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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 Second Skin

anchored on:thriller & suspenseorganized crimenorth americacontemporarytensenoir+4 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 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 Nicholas Linnear
                  Nicholas Linnear

                  series · 2 books · 1994

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                • Cover of Firestarter
                  Firestarter

                  Stephen King · standalone novel · 1980

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                  WorldCat: Innocence and beauty ignite with evil and terror... First, a man and a woman are subjects of a top-secret government experiment designed to produce extraordinary psychic powers. Then, they are married and have a child. A daughter. Early on the daughter shows signs of a wild and horrifying force growing within her. Desperately, her parents try to train her to keep that force in check, to 'act normal'. Now the government wants its brainchild back for its own insane ends.

                • Cover of The Terminal Man
                  The Terminal Man

                  Michael Crichton · standalone novel · 1972

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                  The Terminal Man is a novel by American writer Michael Crichton. It is his second novel under his own name, his 12th overall, and is about the dangers of mind control. It was published in April 1972 and also serialized in Playboy in March, April, and May 1972. In 1974, it was made into a film of the same name.

                • Cover of Carrie
                  Carrie

                  Stephen King · standalone novel · 1974

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                  In one way or another, everybody abused Carrie. This sixteen-year-old misfit was forbidden everything that was young and fun by her fanatical mother. She was teased and taunted by her classmates, misunderstood by her teachers, and given up as hopeless by almost everyone. But Carrie had a secret: She possessed terrifying telekinetic powers that could make inanimate objects move, a lighted candle fall, or a door lock. Carrie could make all kinds of startling bizarre, and malevolent things happen. (WorldCat)

                • Cover of Joe Kurtz
                  Joe Kurtz

                  series · 3 books · 2001

                  completed

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                • Cover of Misery
                  Misery

                  Stephen King · standalone novel · 1987

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                  Novelist Paul Sheldon finishes the manuscript that will finally kill off Misery Chastain, the heroine who made his career, when a snowstorm sends his car off a Colorado road. He wakes with both legs shattered, in the care of Annie Wilkes, a former nurse and 'number one fan' with no intention of taking him to a hospital. Annie manages his pain with drugs he comes to depend on, and her moods swing between doting and violent. When she learns Misery doesn't survive his new manuscript, her reaction makes clear Paul isn't just her patient, he's her hostage. A Stephen King novel about a writer at his most devoted fan's mercy.

                • Cover of The Institute
                  The Institute

                  Stephen King · standalone novel · 2019

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                  The Institute is a 2019 American science fiction-horror novel by Stephen King, published by Scribner. The book follows twelve-year-old genius Luke Ellis. When his parents are murdered, he is kidnapped by intruders and awakens in the Institute, a facility that houses other abducted children who have telepathy or telekinesis. The Institute was published on September 10, 2019, and met with generally positive reviews.

                • Cover of Whispers
                  Whispers

                  Dean R. Koontz · standalone novel · 1980

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                  WorldCat: Hilary, a beautiful, successful Hollywood writer, lives alone and is being stalked. She has killed him once, but he keeps coming back.

                • Cover of Night Chills
                  Night Chills

                  Dean R. Koontz · standalone novel · 1976

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                  A single father and his 2 children, along with the father's love interest and her father, stumble upon a plot to perfect mind control via scientific means and must stop it before it is extended to everyone in the world.

                • Cover of The Shining
                  The Shining

                  series · 5 books · 1977

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                • Cover of Assassin
                  Assassin

                  Shaun Hutson · standalone novel · 1988

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                  London was in the grip of its bloodiest bout of gang warfare for two years. Shootings in the street. Car chases and torture. Into this world of corruption, violence, madness and death came the Assassin. A force more powerful than vengeance, more lethal than a lorry full of high-velocity weapons and more terryfying than any nightmare..... Shock horror at its best.

                • Cover of The Rick Keller Project
                  The Rick Keller Project

                  series · 2 books · 2014

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                • Cover of Headstone City
                  Headstone City

                  Tom Piccirilli · standalone novel · 2006

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                  The night Johnny Danetello drove a dying girl through the streets of Brooklyn in his cab, he was trying to save her life. Instead he ran down a cop and lost her and his freedom. Every day in prison, Johnny knew that Angie Monticelli's family blamed him for her death, and that going home would be suicide. But Johnny has unfinished business with his former friend turned mob boss, Vinny Monticelli.Now Johnny has returned to converse with the doomed and the dead--and wait for Vinny to make his move. Survivors of a long-ago freak accident, the two men share access to alternate realities no one else can know--and to a past and present that will all become the same in a city only one of them can leave alive. . . .From the Paperback edition.

                • Cover of 4MK Thrillers
                  4MK Thrillers

                  series · 2 books · 2017

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                • Cover of Sunfail
                  Sunfail

                  Steven Savile · standalone novel · 2015

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                  Former Special Forces agent, Jake Carter now works for NYC Subway as an electrician. When he sees a few men spraying graffiti on the subway walls, he discovers they aren't tags, but a secret, lost language inciting violence and destruction on an epic scale.

                • Cover of The Dark Net
                  The Dark Net

                  Benjamin Percy · standalone novel · 2017

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                  The Dark Net is real. An anonymous and often criminal arena that exists in the secret far reaches of the Web, some use it to manage Bitcoins, pirate movies and music, or traffic in drugs and stolen goods. And now an ancient darkness is gathering there as well. This force is threatening to spread virally into the real world unless it can be stopped by members of a ragtag crew. Set in present-day Portland, The Dark Net is a cracked-mirror version of the digital nightmare we already live in, a timely and wildly imaginative techno-thriller about the evil that lurks in real and virtual spaces, and the power of a united few to fight back.

                • Cover of U.S. Marshal Jack Monroe
                  U.S. Marshal Jack Monroe

                  series · 2 books · 2016

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                • Cover of Psychic Killer
                  Psychic Killer

                  series · 2 books · 2008

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                • Cover of Street Rats
                  Street Rats

                  Tim Curran · standalone novel · 2003

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                  "Harry Swain and Jimmy "Blades" Circurro. One's a professional thief. The other's a professional swindler. A Milwaukee crime boss has put them together for the heist of a lifetime—an armored car robbery worth upwards of $15,000,000. It goes down smooth, it goes down clean. Because that's how Harry Swain does things. But no robbery is perfect. Not when Jimmy Blades is involved. All that money...he starts getting ideas. The kind of ideas that get other men killed. And now the cash is missing and two Russian hoods are dead. All evidence points to Harry Swain and his crew. One by one, they're turning up dead. A lot of nasty people want answers and Harry had better come up with some and fast. And he'd better do it before Jimmy Blades finds him. Because things are about to get messy." -- quoted from this book's product page on Amazon.com as of 2017-06-18.

                • Cover of Charlie Hood
                  Charlie Hood

                  series · 6 books · 2008

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                • Cover of The Devil's Advocate
                  The Devil's Advocate

                  Andrew Neiderman · standalone novel · 1990

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                  When Kevin Taylor joins the Manhattan criminal law firm of John Milton & Associates, he's hit the big time. At last, he and his wife can enjoy the luxuries they've so desired--money, a chauffeur-driven limo, and a stunning home in a high-rise. Then Milton assigns Kevin one of the most notorious cases of the year, with a file that had been put together prior to the crime. Throwing himself into his work, Kevin begins to see a pattern of evil emerging from behind the firm's plush facade. Acquittal after acquittal, every criminal client walks free, and Kevin's suspicions slowly give way to terror. For Kevin has just become The Devil's Advocate.

                • Cover of Coma
                  Coma

                  Robin Cook · standalone novel · 1977

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                  Coma is Robin Cook's first commercially successful novel, published by Signet Book in 1977. Coma was preceded in 1973 by Cook's lesser-known novel Year of the Intern.

                • Cover of Made for You
                  Made for You

                  Melissa Marr · standalone novel · 2014

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                  Southern small town darling Eva Tilling wakes up in the hospital with the frightening ability to see through the eyes of the victims of a serial killer, and realizes that she, too, is a target of the depraved stalker.

                • Cover of Cold in July
                  Cold in July

                  Joe R. Lansdale · standalone novel · 1989

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                  Cold in July is a 1989 American crime novel written by Joe R. Lansdale.