I Know What I Saw — Out Now

I Know What I Saw by J. Cronshaw is out now — a gripping British psychological thriller set in Lytham, Lancashire. Available on Kindle, Paperback, and Kindle Unlimited, and also through library apps like BorrowBox and OverDrive.

My new psychological thriller, I Know What I Saw, is out today.

This one is dark, tense, and set right here in Lancashire. If you enjoy domestic noir and British psychological suspense with a sharp, realistic edge, I think you’ll love it.


The story

“Mum, I saw Dad kill Kevin Jacobs.”

Seven words that shatter a family.

Vicky McKeating wants to believe her husband is innocent. Her daughter, Hannah, won’t back down. As gossip spreads along Agnew Street and police cars arrive at the entrance to Serpentine Walk, the question becomes impossible to ignore.

Who is telling the truth?

Set in the quiet seaside town of Lytham, I Know What I Saw explores family loyalty, small-town suspicion, and the lies we tell to protect the people we love.


Where to get it

You can read I Know What I Saw right now:

  • Kindle – available worldwide.
  • Paperback – order from Amazon and other major retailers.
  • Kindle Unlimited – free to read if you’re a KU subscriber.

To celebrate launch week, the eBook is 99p / 99c for a limited time.


Borrow it from your library

If you prefer reading through your library, you can request I Know What I Saw on BorrowBox, OverDrive, or your library’s own eBook service.

Some libraries add new titles automatically, while others need a quick request at the desk or through the app. Simply search for I Know What I Saw by J. Cronshaw and, if it isn’t there yet, ask your librarian to add it.

Supporting your local library helps other readers discover new authors, and it’s one of the best ways to keep stories like this accessible to everyone.


Why this book matters to me

This story began with a single image: a teenage girl standing in a kitchen, calmly telling her mother she’s witnessed a murder. From that moment, I wanted to write about how truth can fracture even the closest families, and how a small community can turn claustrophobic when everyone’s watching.

Lytham, with its neat red-brick terraces and quiet respectability, became the perfect setting. I walked the real Agnew Street and Serpentine Walk while writing it, soaking up the atmosphere that eventually made its way into every scene.


Thank you for your support

If you’ve been following my work, you’ll know how much I appreciate every reader who picks up my books, leaves a review, or tells a friend. Your support allows me to keep writing full-time and sharing stories set in the places we know.

So, whether you grab it on Kindle, order the paperback, borrow it through Kindle Unlimited, or request it from your library—I hope I Know What I Saw keeps you turning the pages late into the night.

You can find your copy here: [Amazon link or your preferred retailer link].

Thank you for reading,
J. Cronshaw

Composite image showing the Kindle eBook and paperback editions of I Know What I Saw by J. Cronshaw. Both covers display a dark red-brick semi-detached house under a gloomy sky, with one upstairs window glowing orange. The title appears in bold yellow capital letters above the author’s name in pale text. The tagline at the top reads “Who is really telling the truth?”. The image conveys a tense, atmospheric mood fitting for a British domestic thriller.

Read Chapter One of I Know What You Did by J. Cronshaw – A Gripping British Psychological Thriller

Read the tense opening chapter of J. Cronshaw’s new domestic noir thriller I Know What You Did. Set in Lytham, Lancashire, it begins with seven words that shatter a family: “Mum, I saw Dad kill Kevin Jacobs.”

“Mum, I saw Dad kill Kevin Jacobs.”

My fork freezes halfway to my mouth. The shepherd’s pie falls back onto the plate with a wet slap.

Hannah sits across from me, her voice flat. No tremor. No tears. Just that terrible certainty teenagers wield like weapons.

The silence stretches between us. The old carriage clock on the mantel ticks loud enough to hammer nails. Outside, a car door slams. Mrs Dawson calling her cat in. Normal sounds from a normal Tuesday evening.

But nothing about this is normal.

Matt’s knuckles have gone white around his wine glass. For a heartbeat, he looks like a stranger sitting at my kitchen table. Then he blinks and becomes my husband again.

“Honestly, Hannah.” He forces a laugh. “Drama queen as always.”

He lifts the glass to his lips.

Hannah leans forward, elbows on the scratched pine table. Her eyes lock on mine, not Matt’s.

“I saw him, Mum. On Serpentine Walk.”

Her tone carries no trace of teenage exaggeration. No breathless excitement at being the centre of attention. Just facts, delivered like a weather report.

Goosebumps prickle my arms. “You must’ve mistak—”

“I know what I saw.”

The words slice through my stumbling denial. Hannah’s gaze doesn’t waver. She has Matt’s stubborn chin, my green eyes. Right now, she looks older than fifteen.

From Agnew Street comes the distant hum of evening traffic, commuters heading home to their own families, their own problems. The sound feels wrong somehow, too ordinary for this moment.

Matt pushes back his chair. The legs scrape against the kitchen tiles.

“She’s making things up, Vicky.” He stands, smoothing down his shirt. “Attention-seeking nonsense.”

But sweat beads along his hairline despite the December chill seeping through our single-glazed windows.

Hannah stays seated. Her hands clench into fists on the table.

“Kevin Jacobs is dead, isn’t he?” she asks.

I want to laugh it away, to tell her she’s watched too many crime dramas, that Kevin is probably at home right now watching the news or polishing those awful model ships he collects.

But Kevin Jacobs. The man who organised the street’s Christmas lights competition. Who always waved when he trimmed his hedge. Who knew exactly which wine to bring to dinner parties and never stayed past ten o’clock.

Dead?

My mind scrambles for logic. When did I last see him? Yesterday morning, maybe. Or was it Sunday? The days blur together lately—freelance deadlines, Hannah’s school drama, Oliver’s nativity, Matt’s long hours at the office.

“This is ridiculous.” Matt moves towards the doorway. “I won’t sit here and listen to this rubbish.”

Hannah doesn’t flinch. She watches him go, then turns back to me.

“He came home late last night. After eleven. His shirt was dirty.”

Matt’s footsteps pound up the stairs. A door slams. The house shudders.

Hannah and I sit in the sudden quiet. The shepherd’s pie congeals on our plates. The smell of mince and onions that felt comforting twenty minutes ago now turns my stomach.

“Hannah—”

“He threw his shirt in the washing machine straight away.” Her voice stays level, matter-of-fact. “He never does the washing.”

She’s right. Matt considers the washing machine a mysterious feminine appliance, like my hair straighteners or the air fryer his sister bought us last Christmas.

“There could be any number of reasons—”

“Ask him where he was.”

The challenge sits between us. Hannah’s eyes burn into mine, waiting.

From upstairs comes the sound of Matt pacing. Back and forth across our bedroom floor.

I think of his recent mood swings. The whispered phone calls that stop when I enter the room. The way he checks his mobile constantly, jaw tight with tension.

The distance that’s grown between us, subtle as frost forming on windows.

“There was no trace of a joke in her eyes. Only certainty.”

Hannah pushes her plate away, food untouched.

“Ask him, Mum.”

But I’m not sure I want to hear the answer.

Serpentine Walk runs behind our terrace, dark and narrow between the houses and the train station car park. I’ve walked it hundreds of times, cutting through to the Tesco Express.

Now it feels different. Dangerous.

Hannah stands, scraping her chair back.

“I’m going to my room.”

She pauses at the kitchen door, hand on the frame. For a moment, she looks like the little girl who used to crawl into our bed during thunderstorms, seeking comfort in the space between Matt and me.

“I know what I saw, Mum.”

Composite image showing the Kindle eBook and paperback editions of I Know What I Saw by J. Cronshaw. Both covers display a dark red-brick semi-detached house under a gloomy sky, with one upstairs window glowing orange. The title appears in bold yellow capital letters above the author’s name in pale text. The tagline at the top reads “Who is really telling the truth?”. The image conveys a tense, atmospheric mood fitting for a British domestic thriller.

Read the First Chapter of The Nanny’s Secret by J. Cronshaw

Start reading The Nanny’s Secret, a gripping domestic thriller by J. Cronshaw. Discover the tense opening chapter where a mother’s perfect new nanny begins to reveal her dark secrets.

The drizzle comes in sideways from Morecambe Bay, the kind that soaks you without seeming to try. It streaks the sash windows of our Victorian terrace, blurring the view of Scotforth’s quiet streets where students hurry past with their hoods up, rucksacks clutched against the November wind.

The castle bells toll faintly in the distance, their bronze voices carrying across Lancaster like a reminder that this place has been weighing people down for centuries.

Inside, the radiator clanks its familiar protest while Josh’s Fisher-Price garage plays its electronic tune for the hundredth time this morning. The sound should be cheerful—bright plastic optimism against the grey day—but it feels like mockery.

“Mummy, look!” Josh’s sticky fingers tug at my cardigan, leaving jammy prints on the navy wool. “Car is fast!”

I glance down at his chubby face, all earnest concentration as he pushes a red toy car up the plastic ramp. Four years old and already more focused than I manage most days.

“That’s lovely, sweetheart,” I murmur, turning back to my laptop screen where a half-finished logo design stares accusingly at me. The client—a boutique hotel in the Lake District—wants something “fresh but timeless, modern but authentic.” The brief makes my teeth ache with its contradictions, but the invoice will help with this month’s mortgage. If I can actually finish the bloody thing.

My mobile buzzes with another email notification. Probably another client chasing work I promised for yesterday, or the day before. The cursor blinks in the design software, waiting for inspiration that won’t come. Instead, I have Peppa Pig nattering from the television, Josh demanding attention every thirty seconds, and the persistent ache behind my eyes that’s become my constant companion since becoming a mother.

The kitchen still bears evidence of breakfast chaos—Weetabix cemented to Josh’s high chair, coffee rings on the work surface, his beaker knocked over and spreading orange juice across yesterday’s post. I catch it before it reaches the bills and mop quickly with a tea towel. Small victory.

I should have cleared it up hours ago. But the logo needs finishing, and Josh needs entertaining, and somewhere in between I’m supposed to be a functioning adult.

I stare out the window again, watching a young woman with perfectly styled hair stride past in a raincoat that probably costs more than I spend on clothes in six months. She moves with the confidence of someone who’s never sat in pyjamas until noon, paralysed by the weight of her own inadequacy.

The other mothers at Dallas Road Primary have that same assurance. Gemma Harding, who teaches at the grammar school and always looks like she’s stepped from a magazine spread. Sarah Whitworth, whose three children are permanently scrubbed and dressed in coordination. I bet she has a cleaner on speed dial.

They make motherhood look effortless, while I feel like I’m drowning in the shallow end.

I had plans once. A first-class degree in graphic design from Central Saint Martins, a portfolio that landed me work with decent London agencies. I was going to be someone who mattered, whose work meant something. Instead, I’m pushing thirty-five and designing logos for provincial hotels while my toddler wipes his nose on the sofa. The sofa he seems to believe is his personal handkerchief.

The guilt hits like a familiar punch to the stomach. Josh deserves better than a mother who resents her circumstances, who looks at him and sees everything she’s given up rather than everything she’s gained. He’s beautiful, bright, affectionate—a miracle I waited years for, went through three miscarriages to have. The silence of those hospital corridors still echoes sometimes, the crumpled scan photos I keep in my bedside drawer a reminder of what I nearly lost forever.

So why do I feel like I’m suffocating?

“Mummy sad?” Josh has abandoned his cars and is studying my face with the unsettling perception children possess.

“No, love. Mummy’s just thinking.” I reach out and ruffle his curls, soft as silk under my fingers. He leans into my touch, trusting and warm, and something loosens in my chest despite everything.

But he’s right, isn’t he? I am sad, tired, lost in a life that feels too small for the person I thought I was. The rain intensifies against the glass, and I imagine it washing the whole street clean, carrying me somewhere I can start again.

Outside, Lancaster carries on without me. Gulls circle inland from the bay, their cries sharp against the wind. Buses rumble past, filled with people who have somewhere important to be. The last time I went into town, Penny Street was crowded with students whose energy made me feel ancient at thirty-five, displaced in my own city.

I close my eyes and hear my mother’s voice, sharper now that she’s gone: “Don’t let people think you can’t cope, Emma. There’s no shame worse than that.” But I can’t cope, can I? I’m failing at the one thing women are supposed to do naturally, instinctively. Josh plays quietly beside me, and I wonder if he already knows his mother isn’t enough.

Daniel’s key turns in the front door at half past six, punctual as always. He appears in the doorway still wearing his suit jacket, his accountant’s uniform. His gaze sweeps the living room, taking inventory: the scattered toys, Josh still in his pyjamas from this morning, me curled on the sofa with my laptop balanced on a cushion.

“Daddy!” Josh scrambles up and runs to him, arms outstretched.

Daniel scoops him up, planting a kiss on his head before setting him down. “Hello, trouble. Been good for Mummy?”

“Look, car!”

 “That’s great, son.” He turns to me. “Busy day?” His tone is carefully neutral as he looks at me, but I catch the slight tightening around his eyes, the way his voice caught when he spoke to Josh.

“The usual chaos.” I close the laptop, conscious of how little I’ve achieved. “How was work?”

“Fine. Good, actually. The Morrison account came through.” He loosens his tie, running a hand through hair that’s starting to thin at the crown. When he sits heavily in the armchair across from me, his shoulders sag. “Emma, we need to talk.”

Something in his voice makes me straighten. “About what?”

“You can’t keep doing this to yourself. To us.” He glances at Josh, who’s returned to his cars, then back at me. “You’re drowning, love. Josh needs structure, routine. You need help.”

The word ‘help’ lands like criticism. “I’m managing perfectly well.”

“Are you? When did you last leave the house? When did we last have a proper conversation that wasn’t about logistics or Josh’s needs?”

Heat rises in my chest. “I’m doing my best, Daniel. I’m working, I’m looking after our son—”

“I know you are. But it’s not sustainable.” His voice softens, which somehow makes it worse. “Other families on this street have nannies, childminders. There’s no shame in admitting you need support.”

“I don’t need—”

“Sarah Whitworth recommended someone. A lovely girl, apparently. Very experienced with early years.”

A stranger in my house, judging my parenting, reorganising my chaos according to their superior methods. The thought makes my skin crawl.

“No,” I say firmly. “Absolutely not.”

Daniel’s jaw tightens, but his voice stays gentle. “Then what’s your solution? Because this isn’t working, Emma. For any of us.”

Josh has gone quiet during our exchange, sensing the tension that crackles between his parents. He clutches his toy car and watches us with wide, uncertain eyes.

“I’ll sort it out,” I say, my voice smaller than I intend. “I just need to get into a better routine.”

Daniel nods, but I can see he doesn’t believe me. Neither do I, really. But the alternative—admitting I can’t cope, inviting scrutiny from some competent stranger who’ll see through my pretence in minutes—feels impossible.

After he’s gone upstairs to change, I sit in the gathering dusk with Josh curled against my side, his warm weight the only solid thing in a day that feels like it’s dissolving around me. The rain has stopped, but the windows still weep with condensation.

Josh breathes softly against me, his curls damp with sweat, and I press my cheek to the top of his head. Whatever happens, he is mine. I am his.

I tell myself I don’t need a stranger in my home, don’t need someone else to love my child better than I can. I’m his mother, his first love, the person responsible for keeping him safe and whole.

I hold him tighter, as if love alone will be enough to keep us safe.

From Wyverns to Whispers: The Story Behind The Nanny’s Secret by J. Cronshaw

Full-time author J. Cronshaw shares how his first domestic thriller, The Nanny’s Secret, began as a creative break after writing his epic fantasy series The Ravenglass Chronicles. Discover how he moved from wyverns to psychological suspense, creating a new pen name and a new direction for his writing career.

The Nanny’s Secret was the first domestic thriller I ever wrote—but it wasn’t my first novel.

I’ve been a full-time author since 2018, publishing fantasy and speculative fiction since 2016. Most readers know me for The Ravenglass Chronicles, a sprawling epic fantasy series full of wyverns, assassins, and strange magic.

Over several years, I built an entire universe of interconnected stories—epics, novellas, side tales, and serials—all tied to my fictional Ravenglass Universe.

And in 2022, I decided to write something entirely different—a palate cleanser.

At the time, I was reading a lot of psychological thrillers. They’d become my comfort genre when I wasn’t deep in fantasy worldbuilding. I loved the tension, the secrets, the slow unravelling of trust between ordinary people. It’s a form of storytelling that hits close to home—less about saving kingdoms and more about saving face, marriage, or sanity.

That was how The Nanny’s Secret began.

I didn’t plan for it to go anywhere. It was supposed to be a one-off project, something fun to write before diving back into fantasy. I even told myself that no one would ever see it. After all, it didn’t fit my established author brand. I’d spent years building an audience for fantasy, and the idea of confusing readers—or having to start from scratch with a new pen name—didn’t appeal at all.

But something about writing The Nanny’s Secret felt different.

It was grounded. Real. Intimate. The story came easily, rooted in the kind of small-town settings I knew so well. It pulled from my experiences as a court reporter, from the cases and human stories I’d seen up close—people under pressure, lies unravelling, families falling apart behind closed doors. The world didn’t need dragons or magic to feel dangerous; the tension came from truth.

When I finished it, I thought that would be the end of it. But then I had another idea. And another. Before long, I’d written a second domestic thriller, then a third. Now, a few years later, I’ve written eight—and I’m currently working on my ninth.

At some point, I shared a few of them with a friend of mine who writes thrillers. He told me they were good—publishable, in fact—and that I needed to stop hiding them away. I explained that I didn’t want to confuse my fantasy readers, and that I didn’t want the hassle of building another brand from scratch.

His response was simple. “Drop your first name,” he said. “Make it J. Cronshaw. It’s still you, just different shelves.”

That small change opened everything up.

So here we are. The Nanny’s Secret is now out in the world under my new pen name, J. Cronshaw. It’s been both exciting and humbling to begin again from the ground up—building a new website, setting up social media accounts, creating a fresh newsletter, and reaching a completely new readership.

I was hesitant at first. It felt strange to be “new” again after years of being an established author. But it’s also been freeing.

These thrillers have given me a creative outlet that feels personal and immediate. They let me write about real places near where I live—Morecambe, Heysham, Lancaster—and draw from my own surroundings. I walk those streets, hear those accents, see the same coastal skies my characters do. Every story feels grounded in reality, not in distant kingdoms or imagined empires.

It’s a change of pace from wyverns and princesses, and I love it.

There’s something invigorating about rediscovering the thrill of being a beginner, but with the benefit of experience. I know the pitfalls to avoid this time. I know how to pace a story, how to connect with readers, and how to sustain a long-term creative life. That mix of newness and confidence has made this transition incredibly rewarding.

I can’t wait to share more of these thrillers with you. They’re stories I care deeply about—tales of secrets, lies, and the fragile edges of everyday life. And if the ideas keep coming at the rate they are now, I’ll be writing them for many years to come.

If you’d like to follow along with what I’m working on, you can listen to my Author Diary podcast, available on Spotify or any podcast app. I’ve been recording a weekly episode since 2017, talking about my writing, reading, and creative life—and I haven’t missed a single week.

It’s funny. When I started The Nanny’s Secret, I thought it was a one-off experiment. Now it feels like the start of something much bigger.

And I couldn’t be happier about it.

Her Daughter’s Mother — Out Now!

Her Daughter’s Mother by J. Cronshaw is out now on Kindle, Kindle Unlimited, and Paperback. A gripping domestic thriller of obsession, betrayal, and the fight to protect a child. Start reading today.

I’m thrilled to announce that my brand-new domestic thriller, Her Daughter’s Mother, is now available on Kindle, Kindle Unlimited, and Paperback.

If you enjoy twisty psychological suspense, chilling domestic noir, and the kind of story that keeps you turning the pages late into the night, this is the book for you.

★★★★★ – “Boy can he write. He drags you right into the scenes like you are actually there. Shows you what makes people “tick”. The story drags you in, wraps itself around you, then, finally, spits you out at then end going “wow!”

★★★★★ –  “Wow, this is a very well written, scary story. Loved it!”

★★★★★ – “My heart was breaking for Sally and Amelia, I couldn’t put the book down I needed to know how all their lives turned out.”

★★★★★ – “Wow!! What a read!! This is the first book I have read by this author but it definitely won’t be the last. Her Daughter’s Mother was a roller coaster of a ride that I will recommend to everyone.”

★★★★★ – “I don’t think this psychological thriller will leave me for quite some time.”

Featured image showing the ebook and paperback editions of Her Daughter’s Mother by J. Cronshaw. The Kindle device displays the book cover beside a hardcover copy. Both covers feature a stone house at dusk with warm lights glowing in the windows, under the tagline “Is your family built on lies?” on a dark blue background.

The story

What if another woman tried to take your place as “Mummy”?

Sally Bentham thought adoption made her family safe. She was wrong.

After years of heartbreak, she finally has the life she dreamed of—a daughter who fills her world with love.

But when a new teaching assistant arrives at Amelia’s school, everything begins to unravel.

Robyn Clarke is charming. Capable. Trusted by everyone.
And she isn’t just a teaching assistant—she’s Amelia’s birth mother.

Now Robyn is everywhere. At the school gates. Whispering in Amelia’s ear. Smiling at the neighbours. Each day, she draws Sally’s daughter closer.

Everyone tells Sally she’s paranoid. Everyone insists she should be grateful. But how can a mother stay calm when someone else is determined to take her child?

Why you should read it today

If you’ve ever loved the claustrophobic tension of Lisa Jewell, the shocking twists of Louise Candlish, or the compulsive suspense of Shari Lapena, Her Daughter’s Mother will be your next obsession.

This isn’t just a story about motherhood. It’s about obsession, betrayal, and the terrifying lengths people will go to for love. It’s a book designed to grip you from the first page and not let go until the final line.

Readers are already saying it’s “compulsive,” “unputdownable,” and “the kind of thriller that lingers long after the last page.”

Available now

You can get your copy right now:

  • Kindle — instant download, start reading in seconds
  • Kindle Unlimited — read for free if you’re a member
  • Paperback — a beautiful edition delivered straight to your door

👉 Get your copy HERE.

Don’t wait

The sooner you start reading, the sooner you’ll discover the truth.

But be warned: once you open Her Daughter’s Mother, you won’t be able to put it down.

Why I Chose Heysham Village as the Setting for Her Daughter’s Mother

Discover why Heysham Village, with its close-knit community, historic Anglo-Saxon graves, and dramatic coastline, became the perfect setting for J. Cronshaw’s domestic thriller Her Daughter’s Mother.

When I sat down to write Her Daughter’s Mother, I knew straight away the story needed to be anchored somewhere real. Somewhere with atmosphere. Somewhere with a sense of history pressing against the present.

For me, that place could only be Heysham Village.

Heysham is just a stone’s throw from where I live in Morecambe, and it’s a place I return to again and again with my wife, son, and Guide Dog. We walk there often, sometimes in the sunshine, more often in the rain, and each visit reminds me why it makes such a powerful setting for a domestic thriller.

Heysham is small. That’s part of its appeal. Unlike a bustling city where people can vanish into the crowd, Heysham feels like a community where everyone knows everyone else. Neighbours talk. Gossip travels quickly. There’s a sense that secrets are harder to keep when lives overlap so closely.

For Her Daughter’s Mother, I wanted to create a story where the boundaries felt tight, where Sally’s world was closing in.

A small village provides that naturally. The school gates, the shops, the narrow streets—they’re all places where chance encounters feel inevitable. You can’t simply cross town to avoid someone. If Robyn, the birth mother, wants to insert herself into Sally’s life, Heysham gives her the perfect stage.

Heysham isn’t just a pretty village—it carries the weight of centuries. Walking through its lanes, you’re never far from reminders of the past. Old stone cottages huddle together, their walls weathered by sea winds. The church of St Peter stands as it has for hundreds of years, its churchyard lined with tilted gravestones.

And then there are the Anglo-Saxon rock graves near St Patrick’s Chapel. Cut directly into the stone, overlooking the sea, they are stark, haunting reminders of lives long gone. No bodies remain, of course, but the outlines suggest children, adults, families resting side by side. The first time I saw them I felt a chill—history carved into the very bedrock.

Those graves make an appearance in the novel, not simply as a backdrop but as a symbol. They carry the weight of continuity, of people buried within sight of the sea for more than a millennium.

They remind us how fragile our lives are, how fleeting. For Sally, struggling to hold on to her daughter, those graves echo her fear of loss, her sense that forces beyond her control are pulling Amelia away.

Heysham sits on the edge of Morecambe Bay, its coastline rugged and changeable. At low tide the sands stretch out endlessly, but the bay is treacherous—channels shift, quicksand lurks, and the tide sweeps in faster than you think. The place is beautiful, but it demands respect.

For me, the coastline is more than scenery. It’s mood. On a bright day, the sea glitters with promise. On a grey day, when the wind lashes in from the Irish Sea, it feels harsh and unforgiving. That duality mirrors the tension in Her Daughter’s Mother: love and warmth colliding with fear and suspicion.

Another reason I chose Heysham is its sense of being both connected and cut off. It’s not far from Morecambe or Lancaster, but once you’re in the village, the pace slows. The streets narrow, the cottages lean in. There’s a sense of being tucked away from the wider world.

That atmosphere is perfect for a story about obsession and intrusion. Sally thinks she has built a safe, contained life for her daughter, but Heysham becomes a pressure cooker. Robyn isn’t a distant threat—she’s right there, standing at the school gates, walking down the same lanes, smiling at the same neighbours. The village magnifies every encounter until escape feels impossible.

It also mattered to me that Heysham is somewhere personal. I know the curve of its paths, the feel of the stones underfoot, the way the sea smells when the tide is out.

When I write, I want the setting to feel lived in, not painted from a postcard. By choosing Heysham, I could bring in those textures and details—how the air shifts when you pass the churchyard, how the village green gathers people on summer afternoons, how the cliffs open up to sweeping views across the bay.

When I walk there with my wife, son, and Guide Dog, I’m not only enjoying the scenery—I’m absorbing its rhythms. I notice how quiet the village gets in the evening, how shadows stretch across the cottages, how the sound of the sea underpins everything. All of that fed into the novel, giving it a groundedness I couldn’t have achieved otherwise.

What I love about Heysham is that it lingers in the imagination. Visitors often remember the graves, the church, the coastal views—but what stays with me is the atmosphere. It’s the feeling that you’re standing in a place where countless lives have unfolded, where stories have played out across generations.

In Her Daughter’s Mother, Sally feels her world shrinking. She’s fighting not only Robyn but also the judgement of neighbours, the sideways glances, the whispers. Heysham gave me the perfect stage for that drama: a village where history, community, and isolation collide.

Choosing Heysham Village as the setting wasn’t just about convenience, though it helps that it’s close enough for regular walks. It was about finding a place that could carry the story’s weight. A small, self-contained community where tension festers. A village steeped in history, where Anglo-Saxon graves look out across the sea. A coastline both beautiful and dangerous.

For me, Heysham embodies the balance of intimacy and threat that defines domestic thrillers. It’s a place I love, a place I walk with my family, but also a place that holds shadows—the perfect backdrop for a story about obsession, betrayal, and the fight to hold on to what matters most.

Featured image showing the ebook and paperback editions of Her Daughter’s Mother by J. Cronshaw. The Kindle device displays the book cover beside a hardcover copy. Both covers feature a stone house at dusk with warm lights glowing in the windows, under the tagline “Is your family built on lies?” on a dark blue background.