Now Available: Not Safe Here, a British Psychological Thriller

Not Safe Here by J. Cronshaw is out now on Kindle, Kindle Unlimited, and paperback. A British domestic thriller about stalking, gaslighting, and a mother fighting to be believed.

I am delighted to let you know that Not Safe Here is officially out today.

The book is now available on Kindle, Kindle Unlimited, and paperback.

This is a dark British domestic thriller set on the Lancashire coast.

It follows a single mother who realises she is being watched, only to find that no one believes her.

As the pressure builds, a custody threat and a buried secret collide, placing her daughter at the centre of the danger.

If you enjoy stories about stalking, gaslighting, and credibility under pressure, I hope this one grips you.

You can read Not Safe Here right now on Kindle or through Kindle Unlimited.

The paperback edition is also live for those who prefer a physical copy.

If you borrow rather than buy, you can request the book through your local library.

Services such as BorrowBox and OverDrive allow readers to ask libraries to stock new titles.

Library requests genuinely help books reach new readers.

Thank you, as always, for reading and supporting my work.

It really does make a difference.

Both display the cover of Not Safe Here by J. Cronshaw, featuring a dark brick building above a chip shop at twilight with one yellow-lit window. The title Not Safe Here appears in large yellow text on both covers, with the tagline “Being Watched Is Only the Beginning” at the top. The overall mood is dark and tense, signalling a British domestic thriller.

Not Safe Here – Chapter One Preview – A Chilling Domestic Thriller

Read the opening chapter of Not Safe Here, a British domestic thriller set on the Lancashire coast, where a single mother realises she is being watched and no one believes her.

The rain hasn’t stopped for three days. It hammers Aldi’s car park, turning the tarmac into a maze of puddles that reflect the grey January sky back at itself.

I squint through the windscreen wipers—their rubber blades smearing more than clearing—and edge the Ford between the white lines that mark the driving lane.

The engine coughs. A wet, rattling sound that’s been getting worse since New Year. I should book it in for a service, but January’s always tight after Christmas, and Isla needs new school shoes.

“Are we nearly there, Mummy?”

Her voice drifts from the back seat where she’s been humming the same tune for the past ten minutes. Something they learned at school before the Christmas holidays—a fragment that’s stuck in her head and won’t let go. Her legs swing against the car seat, trainer heels tapping a rhythm against the worn fabric.

“Nearly, love. Just finding somewhere to park.”

The car park’s busier than it should be for a Tuesday afternoon in the dead of January. I suppose everyone’s doing what I’m doing—putting off the weekly shop until they absolutely can’t avoid it anymore.

The post-Christmas slump has settled over everything. The decorations are down, the magic’s worn off, and we’re all left with muddy reality and credit card bills.

Through the curtain of rain, I spot what looks like salvation—a parent-and-child space near the entrance. Close enough that we won’t get completely soaked running between the car and the automatic doors. Close enough that I won’t have to juggle the shopping bags, her school rucksack, and my handbag while she dawdles behind me, distracted by the puddles that fascinate eight-year-olds and terrify their mothers.

I indicate left and slow down, waiting for an elderly man with a walking stick to make his way across the pedestrian crossing. The poor soul’s hunched against the weather, plastic carrier bag clutched to his chest like it might shield him from the worst of it.

That’s when the black SUV swings into the space ahead of me.

My foot hits the brake harder than I mean to. The seatbelt cuts across my chest. Isla lurches forward against her restraints.

“Mummy!”

“Sorry, sweetheart. Someone’s forgotten their manners.”

The SUV—one of those enormous things that cost more than I earn in three years—settles between the white lines of the bay I was aiming for. It’s the sort of vehicle that makes you wonder why anyone needs that much metal just to drive to the shops.

Without thinking, I lean on the horn. It’s not a long blast. Just a short beep that gets swallowed by the rain and the rumble of traffic before it can make any real statement.

The woman stepping out of the SUV doesn’t even glance in my direction.

She’s older than me—mid-sixties, maybe—with sharp cheekbones and hair scraped back into a ponytail so tight it must give her headaches. Everything about her screams money. The long coat that sheds rain instead of soaking it up. The leather boots that probably cost more than my monthly grocery budget. She moves like the weather’s a minor inconvenience rather than the January deluge that’s got the rest of us hunched and scurrying.

I wind down my window, instantly regretting it as cold rain spits against my face.

“Erm, excuse me.” My voice carries over the noise of the downpour, pitched somewhere between polite and irritated. “I was waiting for that space.”

She stops.

Turns.

Looks directly at me through the driver’s side window.

She doesn’t say anything. Just stands there in the rain, water darkening her coat shoulders, studying my face like she’s trying to solve a puzzle.

The seconds stretch. Rain drums against the roof of my car. Isla’s stopped humming.

The woman takes a step closer. Not threatening exactly, but deliberate. Her gaze moves from my face to the car interior, taking in details I can’t guess at. The faded air freshener hanging from the mirror. The stack of unpaid bills shoved into the door pocket. The general shabbiness of a vehicle that’s seen better years.

Something shifts in her expression. Recognition, but not the friendly kind. Not the “don’t I know you from somewhere?” recognition that leads to pleasant conversations about mutual friends or shared experiences.

This is different.

A smile tugs at one corner of her mouth. Not warm. Not apologetic. Something colder that makes my stomach tighten.

I frown, trying to work out if we’ve met before. Isla’s school maybe? The doctor’s surgery where we spent forty minutes in the waiting room this morning? But I’d remember that face, wouldn’t I? Those pale eyes that seem to see more than they should.

“Do we—” I start to ask, then stop.

She’s already turning away before I can finish the question. Walking towards the Aldi entrance with measured steps. She doesn’t hurry despite the rain. Doesn’t look back.

“Mummy, why was that lady staring at us?”

Isla’s voice makes me jump. I glance in the rear-view mirror and catch her worried expression.

“She wasn’t staring, love. Just being rude about parking spaces.”

I wind the window back up and drive to the far end of the car park, where there’s a normal-sized space between a dented Vauxhall and a plumber’s van. My reverse park takes three attempts because I can’t stop thinking about that look. That moment of recognition that came entirely from her side.

I switch off the engine and sit for a moment, listening to the rain hammer the roof above us. The heater ticks as it cools down. Isla starts humming again, waiting patiently for me to unlock the doors and let her out into the weather.

I adjust the rear-view mirror to check she’s got her coat zipped properly. As I angle it down, I catch a glimpse of the woman standing near the store entrance.

She’s not moving towards the building. She’s facing this way. Facing me.

Other shoppers hurry past her, heads down against the rain, but she just stands there like the weather can’t touch her.

A white transit van rumbles between us, blocking my view. When it passes, the space beside where she stood is empty.

“Come on then, love.” I unbuckle my seatbelt, trying to sound normal. “Let’s get this shopping done before we both freeze.”

But I sit there for another moment, hands resting on the steering wheel, unable to shake the feeling that the woman in the expensive coat recognised me for reasons that have nothing to do with parking spaces or everyday rudeness.

I tell myself I’m being ridiculous. It was a minor disagreement with a stranger who happened to look at me like she knew something I didn’t. That’s all.

So why do I feel like I’ve just been found by someone I’ve been hiding from?

Both display the cover of Not Safe Here by J. Cronshaw, featuring a dark brick building above a chip shop at twilight with one yellow-lit window. The title Not Safe Here appears in large yellow text on both covers, with the tagline “Being Watched Is Only the Beginning” at the top. The overall mood is dark and tense, signalling a British domestic thriller.

Why I Chose Morecambe for Not Safe Here

Why I set Not Safe Here in Morecambe, exploring real working-class life, northern hardship, credibility, fear, and why domestic thrillers feel more honest when rooted in lived places.

Why Morecambe Was the Only Place This Story Could Live

I set Not Safe Here in Morecambe because it is the town I know best.

I live here.

I walk these streets every day.

I see the beauty and the damage side by side.

That mattered to me when writing a domestic thriller rooted in fear, credibility, and survival.

Morecambe is not a postcard version of a seaside town.

It is not nostalgia without consequence.

It is a place where people live real lives under real pressure.

Morecambe has some of the biggest skies I have ever known.

The light across the bay changes constantly.

On a clear day, you can see the Lake District fells sitting low on the horizon.

The sea gives the town space to breathe.

It gives perspective.

It also gives a sense of exposure.

There is nowhere to hide from the weather here.

That openness felt important for a story about being watched.

At the same time, there is another Morecambe that sits just behind the seafront.

Boarded-up shops.

Shuttered arcades.

Empty units that never quite get filled.

You only have to step one street back to see deprivation up close.

Much of the town’s visible investment hugs the promenade.

The seafront looks cared for.

It photographs well.

But once you move away from it, the cracks show quickly.

Housing deteriorates faster than it gets fixed.

Services stretch thin.

People make do.

That imbalance shaped the world of Not Safe Here.

Jenny’s life exists just out of view of the version of Morecambe people like to sell.

Her flat above a chip shop is not symbolic.

It is realistic.

It is where people actually live.

Domestic thrillers often centre on large houses and comfortable lives.

That has never felt natural to me.

I am more drawn to stories where money is tight and options are limited.

Where fear is magnified because there is no safety net.

Where asking for help comes with judgement attached.

In Not Safe Here, Jenny is not disbelieved by accident.

She is disbelieved because of where she lives.

Because of how she speaks.

Because of what is already written about her.

That kind of pressure feels more honest to me.

I have always felt closer to domestic thrillers that show hardship without apology.

Stories that acknowledge how northern towns actually function.

That is why authors like Daniel Hurst resonate with me.

There is no gloss.

No distance from the reality of financial strain or social judgement.

Those stories feel lived in.

They feel earned.

They feel closer to the truth.

I grew up on a council estate in Wolverhampton.

I spent over a decade living in a back-to-back terrace in Leeds.

Those places taught me how quickly people judge from the outside.

They also taught me how strong people have to be just to get through the week.

That background shapes what I write whether I intend it to or not.

When I write fear, it is grounded in losing stability.

When I writfe threat, it is tied to systems that already doubt you.

That perspective followed me to Morecambe.

Not Safe Here is about stalking and gaslighting.

It is also about credibility.

It is about who gets believed and who does not.

It is about how easily a mother can be framed as unstable when she does not fit a preferred narrative.

Setting the story in Morecambe made those themes sharper.

It stripped away any sense of comfort or insulation.

It forced the story to sit in discomfort.

I know not every reader wants this kind of setting.

That is fine.

But I hope readers who recognise towns like Morecambe feel seen by this book.

I hope it resonates with anyone who has lived just outside the tidy version of a place.

I hope it speaks to readers who know what it is like to be judged before they speak.

These are the stories I connect with most strongly.

They feel closer to my life.

They feel closer to the truth as I understand it.

That is why Not Safe Here could only ever be set in Morecambe.

Both display the cover of Not Safe Here by J. Cronshaw, featuring a dark brick building above a chip shop at twilight with one yellow-lit window.

The title Not Safe Here appears in large yellow text on both covers, with the tagline “Being Watched Is Only the Beginning” at the top.

The overall mood is dark and tense, signalling a British domestic thriller.