the fame and recognition would get to his head and he wouldn't want to blow their cover the way they were planning, which i think would have made for a more interesting character arc and conflict instead of the romantic entanglements. so his character just fell a bit flat for me unfortunately, there was potential to do something really interesting but oh well. and the ending was a bit anticlimactic for me but it's a debut novel so i can't be too harsh with the execution. it was still a fun read regardless.
June 16, 2025
Institutional racism is one of those things that everyone knows exists but can often be difficult to prove. In this brilliant debut novel, Warona Jay delivers a searing, stylish, and refreshingly unconventional novel that interrogates institutional racism in the theater spaces with unflinching honesty and imaginative flair. At once biting and beautifully constructed, the novel confronts a truth many know but few dare to speak: white privilege is not only structural but also deeply embedded in the very foundations of artistic spaces that claim to be progressive. This novel will feel painfully familiar for any Black or minority writer who has faced a stack of rejections and the quiet, nagging question: Is it me or the system? Ultimately, The Grand Scheme of Things is an unforgettable meditation on the cost of truth-telling in a world that rewards silence, a powerful reminder that exposing the invisible often requires tremendous risk and that those brave enough to try may never come out the same but may come out more whole.
Read the full review at the following link: https://medium.com/@jolanaibi/book-re...
Read the full review at the following link: https://medium.com/@jolanaibi/book-re...
February 23, 2025
Thank you to Simon and Schuster and NetGalley for providing me with this Advanced Reader's Copy. All opinions are my own.
My final rating was more of a 3.5 star rounded up to 4.
Naledi "Eddie" Moruakgomo is a queer Nigerian immigrant that moved to London. She's an aspiring playwright trying to get her big break in London's theatre scene. While she's in a cafe working on her manuscript, she runs into Hugo "Hu" Lawrence Smith.
After submitting her script and getting rejected by a numerous amount of agencies, she comes up with an idea. She asks Hugo to put his very white and nepotistic name onto her play and submit it. If and when it gains traction, they'll reveal their secret that Eddie is the actual author. What ensues, no one could have predicted.
I enjoyed how this book addressed the very real problem of bias in entertainment where minorities are often bypassed because of the underlying racism and misogyny that exists. The story kept my interest and I really liked Eddie as a character. Hugo I didn't feel was as strong as a character, but that may have been the point.
If I could change the writing perspective, 1st and 2nd person(?), I would change that, but by the end I wasn't as bothered by it as I was in the beginning. I just needed to adjust, mentally. I also felt half way through Eddie started speaking more like a Gen Z'er. As a Millennial, I don't dislike Gen Z slang, I just felt it wasn't as noticeable in the first half of the book, which again, I just needed to mentally acclimate which sometimes interrupts my positive reading experience.
My final rating was more of a 3.5 star rounded up to 4.
Naledi "Eddie" Moruakgomo is a queer Nigerian immigrant that moved to London. She's an aspiring playwright trying to get her big break in London's theatre scene. While she's in a cafe working on her manuscript, she runs into Hugo "Hu" Lawrence Smith.
After submitting her script and getting rejected by a numerous amount of agencies, she comes up with an idea. She asks Hugo to put his very white and nepotistic name onto her play and submit it. If and when it gains traction, they'll reveal their secret that Eddie is the actual author. What ensues, no one could have predicted.
I enjoyed how this book addressed the very real problem of bias in entertainment where minorities are often bypassed because of the underlying racism and misogyny that exists. The story kept my interest and I really liked Eddie as a character. Hugo I didn't feel was as strong as a character, but that may have been the point.
If I could change the writing perspective, 1st and 2nd person(?), I would change that, but by the end I wasn't as bothered by it as I was in the beginning. I just needed to adjust, mentally. I also felt half way through Eddie started speaking more like a Gen Z'er. As a Millennial, I don't dislike Gen Z slang, I just felt it wasn't as noticeable in the first half of the book, which again, I just needed to mentally acclimate which sometimes interrupts my positive reading experience.
May 17, 2025
2.5 (maybe 2 in all honesty but obviously an important message it just lost me about 2/3rds in)
May 19, 2025
CAWPILE: 7.89/10.00
February 26, 2025
Irritating characters that make some asinine decisions, but it's literary fiction set in the world of theater. I expect nothing less 😂
Overall a good read. I did find it dragged a little in parts, and I think a different balance between the POVs may have been to its advantage. And though the ending was actually better than I expected, I also wanted more from it. I just really wanted to savor
Thank you to Grand Central for the ARC
Overall a good read. I did find it dragged a little in parts, and I think a different balance between the POVs may have been to its advantage. And though the ending was actually better than I expected, I also wanted more from it. I just really wanted to savor
Thank you to Grand Central for the ARC
February 4, 2025
Thank you GoodReads and Atria for the review copy of The Grand Scheme of Things by Warona Jay, which will be on sale February 25, 2025.
In The Grand Scheme of Things, Eddie, or Naledi, has been sending out her play with no bites. Her college mates have all made progress getting their work on stage and Naledi thinks that her play is getting held up by racism--readers see her non-Anglo Saxon name on the cover page and don’t get much further. Her play is being shut out because she is a Black woman, the daughter of Batswana immigrants, and this was the time of Brexit and fear across England.
Tired and frustrated, Eddie comes up with a plan to prove that it is prejudice that is preventing her play from garnering the attention it deserves--with the help of Hugo, that is.
Hugo is a blue blood, White and as privileged as can be. His father is a prominent attorney and since graduating from college, Hugo lives in one of his properties, where he is meant to be getting started on his own law career. But Hugo is not interested in the law, so when Eddie needs help, Hugo is eager to be of service.
The Grand Scheme of Things is told in sections that alternate between Eddie’s first-person narration and Hugo’s. As the play leaves their hands and becomes a thing of the world, so too does the plot line seem to no longer be theirs and certainly not Eddie’s. Eddie and Hugo’s relationship status also brings further complications, as the outside world tries to decipher the connection between them.
While The Grand Scheme of Things is set in Great Britain, all the markers of prejudice could just as easily exist in the United States. With the current ridiculousness of the outlawing of DEI, I could see such a plan to highlight structural racism being implemented. For reference, the Tony Award for Best Play has not gone to a woman in the past ten years, let alone a woman of Color. Racism and sexism are alive and well in the United States theater industry.
Would I teach this book? The Grand Scheme of Things is an intriguing novel that questions how willing we are to take on the prejudice around us and challenge structural racism. I would hope that many would be moved by Eddie’s story, but I wonder how many are so resistant to seeing the existence of racism and would rather suggest that truly we live in a meritocracy and that it is not prejudice that keeps some away from success but merit--that efforts of inclusion mean that less worthy candidates are chosen. Yes, I would teach this book, and yes I would wonder what students would make of it.
In The Grand Scheme of Things, Eddie, or Naledi, has been sending out her play with no bites. Her college mates have all made progress getting their work on stage and Naledi thinks that her play is getting held up by racism--readers see her non-Anglo Saxon name on the cover page and don’t get much further. Her play is being shut out because she is a Black woman, the daughter of Batswana immigrants, and this was the time of Brexit and fear across England.
Tired and frustrated, Eddie comes up with a plan to prove that it is prejudice that is preventing her play from garnering the attention it deserves--with the help of Hugo, that is.
Hugo is a blue blood, White and as privileged as can be. His father is a prominent attorney and since graduating from college, Hugo lives in one of his properties, where he is meant to be getting started on his own law career. But Hugo is not interested in the law, so when Eddie needs help, Hugo is eager to be of service.
The Grand Scheme of Things is told in sections that alternate between Eddie’s first-person narration and Hugo’s. As the play leaves their hands and becomes a thing of the world, so too does the plot line seem to no longer be theirs and certainly not Eddie’s. Eddie and Hugo’s relationship status also brings further complications, as the outside world tries to decipher the connection between them.
While The Grand Scheme of Things is set in Great Britain, all the markers of prejudice could just as easily exist in the United States. With the current ridiculousness of the outlawing of DEI, I could see such a plan to highlight structural racism being implemented. For reference, the Tony Award for Best Play has not gone to a woman in the past ten years, let alone a woman of Color. Racism and sexism are alive and well in the United States theater industry.
Would I teach this book? The Grand Scheme of Things is an intriguing novel that questions how willing we are to take on the prejudice around us and challenge structural racism. I would hope that many would be moved by Eddie’s story, but I wonder how many are so resistant to seeing the existence of racism and would rather suggest that truly we live in a meritocracy and that it is not prejudice that keeps some away from success but merit--that efforts of inclusion mean that less worthy candidates are chosen. Yes, I would teach this book, and yes I would wonder what students would make of it.
March 27, 2025
Oh my god eddie is the most annoying protagonist ever! She's super entitled and mean to everyone and then shes like why don't people give me opportunities and its like maybe because you're an asshole? And THEN every time they cut to Hugo's POV he's like wow eddie youre so great and talented and idk why he doesnt have a personality other than "white man." Hugo's POV makes me think that the author's definition of privilege is "when nothing bad has ever happened to you" which is crazy because how are you gonna write a whole book about privilege if you havent even googled what the word means? Moreover, the writing style is hella stupid and every sentence starts with "frankly," and ends with "if you know what i mean." Also, the original plan was not very thought out and i did not appreciate the lack of payoff where no one faces the consequences of their incredibly stupid actions.
July 18, 2025
The Grand Scheme of Things by Warona Jay
✅ purchased myself
What’s in a name? Does the racial profiling begin before the first introduction (of course it does)? Is political and even radical work more palatable coming from a white person? What would you do to see your dreams come true? What would you give up?
These are all questions Warona Jay addresses in this novel, but ultimately get a little bogged down in the “grand scheme” of it all.
Relebogile Naledi Mpho Moruakgomo is a queer aspiring playwright, Eddie for short, despite having academic success and big dreams finds herself hitting wall after wall of rejection post-university. Her play is objectively great, is it her name, her skin colour that’s the real problem? When she meets Hugo the most privileged of white guys with artistic dreams of his own and something to prove, they strike an agreement to put her play under his name, and when it gets big, expose the racism of the theatre scene. But, of course that’s not quite how it goes.
I went into this expecting some Yellowface vibes but with more of a literary fiction feel, and the writing was great. I enjoyed Eddie and Hugo as characters, and was keen to see how it all might play out. But, it felt like the scheming didn’t make a lot of sense to me, the choices the characters started to make didn’t feel at all true to the people I felt they were and more to drive the plot forward and stave off a conclusion to the story. There’s a side plot between Hugo and the director of the play that I felt was not only unnecessary but distracting from the main story. So this started so strong for me but kind of petered out.
Still worth reading though, even with the issues I had with it, I still loved exploring the ideas at play.
Q: Would you put your work under someone else’s name if it was the only way to make it big?
I could NEVER. That would be torture.
✅ purchased myself
What’s in a name? Does the racial profiling begin before the first introduction (of course it does)? Is political and even radical work more palatable coming from a white person? What would you do to see your dreams come true? What would you give up?
These are all questions Warona Jay addresses in this novel, but ultimately get a little bogged down in the “grand scheme” of it all.
Relebogile Naledi Mpho Moruakgomo is a queer aspiring playwright, Eddie for short, despite having academic success and big dreams finds herself hitting wall after wall of rejection post-university. Her play is objectively great, is it her name, her skin colour that’s the real problem? When she meets Hugo the most privileged of white guys with artistic dreams of his own and something to prove, they strike an agreement to put her play under his name, and when it gets big, expose the racism of the theatre scene. But, of course that’s not quite how it goes.
I went into this expecting some Yellowface vibes but with more of a literary fiction feel, and the writing was great. I enjoyed Eddie and Hugo as characters, and was keen to see how it all might play out. But, it felt like the scheming didn’t make a lot of sense to me, the choices the characters started to make didn’t feel at all true to the people I felt they were and more to drive the plot forward and stave off a conclusion to the story. There’s a side plot between Hugo and the director of the play that I felt was not only unnecessary but distracting from the main story. So this started so strong for me but kind of petered out.
Still worth reading though, even with the issues I had with it, I still loved exploring the ideas at play.
Q: Would you put your work under someone else’s name if it was the only way to make it big?
I could NEVER. That would be torture.
2025
November 8, 2024📱 Thank you to NetGalley and Washington Square Press
July 9, 2024
Stealing a manuscript and passing it off as your own is a common trope in literature. Consider The Plot by Jean Hanff Korelitz and, more recently, the highly acclaimed Yellowface by R.F. Kuang. In both of these books, a manuscript is stolen from a deceased writer. The Grand Scheme of Things by Warona Jay takes a different approach.
Relebogile Naledi Mpho Moruakgomo, or Eddie for short, a gay graduate in theatre studies, has written a play about the immigrant experience in modern Britain. Believing her identity will prevent her play from being produced – there are few successful black women screenwriters – she submits her work under a typical while male name. When a highly regarded agent expresses interest in her work, she goes along to the meeting and tries to explain the reason for her deceit. The agent is unimpressed and refuses any further participation in her play.
While taking a cigarette break in a café, Eddie asks the man in the seat next to her to guard her laptop while she’s gone. Hugo Lawrence Smith, a law graduate and cousin of a children’s writer who is almost indistinguishable from JK Rowling, sneaks a peak at what she has written. He tells her how much he likes it and between them they cook up a ‘grand scheme’ to pass the play off as his. They plan to keep up the subterfuge until the play is a huge success. Then they will come clean and expose the theatre and publishing industries for the middle class, racist institutions they are.
What could go wrong? Well, quite a lot. The longer their lie goes on the more and more difficult it becomes to keep it going, or to know when they should tell all to the world. More people get involved, relationships break down and start and it seems that whatever they do, people are going to be very angry, and very hurt.
I didn’t particularly like either of the two main characters, but I was invested enough to want to read on and discover what would happen if the truth came out. I did find it a little hard to believe that someone like Eddie would put so much trust in a posh man she knew next to nothing about. As the book progresses it becomes clear that one of them is a lot more sympathetic than the other and I felt a little disappointed in the stereotyping at the end.
This is a highly competent book and there is a lot to say about the topic Jay writes about. As an old, white woman, I’m not qualified to make a judgement on the lived experience of someone like Eddie. I don’t doubt for a moment how difficult it must be for BAM creatives and if books like this bring our attention to it in an entertaining way, I’m all for that.
Definitely worth a read.
Many thanks to the publisher for an ARC.
Relebogile Naledi Mpho Moruakgomo, or Eddie for short, a gay graduate in theatre studies, has written a play about the immigrant experience in modern Britain. Believing her identity will prevent her play from being produced – there are few successful black women screenwriters – she submits her work under a typical while male name. When a highly regarded agent expresses interest in her work, she goes along to the meeting and tries to explain the reason for her deceit. The agent is unimpressed and refuses any further participation in her play.
While taking a cigarette break in a café, Eddie asks the man in the seat next to her to guard her laptop while she’s gone. Hugo Lawrence Smith, a law graduate and cousin of a children’s writer who is almost indistinguishable from JK Rowling, sneaks a peak at what she has written. He tells her how much he likes it and between them they cook up a ‘grand scheme’ to pass the play off as his. They plan to keep up the subterfuge until the play is a huge success. Then they will come clean and expose the theatre and publishing industries for the middle class, racist institutions they are.
What could go wrong? Well, quite a lot. The longer their lie goes on the more and more difficult it becomes to keep it going, or to know when they should tell all to the world. More people get involved, relationships break down and start and it seems that whatever they do, people are going to be very angry, and very hurt.
I didn’t particularly like either of the two main characters, but I was invested enough to want to read on and discover what would happen if the truth came out. I did find it a little hard to believe that someone like Eddie would put so much trust in a posh man she knew next to nothing about. As the book progresses it becomes clear that one of them is a lot more sympathetic than the other and I felt a little disappointed in the stereotyping at the end.
This is a highly competent book and there is a lot to say about the topic Jay writes about. As an old, white woman, I’m not qualified to make a judgement on the lived experience of someone like Eddie. I don’t doubt for a moment how difficult it must be for BAM creatives and if books like this bring our attention to it in an entertaining way, I’m all for that.
Definitely worth a read.
Many thanks to the publisher for an ARC.
August 17, 2024
★★★★☆
This sounded really intriguing - two characters tackle the embedded racism and prejudice in the Theatre world by submitting Eddie's socio-political dystopian play, heavily centred on her own upbringing as a Black second-generation immigrant, under Hugo Lawrence Smith's name, a white, privileged trust-fund kid who's bored of his direct path into Law.
The first half is great - the writing is witty, and Eddie's character is clearly realised and realistic, as she navigates rejection after rejection of her play, struggling with the cards stacked against her. The issue is this book starts to lose me when it becomes borderline a fake-dating romance, except Eddie and Hugo are fake dating to protect his married girlfriend, who they eventually tell of their subterfuge, despite the fact that Eddie broke up with her own long-term girlfriend so as not to tell her?
It gets a bit hazy for me here, and becomes about affairs, more heavily Hugo-centred, and Eddie trying to be friends with Hugo's friends and getting annoyed (rightfully) when they dismiss her. Eddie and Nahid quickly become at loggerheads with each other, over Hugo, who does a very good job at being their 'blank canvas' cos omg is he boring. Eddie becomes irrational and judgemental, as does Nahid, and Hugo comes out looking like the level-headed one stuck in the middle...which maybe is intentional? To show how no matter what, the white man comes out on top?
I don't know - the concept was great, the first half was great and then it started to lose trajectory for me. The pacing was off - we reach the opening night of the play just before the halfway mark, when really that is what this all was supposed to build up to. The ending also feels very abrupt - I would have liked to have seen Nahid and Eddie work together rather than just conceptualise this (especially since after all that, Eddie isn't even a playwright anymore?? and just dropping in that Hugo is having an affair again?? Sorry?)
I still think it's an interesting read, and a good discussion starter, I just wish the second half held up a bit more.
Big thank you to Bonnier Books for the advanced copy. All opinions are my own.
cw// sexual content, frequent discussions and themes of racism, discrimination and prejudice throughout, drug and alcohol use
This sounded really intriguing - two characters tackle the embedded racism and prejudice in the Theatre world by submitting Eddie's socio-political dystopian play, heavily centred on her own upbringing as a Black second-generation immigrant, under Hugo Lawrence Smith's name, a white, privileged trust-fund kid who's bored of his direct path into Law.
The first half is great - the writing is witty, and Eddie's character is clearly realised and realistic, as she navigates rejection after rejection of her play, struggling with the cards stacked against her. The issue is this book starts to lose me when it becomes borderline a fake-dating romance, except Eddie and Hugo are fake dating to protect his married girlfriend, who they eventually tell of their subterfuge, despite the fact that Eddie broke up with her own long-term girlfriend so as not to tell her?
It gets a bit hazy for me here, and becomes about affairs, more heavily Hugo-centred, and Eddie trying to be friends with Hugo's friends and getting annoyed (rightfully) when they dismiss her. Eddie and Nahid quickly become at loggerheads with each other, over Hugo, who does a very good job at being their 'blank canvas' cos omg is he boring. Eddie becomes irrational and judgemental, as does Nahid, and Hugo comes out looking like the level-headed one stuck in the middle...which maybe is intentional? To show how no matter what, the white man comes out on top?
I don't know - the concept was great, the first half was great and then it started to lose trajectory for me. The pacing was off - we reach the opening night of the play just before the halfway mark, when really that is what this all was supposed to build up to. The ending also feels very abrupt - I would have liked to have seen Nahid and Eddie work together rather than just conceptualise this (especially since after all that, Eddie isn't even a playwright anymore?? and just dropping in that Hugo is having an affair again?? Sorry?)
I still think it's an interesting read, and a good discussion starter, I just wish the second half held up a bit more.
Big thank you to Bonnier Books for the advanced copy. All opinions are my own.
cw// sexual content, frequent discussions and themes of racism, discrimination and prejudice throughout, drug and alcohol use
This entire review has been hidden because of spoilers.
September 3, 2024
Naledi, or Eddie, is by all accounts due to be a brilliant playwright. She finished uni top of her class and has since written a play that she thinks is excellent. Unfortunately she just can’t seem to get anywhere with agents.
One afternoon she meets Hugo in a cafe & the two get to talking about theatre. A year later they reconnect via social media and hatch a plan to get Eddie’s play onto the stage.
Eddie is convinced that her non-white name is causing the majority white agents to not even give her play a second look. Which, deeply believable. A great irony when the play is about the immigrant experience. She asks that Hugo pretend the play is his own to see if it is accepted. It is. And it’s successful. Then things spiral.
The premise of this sounds so excellent! I just don’t think if the execution lived up. It feels like a good portion in the middle of the book goes nowhere? They end up with the successful play and what? Kind of blow up their own lives instead of exposing the theatre world? To me it was gravely unsatisfying.
I also did not like the writing style. It isn’t epistolary but it’s told from Eddie & Hugo’s perspectives as though they are writing to each other? I thought it was quite distracting. Really sad I didn’t love this as much as I’d hoped!
*read via NetGalley
One afternoon she meets Hugo in a cafe & the two get to talking about theatre. A year later they reconnect via social media and hatch a plan to get Eddie’s play onto the stage.
Eddie is convinced that her non-white name is causing the majority white agents to not even give her play a second look. Which, deeply believable. A great irony when the play is about the immigrant experience. She asks that Hugo pretend the play is his own to see if it is accepted. It is. And it’s successful. Then things spiral.
The premise of this sounds so excellent! I just don’t think if the execution lived up. It feels like a good portion in the middle of the book goes nowhere? They end up with the successful play and what? Kind of blow up their own lives instead of exposing the theatre world? To me it was gravely unsatisfying.
I also did not like the writing style. It isn’t epistolary but it’s told from Eddie & Hugo’s perspectives as though they are writing to each other? I thought it was quite distracting. Really sad I didn’t love this as much as I’d hoped!
*read via NetGalley
April 21, 2025
I am late to review this book because my feelings were conflicted. To be completely honest, I think I might have liked this story more if I had read it before I read Jodi Piccoult's story, By Any Other Name (The first book I've read by her) In Piccoult's dual timeline book, there is a very similar storyline to the one here, which proved to be distracting as I couldn't immediately pinpoint my source of deja vu.
I chose this book from NetGalley, so I guess it's on me that I willingly selected a book with a plot line I didn't love the first time I read it. In my defense, the book was pitched as "wildly entertaining", a claim I might dispute. Yes, this is a fascinating peek into the theater world, and I 100% agree that women are not given the same opportunity as men, but I lost the plot with the initial author switcheroo. I understand that people want to believe a certain narrative, but I had a hard time believing how this particular one went down. I kept reading because 1. I'm not a quitter! and 2. Jay is a terrific writer and I found her characters interesting, just not completely believable. I would definitely read another book by her, so don't be dissuaded by my issues. I am curious, though, about what other people think of the credibility of the plot. Maybe I've just read too many Cyrano-themed books?
I chose this book from NetGalley, so I guess it's on me that I willingly selected a book with a plot line I didn't love the first time I read it. In my defense, the book was pitched as "wildly entertaining", a claim I might dispute. Yes, this is a fascinating peek into the theater world, and I 100% agree that women are not given the same opportunity as men, but I lost the plot with the initial author switcheroo. I understand that people want to believe a certain narrative, but I had a hard time believing how this particular one went down. I kept reading because 1. I'm not a quitter! and 2. Jay is a terrific writer and I found her characters interesting, just not completely believable. I would definitely read another book by her, so don't be dissuaded by my issues. I am curious, though, about what other people think of the credibility of the plot. Maybe I've just read too many Cyrano-themed books?
Displaying 1 - 30 of 148 reviews