100 books like The Barrytown Trilogy

I have bad days. At times there have been a lot of bad days. I’m alone, caring for someone, working, scooping the cat box, and mopping the floors. Sometimes it can all feel a little sad and hopeless, like I am alone in the world. Stories are where I go when I’m happy. When I want adventure, mystery, or romance. But they are mostly where I go when I want to feel like I’m not the only one who feels this way sometimes. I can see that it’s not just me. I’m not alone.

I learned to read at four and have been telling stories ever since. Books were my escape from unhappiness into a new and endless world. Left to myself, I’d read ten or so weekly, and my mind was packed with characters, dialogue, jokes, prose, and poetry like an over-brimming literary reservoir. Words are my thing, and I am an avid collector of them. I was reading David Copperfield at eight and specialised in 18th and 19th-century literature at university. I’ve written five books and am working on the sixth. I love writing humour but have also authored Jane Austen Fan Fiction and poetry. Without books, my world is nothing.

I like books driven by characters who ride the same emotional rollercoaster as we all do in real life. Characters who love the wrong people or who lose the people they were right to love or who fail to match the norms expected by society. Characters I can empathise with, root for, and learn from. A fairytale happy ending is not necessary and can detract from the magic of a book. But I do like to be left with a feeling of hope. If a fictional character can learn to approach life more positively, then maybe I can too! This is what I try to achieve in my own books.

At a time when our news feeds are dominated by war and disease and brain-dead politicians I find my escape in the genre known as ‘uplit’ or ‘uplifing literature.’ These are feel-good stories that have a simple goal, to introduce us to characters like ourselves – human, fallible, unreasonable, and flawed – and take us on a journey with them through thick and thin. Not every story ends in the happiest of endings but the reader is always left with a sigh of satisfaction and a feeling of hope. And couldn’t we all do with a bit more of that?

As a lifelong bookworm, I have always loved curling up with a book, especially one that takes me on an emotional journey through the characters within. I especially love stories with an ensemble cast of characters linked through one common thread and always knew my first novel would be of this format. A fascination with the stories that lie beneath the surface of everyday life keeps me constantly inspired to create new characters that can bring comfort and familiarity to readers but still explore important life lessons in a gentle way.

I am an author and a reader, and there is little I love more than falling deep into an atmospheric mystery. One that has the texture of dark velvet—something so rich, vivid, and experiential I can almost wrap it around me—and has just the right amount of suspense to keep me turning pages. As an author of historical fiction and mysteries, capturing that immersive, atmospheric sense of place is so important to me. When I see this done well, I want to savor it, study it—and try to get you to read it, too.

I am a historian of visual culture, and my work explores the ways images can shape and challenge dominant ideas about other species. The ways we choose to represent certain animals (or not) can have important consequences, both in terms of environmental issues but also in terms of the wellbeing of individual animals. Digging deeper into these histories can make us aware that the categories we like to put animals in can shift and change depending on the time period and place. As we confront increasingly urgent climate and environmental issues, understanding these dynamics will be even more important than ever.

Growing up, I didn’t understand the hypersensitivity I felt to my own inner world and the outer. Highly alert to both interoceptive and exteroceptive data, I often felt overstimulated and overwhelmed by the intensity to which I experienced my own feelings, the feelings of others, and sensory inputs. I thought there was something wrong with me because being a feeler is generally seen as a weakness. I now write novels about quiet, sensitive, introspective young people for others who feel like I did, as a way to share the true power within this way of being, which I have discovered to be a gift, not a curse over time.

I am an historian of urban crime and policing. I specialise in metropolitan forces, for example the Dublin Metropolitan Police, London Police, and their colonial counterparts. I am particularly interested in the transnational exchange of concepts and personnel. The latter decades of the nineteenth century saw a lively and consistent movement of police across countries and continents, cross-pollinating ideas and experiences, shaping the future of organised policing. I have traced Australian policing roots to the streets of Dublin and London, which are explored in To Preserve and Protect: Policing Colonial Brisbane (2020) through personal life stories of policemen and criminals alike.

Human psychology has always fascinated me, and studying what drives human behavior is necessary in writing realistic characters. I bring psychological studies into every novel I write, and realistic characters, often flawed, always receive top billing. One of my hallmarks is presenting a story’s setting as a supporting character, as well—much like the books I’ve recommended. I have written and published seventeen titles, chock full of the many facets of the human condition, whether I’m writing for teens (as Sasha Dawn) or adults (as Brandi Reeds). The books on my list inspire, entertain, and perhaps most importantly feel. I hope you enjoy them as much as I do.