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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 Getting Wilde

anchored on:urban fantasymagical artifactscontemporaryparanormal romancepsychic powersdemons+3 more

but

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 book is designed to uplift and motivate, presenting perseverance or achievement in a way that invites the reader to aspire or act.
  • 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 in which extraterrestrial beings are central — as characters, cultures, or the object of the plot.
  • Stories structured as a quest — a journey undertaken to find, deliver, or destroy something of great import.
  • Stories in which staying alive against nature, catastrophe, or scarcity is the central problem.
  • 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 about mourning — living through the death of a loved one and what loss does to the survivors.
  • Stories in which a buried family truth — hidden parentage, crimes, or shames — surfaces and reorders the present.
  • Stories driven by maneuvering for power — factions, conspiracies, and statecraft conducted in shadow.
  • Stories in which war itself is the subject — combat, occupation, and what warfare does to soldiers and civilians.
  • 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 committed to scientific rigor, where technical plausibility constrains the story.
      • 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 that plays with narrative convention through metafiction, fragmentation, and self-reference.
        • 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.
            • Multi-generational fiction following a family or dynasty across decades, with inheritance and kinship as the through-line.
              • 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 Immortal Vegas
                  Immortal Vegas

                  series · 3 books · 2015

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                • Cover of The Hollows
                  The Hollows

                  series · 39 books · 2004

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                  The Hollows is a series of urban fantasy novels by Kim Harrison, originally published by HarperCollins Publishers and by Ace Books since 2020. The series includes 18 novels, numerous novellas and short stories, two graphic novels, and one compendium resource; a 19th novel, Absolute Demon, is forthcoming in 2027.

                • Cover of Tales of an Extraordinary Girl
                  Tales of an Extraordinary Girl

                  series · 2 books · 2006

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                • Cover of War for the Oaks
                  War for the Oaks

                  series · 2 books · 1987

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                  Emma Bull's 1987 urban fantasy debut follows Minneapolis rock singer Eddi McCandry after a faerie noble conscripts her into the ancient war between the Seelie and Unseelie Courts, forcing her to keep her band and her life together while fighting a battle she never asked for in her own city. Widely credited with helping found the urban fantasy genre, it won the Locus Award for Best First Novel.

                • CV
                  Chicagoland Vampires Universe

                  series · 25 books · 2009

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                • Cover of The Dresden Files
                  The Dresden Files

                  series · 56 books · 2000

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                  The Dresden Files is an urban fantasy series written by American author Jim Butcher. The novels are narrated from the first-person perspective of Harry Dresden, a private detective and wizard, as he investigates supernatural disturbances in contemporary Chicago. The first entry, Storm Front, was published in 2000 by Roc Books.

                • Cover of Butcher Bird
                  Butcher Bird

                  Richard Kadrey · standalone novel · 2007

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                  Spyder Lee owns a tattoo shop in San Francisco, has a favorite drinking buddy, Lulu Garou, and other friends all over town. One night a pissed-off demon tries to bite his head off and he's saved by a small blind woman with a sword. After that, Spyder's life is turned upside down. The demon infected Spyder and he can suddenly see the world as it really is: full of angels and demons and monsters and monster-hunters; a world full of black magic and mysteries. These are the Dominions, parallel worlds full of wonder, beatuy and horror. The Dominions never touch, or at least they're not supposed to. The Black Clerks, powerful beings whos job it is to keep the Dominions in balance, seem to have a new agenda. Sypder finds himself dropped into the middle of a conflict he doesn't fully understand. With the blind swordswoman who saved him, Spyder searches for a magic book.

                • Cover of Gale Family
                  Gale Family

                  series · 3 books · 2009

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                  Tanya Huff's urban fantasy trilogy follows Alysha Gale, a member of a Canadian family whose charms can reshape reality, after she inherits her grandmother's junk shop in Calgary and discovers it doubles as a gateway into the fae world. Across The Enchantment Emporium, The Wild Ways, and The Future Falls, different Gale women take the lead as the family is repeatedly called on to contain magical trouble the ordinary world can't handle.

                • Cover of InCryptid
                  InCryptid

                  series · 53 books · 2012

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                  InCryptid is a series of urban fantasy novels by American author Seanan McGuire, published by DAW Books. They follow multiple generations of a family of cryptozoologists who protect supernatural beings from discovery by humankind.

                • Cover of Alif the Unseen
                  Alif the Unseen

                  G. Willow Wilson · standalone novel · 2012

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                  Alif the Unseen is a 2012 cyberpunk fantasy novel by American writer G. Willow Wilson. In the novel, a Middle Eastern hacker named Alif discovers a book of djinn tales which may lead to a new age of quantum computing. The novel won the 2013 World Fantasy Award for Best Novel.

                • Cover of Misfit
                  Misfit

                  Jon Skovron · standalone novel · 2011

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                  Seattle sixteen-year-old Jael must negotiate normal life in Catholic school while learning to control the abilities she inherited from her mother, a demon, and protect those she loves from Belial, the Duke of Hell.

                • Cover of New York Circulating Material Repository
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                • Cover of Wild Ride
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                  Jennifer Crusie & Bob Mayer · standalone novel · 2010

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                • Cover of Heirs of Grace
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                  Tim Pratt · standalone novel · 2014

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                • Cover of The Odds of Lightning
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                  Jocelyn Davies · standalone novel · 2016

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                • Cover of Georgina Kincaid
                  Georgina Kincaid

                  series · 7 books · 2007

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                • Cover of Midgard / Mist
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                • Cover of The Thirteen Hallows
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                  Michael Scott & Colette Freedman · standalone novel · 2011

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                  The Thirteen Hallows is the first novel in a fantasy fiction series that focuses on the thirteen treasures of the Island of Britain. The book was written by authors Michael Scott and Colette Freedman. It was published in December 2011 in both the United Kingdom and the United States. The book shares a similar plot line as one of Scott's earlier novels, The Hallows. Scott has announced that he and Freedman are currently working on a sequel to The Thirteen Hallows, with plans for a third book in the series.

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