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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 Nine Goblins

anchored on:fantasysecondary worldfunnyhumorquestsfriendship+1 more

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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 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 about venturing into space to explore — survey missions, astronauts, and the frontier of the unknown beyond Earth.
  • 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 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 The Princess Bride
                  The Princess Bride

                  William Goldman · standalone novel · 1973

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                  The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure, The "Good Parts" Version is a 1973 fantasy romance novel by American writer William Goldman. The book combines elements of comedy, adventure, fantasy, drama, romance, and fairy tale. It is metafictionally presented as an abridgment of a longer work by the fictional S. Morgenstern, and Goldman's commentary asides are constant throughout. It was originally published in the United States by Harcourt Brace, then later by Random House, while in the United Kingdom it was later published by Bloomsbury.

                • Cover of The Hobbit
                  The Hobbit

                  series · 2 books · 1937

                  completed

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                  The Hobbit (1937) is J. R. R. Tolkien's children's fantasy novel following the reluctant burglar Bilbo Baggins, who joins a company of dwarves and the wizard Gandalf on a journey to reclaim treasure guarded by the dragon Smaug. It stands as a complete adventure on its own, but shares its setting with the rest of Tolkien's legendarium and leads into the events of The Lord of the Rings.

                • Cover of Bored of the Rings
                  Bored of the Rings

                  Henry N. Beard & Douglas C. Kenney · standalone novel · 1969

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                  Bored of the Rings is a 1969 parody of J. R. R. Tolkien's The Lord of the Rings. This short novel was written by Henry Beard and Douglas Kenney, who later founded National Lampoon. It was published in 1969 by Signet for The Harvard Lampoon, and, unusually for a parody, has remained in print for over 50 years. It has been translated into at least twelve languages.

                • Cover of Redwall
                  Redwall

                  series · 22 books · 1986

                  completed

                  part of Redwall Universe

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                  Redwall is Brian Jacques's long-running series of fantasy novels for young readers, set within the redwall-universe of Redwall Abbey and its community of anthropomorphic animals. It opened in 1986 with the mouse Matthias searching for the lost sword of the legendary Martin the Warrior to defend the abbey from the invading rat Cluny the Scourge, and grew across 22 largely stand-alone novels published through 2011, each set in a different generation of the abbey's history and following its mice, otters, badgers, and vermin adversaries.

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                  The Princess and the Goblin

                  series · 2 books · 1871

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                  Myth Adventures

                  series · 33 books · 1978

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                  MythAdventures or Myth Adventures is a fantasy series created by Robert Lynn Asprin. After twelve novels by Asprin, published 1978 to 2002, he and Jody Lynn Nye continued the series with seven more books that they wrote together. After his death in May 2008, Nye has continued the series on her own.

                • Cover of Narnia
                  Narnia

                  series · 26 books · 1950

                  part of Narnia Universe

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                  The Chronicles of Narnia is a series of seven portal fantasy novels by British author C. S. Lewis. Illustrated by Pauline Baynes and originally published between 1950 and 1956, the series is set in the fictional realm of Narnia, a fantasy world of magic, mythical beasts, and talking animals. It narrates the adventures of various children who play central roles in the unfolding history of the Narnian world. Except in The Horse and His Boy, the protagonists are all children from the real world who are magically transported to Narnia, where they are sometimes called upon by the lion Aslan to protect Narnia from evil. The books span the entire history of Narnia, from its creation in The Magician's Nephew to its eventual destruction in The Last Battle.

                • Cover of The Scarecrow and His Servant
                  The Scarecrow and His Servant

                  Philip Pullman · standalone novel · 2004

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                  The Scarecrow and his Servant is a 2004 children's novel by Philip Pullman. It tells the story of a scarecrow who comes alive after being struck by lightning and sets out on a quest with Jack, an orphan he hires as his servant. As he goes on his quest he tries to reach Spring Valley to claim it for his own. He has many troubles along the way such as a bird who ate his brain and being on a deserted island.

                • Cover of The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of Thread
                  The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of Thread

                  Kate DiCamillo · standalone novel · 2003

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                  The Tale of Despereaux is a 2003 children's fantasy novel by American author Kate DiCamillo. The main plot follows the adventures of a mouse named Despereaux Tilling, as he sets out on his quest to save a captured human princess from the villainous rats. The book won the 2004 Newbery Medal award and has been adapted into a film and a video game loosely based on the book, as well as a stage musical.

                • Cover of The Lord of the Rings
                  The Lord of the Rings

                  series · 13 books · 1954

                  part of Tolkien's legendarium

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                  The Lord of the Rings is an epic high fantasy novel written by the English author and scholar J. R. R. Tolkien. Set in Middle-earth, the story began as a sequel to Tolkien's 1937 children's book The Hobbit but eventually developed into a much larger work. Written in stages between 1937 and 1949, The Lord of the Rings is one of the best-selling books ever written, with over 150 million copies sold.

                • Cover of Book of a Thousand Days
                  Book of a Thousand Days

                  Shannon Hale · standalone novel · 2007

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                  Deltora milieu

                  series · 53 books · 1993

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                • Cover of The Quest of the Riddle-Master
                  The Quest of the Riddle-Master

                  series · 3 books · 1976

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                  Patricia A. McKillip's Riddle-Master trilogy follows Morgon, prince of the small island of Hed, whose discovery of three star-shaped birthmarks on his forehead draws him into a search for his own hidden identity and a confrontation with ancient, shape-shifting powers. Drawing on Celtic myth, the three books are prized for their lyrical prose and riddle-based magic, and are often cited among the best high fantasy of the 1970s.

                • Cover of Discworld
                  Discworld

                  universe · 84 books · 1983

                  Start hereGuards! Guards! · Start here

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                  The Disc is flat. It rides on the backs of four elephants, who in turn stand on the shell of Great A'Tuin, a turtle ten thousand miles long, swimming through space toward nowhere in particular. Magic works here, usually badly. Death speaks IN SMALL CAPITALS and rides a horse called Binky. It looks like a fantasy world and behaves like ours with the safety catch off: a mirror held up to bureaucracy, belief, newspapers, money, war, and the ridiculous, stubborn business of being a person. One hand shaped all of it — Terry Pratchett — across forty-one novels and a shelf of companions, maps, and the Science of Discworld books. The world is braided from strands you can pick up on their own. Rincewind, the cowardly wizard, flees across the Disc (The Colour of Magic). The witches of Lancre, led by the formidable Granny Weatherwax, mind everyone's business (Equal Rites, Wyrd Sisters). Death takes on an apprentice (Mort). The City Watch polices grimy Ankh-Morpork under Commander Vimes (Guards! Guards!). A reformed swindler is given honest work at swordpoint (Going Postal), and young Tiffany Aching learns witching alongside the tiny, larcenous Nac Mac Feegle (The Wee Free Men). Standalones like Small Gods sit apart. The trick of it is that the farce turns, mid-joke, into something that catches in the throat, with footnotes that argue back at the page. Newcomers are gently steered away from the beginning: the early Rincewind books spoof a genre you needn't have read. Enter instead by whichever strand calls — Guards! Guards! for the Watch, Mort for Death, Wyrd Sisters for the witches, Small Gods entirely alone, or The Wee Free Men for the sharpest single thread. Open any door and the whole Disc opens with it.

                • Cover of The Marvellous Land of Snergs
                  The Marvellous Land of Snergs

                  E. A. Wyke-Smith · standalone novel · 1927

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                • Cover of Ranger's Apprentice: The Early Years
                  Ranger's Apprentice: The Early Years

                  series · 3 books · 2011

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                • Cover of The White Mists of Power
                  The White Mists of Power

                  Kristine Kathryn Rusch · standalone novel · 1991

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                  Synopsis -An innocent excited boy, a prince and heir, takes his first journey to the city. It is like nothing he imagined. Hands pound against his carriage: voices call for a coin, Sir just one, spare me some money, sir, I haven’t eaten in days. The streets teem with merchants in velvet robes, magicians, half mad preachers, with life and colour and noise. He doesn’t want to miss any of it. But it is the last journey of his life as a prince. Soon he will be abandoned and declared dead. Soon with survival and what will be the driving force of his life: the quest to recover his stolen inheritance, his usurped throne. His home. A story of cities and palaces, of power hungry lords and ladies scheming inside a magically threatened land...Intricate, compelling.

                • Cover of Mention My Name in Atlantis
                  Mention My Name in Atlantis

                  John Jakes · standalone novel · 1972

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                  From the back cover of the DAW Books first edition: The continent of Atlantis had troubles enough before Conax the Barbarian washed ashore. For Hoptor the Vintner, who considered himself a citizen of importance, things were going from bad to worse. The king was on his last legs, his generals were plotting, there were those scary lights in the sky, and Hoptor's favorite girl was being put up for auction on the slave block. Then Conax, the self-styled king of Chimeria - a place nobody ever heard of - turned up at the auction with his broadsword, his barbaric manners, and his hair-trigger temper. That wast the last straw. From then on Atlantis was doomed!

                • Cover of The Wizards of Once
                  The Wizards of Once

                  series · 4 books · 2017

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                  Cressida Cowell's The Wizards of Once is set in a world split between Wizards, who wield magic, and Warriors, who don't -- except that Xar, son of the King of Wizards, can't cast a single spell, and Wish, daughter of the Warrior Queen, secretly possesses a banned magical object. When the two collide in the wildwood while hunting a deadly witch, their meeting sets off an adventure that could reshape both their peoples. The series continues across Twice Magic, Knock Three Times, and Never and Forever.

                • Cover of Spellsinger
                  Spellsinger

                  series · 9 books · 1983

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                  Alan Dean Foster's Spellsinger series follows Jon-Tom, a UCLA law student pulled into a fantasy world by the wizard Clothahump, where he discovers he can cast spells by singing along with his guitar. That world is populated almost entirely by anthropomorphic animals -- otters, rabbits, turtles -- with humans a rare minority, and across eight books published between 1983 and 2004, Jon-Tom and his companions repeatedly clash with the insectoid Plated Folk raiding the western territories.

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                  The Band

                  series · 2 books · 2017

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                • Cover of Jack of Shadows
                  Jack of Shadows

                  series · 4 books · 1971

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                  Roger Zelazny's Jack of Shadows (1971) is a single novel set on a tidally locked world split between a permanently lit hemisphere ruled by science and a permanently dark one ruled by magic. Its protagonist, Jack of Shadows, draws his power from shadow itself and is nearly helpless in full light or full darkness but formidable wherever shadows fall; the book follows his quest to recover a lost artifact, the Key called Kolwynia, and the power -- and responsibility -- that comes with finding it.

                • Cover of The Roots of the Mountains
                  The Roots of the Mountains

                  William Morris · standalone novel · 1889

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                  The Roots of the Mountains: Wherein is Told Somewhat of the Lives of the Men of Burgdale, Their Friends, Their Neighbours, Their Foemen, and Their Fellows in Arms is a fantasy romance novel by William Morris, perhaps the first modern fantasy writer to unite an imaginary world with an element of the supernatural, and thus the precursor of much of present-day fantasy literature. It was first published in hardcover by Reeves and Turner in 1889. Its place in the history of fantasy literature was recognized by its republication by the Newcastle Publishing Company as the nineteenth volume of the Newcastle Forgotten Fantasy Library in April, 1979.

                • Cover of Railsea
                  Railsea

                  China Miéville · standalone novel · 2012

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