Naomi had always wanted to be a mum. But three years ago, her husband left, taking their daughter with him.
Now, her daughter has come to stay, and Naomi knows it's her chance to re-build her family.
But the night ends in a terrible accident. And Naomi has no memory of what happened.
Panicking, desperate, Naomi finds herself telling a lie: 'My daughter is missing.'
From the outset, 'When They Find Her' had me gripped. This confidently-written debut grabbed me with its utterly unthinkable opening and kept me emotionally invested until the final page. Lia Middleton's writing is so visceral that, at first, I wasn't sure I could continue to read this book as it felt too uncomfortably close to home for me (as someone with a young child). However, I couldn't leave it alone - I HAD to know how it would end. I was completely swept up in Naomi's nightmare and her split second choice with catastrophic consequences.
'When They Find Her' is perfectly-plotted and intelligently written on a subject which continues to remain taboo: mental health, more specifically the mental health of new mothers. This novel is dark and, at times, uncomfortable to read - this is not, however, a criticism but a testament to Middleton's skill as a writer. She captures the terror of being a new mum and puts it to chilling use. I absolutely identified with Naomi and her fears - and how those fears affected her family.
An absolutely stellar debut.
Sheffield’s beautiful Botanical Gardens is an oasis of peace in a world filled with sorrow, confusion and pain. And then, one morning, a body is found in the Gardens. A young woman, dead from a stab wound, buried in a quiet corner. Police quickly determine that the body’s been there for months. It would have gone undiscovered for years – but someone sneaked into the Gardens and dug it up.
Who is the victim? Who killed her and hid her body? Who dug her up? And who left a macabre marker on the body?
In his quest to find her murderer, DS Adam Tyler will find himself drawn into the secretive world of nighthawkers: treasure-hunters who operate under cover of darkness, seeking the lost and valuable . . . and willing to kill to keep what they find.
In 2020, I was introduced to DS Adam Tyler in ‘Firewatching‘ by the wonderful Russ Thomas, check out my review here. I was lucky enough to be treated to an early copy of the second in the series, ‘Nighthawking‘. Big thanks to Simon & Schuster, Jess Barratt and, of course, Russ Thomas for my advanced copy.
Some series struggle after a strong debut but, in my opinion, Russ Thomas’s writing has only improved. ‘Nighthawking‘ is intense, dark and suspenseful and an absolutely compulsive read. It’sperfectly plotted and the pace builds well as we hurtle towards the denouement.
One thing I really love about this series is that Russ Thomas blends the criminal investigation along with the personal lives of his coppers. Tyler is still enigmatic, deep, and even troubled but his softer side shines through in his encounters with Callum. Mina, Tyler’s enthusiastic DC, shows real growth in this sequel. Yes, I am still Mina’s biggest fan – she’s immense! Similarly, there are new characters in this novel that I truly cared about, Thomas has a real skill for making the reader care for the people in the story.
‘Nighthawking‘ also explores police powerplays and internal politics, adding yet another layer to this stunning narrative.
Thomas has carried over the fantastic characters from ‘Firewatching‘ and adds yet more compelling people, integrating them into a truly original idea and setting.
I’m thrilled today to be reviewing Ashley Audrain’s debut novel ‘The Push‘ which was published yesterday.
Here’s a little snippet of ‘The Push‘ to whet your appetite:
The arrival of baby Violet was meant to be the happiest day of my life. But as soon as I held her in my arms I knew something wasn’t right.
I had always known that the women in my family aren’t meant to be mothers.
My husband Fox says I’m imagining it. He tells me I’m nothing like my own mother, and that Violet is the sweetest child.
But she’s different with me. Something feels very wrong. Is it her? Or is it me? Is she the monster? Or am I?
As most readers of this blog will know, I became a mum for the first time in 2019. ‘The Push‘takes place over a number of years so although I can’t recognise some of the feelings that Blythe, the narrator, feels as her child Violet gets older, I can attest that Ashley Audrain certainly captures the all-encompassing terror felt by some new mothers.
‘The Push‘, although being fiction, taps into the fears that many women experience when they become mothers: am I supposed to feel like this? Am I doing this right? Am I good enough? Is my child … ok? Normal?
This explosive novel explores subjects that still remain taboo: the pain and discomfort around breastfeeding, post-natal depression and how your relationship with your partner changes after the arrival of a baby. Yes, this novel takes those elements to the extreme but there certainly were scenes that had me nodding firmly in recognition.
Audrain has weaved natural fears around motherhood into this perfectly pitched novel, leaving the reader unsure whether they can believe what they’re being told.
Interspersed across three different timelines, this layered story is absorbing, emotional and terrifying, some might say like motherhood itself. Featuring complex, nuanced characters, ‘The Push‘ will leave ice running through your veins long after you have turned the final page.
There were scenes that left me feeling physically sick with fear, my emotions completely in Audrain’s thrall. I also wept repeatedly when reading this book thanks to the powerful nature of the prose combined with an utterly intoxicating plot.
I think ‘The Push‘ is thekind of bookour society needs. It is definitely a great choice for a book club – it will generate conversation and no doubt some controversy but I genuinelythink it will open the minds of those who read it. This novel isn’t just about the relationship a mother has with her child but also those around her – from her partner to strangers – and the expectations that are placed on her as a result.
Alison has it all. A doting husband, adorable daughter, and a career on the rise – she’s just been given her first murder case to defend. But all is never as it seems…
Alison drinks too much. She’s neglecting her family. And she’s having an affair with a colleague whose taste for pushing boundaries is becoming more than she can handle.
The woman who Alison’s defending doesn’t deny that she stabbed her husband – she wants to plead guilty but something about her story is deeply amiss. Saving this woman may be the first step to Alison saving herself.
Someone knows Alison’s secrets. Someone who wants to make her pay for what she’s done, and who won’t stop until she’s lost everything….
Ever since I first saw people talking about ‘Blood Orange‘ on Twitter last summer, I was desperate to read it. I was lucky enough to get a very early review copy last year – then to host Harriet Tyce’s first public reading of it at Noir at the Bar in October. Harriet had the audience absolutely transfixed with the excerpt she read aloud and I can promise you that the entire novel is as compelling.
‘Blood Orange‘ is a thoroughly intriguing domestic thriller. Tyce’s prose is tight and the plot of the novel is an incredibly twisty rollercoaster. ‘Blood Orange‘ is a riveting read centring around revenge, lust and obsession. It’s bound to draw comparisons with ‘The Girl on the Train‘ but, in my opinion, ‘Blood Orange‘ is far superior.
Harriet Tyce has created a compelling, complex central character perfect for the #MeToo generation. I love how, despite Alison’s flaws, the reader is given an insight into the myriad ways women are subjugated by men. I found myself absolutely livid throughout much of this book because it brought into crystal clear focus how women are abused, dominated or undermined regardless of their personal situation.
A timely, excellently-plotted novel. Harriet Tyce’s debut is sure to be the smash hit of 2019.
A serial killer is burning people alive in the Lake District’s prehistoric stone circles.
Leaving no clues, the murderer – nicknamed The Immolation Man – is managing to render the police useless. When disgraced detective Washington Poe’s name is discovered carved into the charred remains of the third victim, he’s brought back from suspension despite wanting to be no part of this gruesome investigation.
Reluctantly partnered with the brilliant, but socially awkward, civilian analyst, Tilly Bradshaw, the mismatched pair uncover a trail that only Poe is meant to see. The elusive killer has a grand plan and for some unknown reason Poe is part of it.
As the body count rises, Poe discovers he has far more invested in the case than he could have possibly imagined. And in a shocking finale that will shatter everything he’s ever believed about himself, Poe will learn that there are things far worse than being burned alive.
I tore through ‘The Puppet Show‘, unable to pull myself away from this compelling narrative. The characters are well-drawn and Craven appears to have a deep understanding of their back stories and what motivates them. I am, of course, #TeamTilly. Despite this being a dark, violent crime drama, Craven paints Tilly with sensitivity and, in her relationship with Poe, manages to bring some light relief when things get heavy. Craven, a former probation officer, has used his experience to create compelling, realistic characters.
Alongside his obvious understanding of the motivations of his characters, Craven’s experience within the criminal justice system shines through. Craven maintains the fine balance of demonstrating his depth of knowledge while ensuring that the story isn’t bogged down in minutiae. ‘The Puppet Show‘ is a well-plotted, fast-paced read.
Setting these grisly murders against the beautiful scenery of the Lake District was a stroke of genius by Craven, too. I really appreciated the experience of reading about somewhere I’m familiar with, turning it from a place of rugged beauty to something far more terrifying. I honestly cannot recommend this book highly enough.
‘The Puppet Show‘ is the first in the Washington Poe series and I can’t wait for the next one. ‘Black Summer‘ is due out later this year.
Ex-priest DI Frank Farrell has returned to his roots in Dumfries, only to be landed with a disturbing murder case. Even worse, Farrell knows the victim: Father Boyd, the man who forced him out of the priesthood eighteen years earlier.
With no leads, Farrell must delve into the old priest’s past, one that is inexorably linked with his own. But his attention is diverted when a pair of twin boys go missing. The Dumfries police force recover one in an abandoned church, unharmed. But where is his brother?
As Farrell investigates the two cases, he can’t help but feel targeted. Is someone playing a sinister game, or is he seeing patterns that don’t exist? Either way, it’s a game Farrell needs to win before he loses his grip on his sanity, or someone else turns up dead.
‘Dead Man’s Prayer‘ is the first in the DI Frank Farrell series and it’s a corker. The idea of a man leaving his religion in order to become a detective is a highly original premise. Farrell is complex and layered, with his supporting characters fully-rounded. Farrell’s break with the church leaves him with plenty of divided loyalties which ramps up the tension.
Baldwin’s characters in this novel have plenty of depth and enough conflicts to drive the story forward.
The way in which Baldwin uses religious imagery and symbolism ensures that the prose is rich and vivid. Her economy of language ensures that this police procedural is fast-paced in addition to being well-plotted.
Elizabeth Bailey says she feels lucky to have found several paths that have given her immense satisfaction – acting, directing, teaching and, by no means least, writing.
She has been privileged to work with some wonderful artistic people, and been fortunate enough to find publishers who believed in her and set her on the road.
Elizabeth has kindly taken the time to answer my questions so we can get to know her, and her writing process, better. My thanks to Elizabeth for taking the time to answer my questions. If you fancy getting in touch with her, you can tweet Elizabeth.
Tell us about your book(s). The Gilded Shroud is the genesis of Ottilia, Lady Fan, who turns by chance into sleuth extraordinaire and, incidentally, meets the love of her life in the process. It’s a murder mystery set in the late 18th Century, with a dollop of upstairs downstairs and a touch of romance too.
What inspired them? My original idea was Ottilia as a potential heroine for the first in a series of sweeping romantic historicals which never materialised. My brother one day suggested it might make a detective story, and that set me off thinking. When I finally took the plunge, I intended at first that Ottilia, a wispy retiring sort of female as I thought, would be the brains in the background behind the apparent showy male sleuth, but the moment she set foot on the page she took centre stage and refused to be dislodged. So that was that.
What do you like most about writing? What do you dislike (if anything)? I love the way it surprises me with turns and twists I never expected, and I like finding creative ways to express things rather than turning to clichés. I like the process of watching it unrolling as I write what I see, like a film reel projecting onto a screen somewhere in the air around me.
I hate what we writers call treacle books, when the words won’t flow and you just have to drag them out one by one, sticking with it as you really feel as if you are wading through a sticky sea. You learn to keep at it, and quite often find you do good work in spite of the stop/start nature of the writing. Fortunately, readers can’t usually tell if a book was treacle to write. There’s always the editing process to fix it.
Do you find time to read, if so what are you reading at the moment? I can’t not read. I started as a reader and reading feeds my imagination. My reading time is an hour or so before I go to sleep – assuming I’m not so hooked I can’t put the book down. I’m just finishing Tarquin Olivier’s book about his famous father, and I’ll be starting on Jodi Taylor’s latest St Mary’s Chronicles, to which I am addicted. My TBR pile is pretty eclectic as I read all sorts of genres, as well as biographies and books that add to my knowledge of my period and other history.
Which author(s) has/have had the biggest influence on your writing?
Primarily Georgette Heyer – of course. Also Daphne du Maurier, who does dark with panache and beauty; Rumer Godden, who is both lyrical and cryptic, as she doesn’t tell you everything. And Dean Koontz, who is so good at surprising twists. Finally, PG Wodehouse for humour. He has the one-liner gag down to a fine art. But I can learn from almost any writer – a turn of phrase, a twist, a different voice. It all goes into the maelstrom and comes out somewhere without my realising it.
Where do you get your ideas from? They tend to leap out from nowhere. I might catch a rhythm, a fleeting glimpse of some image, song or dream, a snippet in a news item or programme, a phrase or word in a social media post even. The spark might not even reveal itself because the idea wafts in and before I know it the what-if game is on. I do jot ideas in notebooks. If I’m stuck for a plot, I can sift through to see if anything catches my imagination. I think most writers have more ideas than they know what to do with, or will ever write up as stories. The ones that gel will hopefully roll into fodder for readers, if the process goes well.
Do you have a favourite scene/character/story you’ve written? My current completed book is usually my favourite. Not the one I’m writing because that’s in too much upheaval to be loved. Though I am usually falling in love with my characters in the work in progress. But the one that’s done and dusted, that’s the one I can afford to love until it gets superseded by the next. I do have a few that are perennial favourites and I am rather in love with Lord Francis Fanshawe. As for scenes, when I have occasion to re-read a book, sometimes I find one that really pleases me, and I will wonder how I managed to make it that good.
What are you working on at the moment? I am writing another Lady Fan mystery, in between my traditional Regency romances. Mysteries take more thought, more time and energy as one must tie everything in together and half the time I don’t know what’s about to happen.
What’s the best piece of writing advice you’ve been given (and who was it from)? Funnily enough, it was my mother, who is a poet rather than a novelist and my beta reader in my early days, who gave me the best piece of advice. She said one day that she thought I was ending my chapters in the wrong place by running a scene to a conclusion rather than keeping it back. She woke me up to cliffhangers.
Are you a plotter or a pantster? When I began writing I plotted extensively, but was forever having to adjust the plot as new ideas sprang up. Now I’m a total pantster. Apart from the opening springboard, I have no idea where the story is going and must trust to my inner writer. That is not to say that ideas don’t float about in my head, but when I sit down to write I never know what words are going to come out through my fingers. Still less do I know who committed the murder!
Do you have any advice for aspiring writers? Keep at it. We all say that. Get the words down any way you can. You can’t edit a blank page. Being a writer is all about persistence. Not just keeping going against the rejections. But keeping going when life throws brickbats at you; when you think you’ll never get to the end; when the deadline is looming and panic strikes; and when you’d honestly do anything – take out the rubbish, clean the car, walk the cat – rather than sit down and write. Successful writers work through every pit stop and drive through to the end. Every time.
What’s been your proudest writing-related moment? Apart from my very first acceptance which sent me to the ceiling where I remained for days, I think it’s the review of The Gilded Shroud that said: “Georgette Heyer lives – and is writing mysteries as Elizabeth Bailey”. That accolade said it all for me. I grew up on Heyer and still consider her the greatest writer in the Regency genre she spawned. We all wish we could write at her level, so this was to me the best compliment ever.