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Built on ISFDB, Wikipedia, Wikidata and Open Library. Curated reading orders carry their reasoning on the page; the rest follow publication order. Data sources & licenses

© Loreful · data: ISFDB · CC BY

More like Another Dead Intern

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Mood

The mood the book leaves you in.

  • The reading experience is propelled by journeys, exploration, and physical risk; excitement and forward momentum dominate over dread or introspection.
  • Joy and loss are deliberately mixed; the resolution grants characters something real while taking something else away, leaving warmth and sorrow together.
  • The book demands work from the reader — dense prose, difficult structure, unfamiliar ideas, or morally uncomfortable material — as part of its intended effect.
  • Grim events, cruelty, or despair dominate the atmosphere, and the book does not soften them with comfort or comic relief.
  • The atmosphere is quietly unsettling — wrongness, unease, and the uncanny pervade the book without necessarily escalating into overt horror.
  • The book is built to move the reader; character feeling is foregrounded and major scenes aim at a strong emotional response.
  • Humor is a primary aim and the prose plays for laughs — comic situations, wit, or dialogue produce sustained comedy, not occasional levity.
  • The book insists that things can improve; effort and decency are shown to matter, and the arc bends toward better outcomes even through hardship.
  • The book teaches as it goes — real facts, history, science, or craft are conveyed in enough depth that learning is part of the reading experience.
  • The overall register is cheerful and easygoing; stakes are kept gentle and the book avoids dwelling on pain or dread.
  • Withheld information drives the experience; the book sustains enigmas and secrets the reader wants resolved, whatever its genre.
  • The book is contemplative and inward-looking, giving more weight to thought, memory, and meaning than to external events.
  • The book works as comfort reading — low tension, a soothing pace, and an atmosphere the reader can unwind in.
  • Grief, loss, or melancholy set the dominant register, and the book lets sorrow stand rather than resolving it into comfort.
  • Sustained suspense is the point; the book keeps the reader braced for what happens next through danger, pressure, or impending revelation.
  • Playful invention and charm define the register — fanciful conceits, light absurdity, and a narration that delights in its own oddity.

About

What the story runs on.

  • Stories centered on vampires — blood-drinking undead — whether as predators, love interests, or protagonists.
  • Stories about beings who change form at will — skinwalkers, selkies, and other shape-changers beyond the werewolf.
  • Stories centered on witches and the practice of witchcraft — covens, hedge magic, familiars, and the witch's place in her community.
  • Stories in which demons or devils — infernal beings, their bargains, possessions, and hierarchies — drive the plot.
  • Stories about the fae — fairies and the courts, bargains, and dangerous rules of faerie.
  • Stories structured as a quest — a journey undertaken to find, deliver, or destroy something of great import.
  • Stories of lovers kept apart by law, family, faith, or station, where the obstacle to love is the plot.
  • Stories in which a friendship — its making, testing, or loss — is the emotional center.
  • Stories of growing up — a young protagonist crossing from childhood into adult knowledge and responsibility.
  • Stories about who a character truly is — self-discovery, doubled lives, and the search for a self.
  • Stories in which a buried family truth — hidden parentage, crimes, or shames — surfaces and reorders the present.
  • Stories organized around investigating a killing — the case, the clues, and the pursuit of the killer, in any genre's clothing.

Shelf

Where it sits in the library.

    • Fiction built on magic or other supernatural elements that have no scientific explanation.
    • Secondary-world fantasy at large scale, where the fate of nations or the world turns on the protagonists' struggle.
    • Fantasy set in a recognizably modern city or contemporary world where the supernatural intrudes on everyday life.
    • Fantasy that blends in horror's atmosphere and imagery, keeping a fantastical frame around grim or frightening material.
    • Action-driven fantasy following warriors or rogues with personal stakes against sorcerous threats, rather than world-spanning conflicts.
    • Fantasy set in a real historical period or a close analogue of one, with magic woven into the era.
    • Fantasy in which protagonists cross from the ordinary world into another world through a portal or similar passage.
    • Fiction that retells or reworks a traditional fairy tale in a new form or setting.
    • Fantasy drawing directly on myths, legends, and folklore, retelling them or building on their figures and logic.
    • Fantasy of ghosts, vampires, shapeshifters, psychics, and similar phenomena, usually set in an otherwise ordinary world.
    • Fiction mixing science-fictional trappings with overtly magical or impossible elements in one setting.
    • Low-stakes fantasy emphasizing comfort, community, and everyday pleasures over conflict and peril.
    • Speculative fiction of pervasive moral ambiguity, violence, and cynicism that rejects heroic conventions — fantasy and SF alike.
      • Fiction that extrapolates from science and technology — future societies, space travel, or speculative inventions — within at least nominally natural laws.
      • Science fiction of interstellar scope — starships, galactic polities, and adventure across star systems.
      • Science fiction centered on armed forces and warfare, told largely from a military point of view.
      • Science fiction of networked, corporate-dominated near futures, pairing high technology with social decay.
      • Science fiction styled on nineteenth-century steam-powered technology, often in a Victorian or pseudo-Victorian setting.
      • Fiction depicting an oppressive or catastrophic society, presented as a warning.
      • Fiction set after civilization's collapse, following survivors in the ruins of the old world.
      • Fiction in which characters move between past and future, and the mechanics or consequences of that travel drive the plot.
      • Fiction exploring a world where a historical event went differently and history diverged from ours.
      • Science fiction about humanity's first encounter and communication with an alien intelligence.
      • Science fiction in which extraterrestrial forces attack or occupy Earth and humanity resists.
      • Fiction whose primary aim is to frighten or unsettle the reader through dread, menace, or the monstrous.
      • Horror of vast, indifferent, incomprehensible entities before which humanity is insignificant, in the Lovecraft tradition.
      • Horror of decaying houses, buried family secrets, and oppressive atmosphere in the Gothic literary tradition.
      • Horror centered on hauntings and the returning dead.
      • Horror located in the mind — paranoia, obsession, and unreliable perception rather than external monsters.
      • Horror built around the reanimated dead and survival amid their outbreaks.
      • Horror defined by explicit, transgressive gore that refuses to cut away from violence.
      • Speculative fiction of the strange and uncanny that resists both natural explanation and standard genre categories.
      • Fiction organized around solving a crime or puzzle, typically following an investigator toward the identification of a culprit.
      • A puzzle-first mystery that lays out clues so the culprit's identity can be deduced before the reveal.
      • Crime fiction of moral ambiguity, fatalism, and hard-edged style, set among the corrupt and the doomed.
      • A mystery following the realistic routines of police work — forensics, interviews, and case-building.
      • A gentle mystery with an amateur sleuth, a small community, and violence kept off the page.
      • A mystery set in a past era, where the investigation works within that period's methods and society.
      • Fast-paced fiction driven by imminent danger, pursuit, or high-stakes conspiracy, built to sustain tension.
      • A thriller of espionage — agents, tradecraft, and intelligence services in conflict.
      • A thriller centered on lawyers and the courtroom, where litigation carries the suspense.
      • A thriller driven by detailed contemporary or near-future technology, often military or scientific.
      • A thriller whose tension comes from mental states and manipulation between characters rather than external action.
      • Fiction whose central plot is a romantic relationship and its development toward an emotionally satisfying resolution.
      • Romance in which one or both partners are supernatural beings, blending fantasy elements into the love story.
      • A fantasy-romance hybrid in which the romantic arc and the fantasy plot carry equal weight.
      • Romance set in a past era, with courtship shaped by the period's society and manners.
      • Romance set in the present day, without supernatural or historical elements.
      • Fiction set in a real past period, where the historical setting materially shapes characters and events.
        • General and literary fiction emphasizing prose style, character interiority, or formal ambition over genre plot conventions.
        • Fiction in a realistic world where magical events occur and are treated as ordinary, in the tradition of Latin American literature.
        • Fiction that ridicules people, institutions, or society in order to criticize them.
        • Fiction of dreamlike, irrational imagery and logic that breaks from realistic representation.
        • Fiction propelled by journeys, exploration, and physical peril, where action and survival carry the plot.
        • Adventure fiction of ships and seafaring — naval engagements, voyages, and life at sea.
        • Fiction of the American frontier West — gunmen, ranchers, and lawmen, typically in the late nineteenth century.
        • Fiction centered on soldiers, campaigns, and the experience of warfare, historical or imagined.
          • Fiction written primarily to amuse, using comedic situations, wit, or parody as its organizing principle.
            • Fiction whose world runs on explicit game mechanics — levels, stats, and skills that characters can see and exploit.
              • Fiction about costumed or superpowered heroes and their conflicts with comparable villains.

              Practical

              How long a commitment, whether it stands alone, and whether it has finished.

              Tap a chip to ask for it · tap again to rule it out · once more to clear. Numbers show what would be left.

              • Cover of Good Omens
                Good Omens

                series · 2 books · 1990

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                Good Omens is Terry Pratchett and Neil Gaiman's 1990 comic fantasy novel in which an angel and a demon, both grown fond of life on Earth, try to head off an apocalypse foretold in a seventeenth-century witch's uncannily accurate prophecies, complicated by the fact that no one can find the misplaced Antichrist. Paired with it here is The Quite Nice and Fairly Accurate Good Omens: Script Book, a companion volume collecting the screenplay for the television adaptation rather than a second novel.

              • Cover of Dirk Gently
                Dirk Gently

                series · 3 books · 1987

                completed

                part of The Hitchhiker's Guide to the Galaxy Universe

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                Dirk Gently's Holistic Detective Agency (1987) introduces Douglas Adams's eccentric investigator, whose approach treats all events and objects as ultimately connected however implausibly, as a case involving time travel, a ghost, and a Cambridge murder tangles into one plot. Adams completed one further full novel, The Long Dark Tea-Time of the Soul (1988), before his death; The Salmon of Doubt (2002) later collected his unfinished notes toward a third book alongside essays and other writing, rather than completing the story.

              • Cover of Highfire
                Highfire

                Eoin Colfer · standalone novel · 2020

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                Wyvern, Lord Highfire of the Highfire Eyrie, is the last dragon on Earth and is hiding out in a Louisiana swamp. He strikes a deal with Cajun swamp rat Squib: Squib will keep him company and fetch supplies for him and Vern will protect Squib from the dirty cop that is chasing him. However, there will be soon be a firery reckoning, in which dragons wither finally become extinct or Ver's glory days are back.

              • Cover of Dan Shamble, Zombie P.I.
                Dan Shamble, Zombie P.I.

                series · 37 books · 2012

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              • Cover of Gods Behaving Badly
                Gods Behaving Badly

                Marie Phillips · standalone novel · 2007

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                Gods Behaving Badly is a novel by the British author Marie Phillips. It was first published by Jonathan Cape in 2007. Set in London, it tells the tale of the twelve gods of Mount Olympus living in a rundown flat as their powers wane. It was selected for The Atlantic's 1book140 Twitter book club's book of the month for August 2011.

              • Cover of Love Story
                Love Story

                series · 3 books · 1995

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                Christopher Moore's Love Story trilogy opens with Bloodsucking Fiends, a comic horror-romance about a young San Francisco woman turned into a vampire. You Suck and Bite Me continue the story across the following two novels, keeping Moore's irreverent, comedic take on vampire fiction.

              • Cover of Support Group
                Support Group

                series · 2 books · 2009

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              • Cover of J. W. Wells & Co.
                J. W. Wells & Co.

                series · 8 books · 2003

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                J. W. Wells & Co. is Tom Holt's comic fantasy series about a London firm of "family sorcerers" (a name borrowed from Gilbert and Sullivan's operetta The Sorcerer), beginning with The Portable Door (2003) and running across eight novels to The Eight Reindeer of the Apocalypse. Each book follows the firm's hapless junior staff stumbling into magical bureaucracy, ancient rivalries and office-comedy chaos in roughly equal measure. The books are loosely connected workplace capers rather than one continuous plot.

              • Cover of Pine Cove
                Pine Cove

                series · 3 books · 1992

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                Pine Cove gathers three loosely connected comic novels — Practical Demonkeeping, The Lust Lizard of Melancholy Cove, The Stupidest Angel — that Christopher Moore set in the same fictional small town on the California coast, recycling some of the same eccentric residents even as each book follows its own standalone plot (the first centers on a drifter's demon and the reluctant wizard trying to control it). It's part of the larger shared world Moore uses across most of his comic novels, rather than a continuing story arc.

              • Cover of Charlie Asher
                Charlie Asher

                series · 2 books · 2006

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              • Cover of Masters of Death
                Masters of Death

                Olivie Blake · standalone novel · 2023

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                Viola Marek is a struggling real estate agent, and a vampire. But her biggest problem currently is that the house she needs to sell is haunted. The ghost haunting the house has been murdered, and until he can solve the mystery of how he died, he refuses to move on. Fox D’Mora is a medium, and though is also most-definitely a shameless fraud, he isn’t entirely without his uses—seeing as he’s actually the godson of Death. When Viola seeks out Fox to help her with her ghost-infested mansion, he becomes inextricably involved in a quest that neither he nor Vi expects (or wants). But with the help of an unruly poltergeist, a demonic personal trainer, a sharp-voiced angel, a love-stricken reaper, and a few high-functioning creatures, Vi and Fox soon discover the difference between a mysterious lost love and an annoying dead body isn’t nearly as distinct as they thought.

              • Cover of Knight Life
                Knight Life

                series · 3 books · 1987

                completed

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              • Cover of The Shambling Guides
                The Shambling Guides

                series · 2 books · 2013

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              • Cover of The Arcana Familia / Finn Fancy
                The Arcana Familia / Finn Fancy

                series · 3 books · 2015

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              • Cover of Barking
                Barking

                Tom Holt · standalone novel · 2007

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                Duncan's boss doesn't think he's cut out to be a lawyer. He isn't a pack animal. He lacks the killer instinct. But when his best friend from school barges his way back into Duncan's life, with a full supporting cast of lawyers, ex-wives, zombies, and snow-white unicorns, it's not long before things become distinctly unsettling. Hairy, even.

              • Cover of Gil's All Fright Diner
                Gil's All Fright Diner

                A. Lee Martinez · standalone novel · 2005

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                Gil's All Fright Diner is an urban fantasy novel by A. Lee Martinez first published in 2005.

              • Cover of The Good Fairies of New York
                The Good Fairies of New York

                Martin Millar · standalone novel · 1992

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                Finding themselves in the very unusual world of Manhattan, a pair of Scottish thimble fairies apply their folk wisdom to assist a pair of down-and-out humans, including Kerry, who struggles with a colostomy bag, and Dinnie, who exhibits anti-social behaviors.

              • Cover of The Cleaners
                The Cleaners

                series · 5 books · 2015

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              • Cover of Jeremy Leclerc
                Jeremy Leclerc

                series · 11 books · 2007

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              • Cover of Amanda Feral
                Amanda Feral

                series · 4 books · 2008

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              • Cover of Morning McCobb
                Morning McCobb

                series · 2 books · 2008

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              • Cover of Dinosaur Mafia
                Dinosaur Mafia

                series · 3 books · 1999

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              • Cover of Polly!
                Polly!

                Stephen Goldin · standalone novel · 2008

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                Herodotus Shapiro has had an unbelievably bad week. His wife left him. The IRS is after him for thousands of dollars. His home/bookstore burned down. On his way to take refuge at his brother's place he got a speeding ticket. And now his car has broken down in the middle of the desert in front of a large mansion. What more can go wrong? But now his world takes a turn for the weird. The mansion has a snowman on the front lawn--in the desert in July. The house, which is bigger on the inside than on the outside, is owned by Polly, the most preternaturally beautiful young woman he's ever met. Polly is an acrobat, a gourmet chef, a psychologist, an international financial consultant, a physicist and a woman of who-knows how many other incredible talents. She has an unbelievable library, an art collection of all the world's great masterpieces and a print of a previously unknown Marx Brothers film. Her toilet paper is actually silk. And she seems to have some mysterious plans for him....

              • Cover of Department of Peculiar Science / Another Coop Heist
                Department of Peculiar Science / Another Coop Heist

                series · 2 books · 2016

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