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.

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.

Gone By Christmas Release Announcement – New Domestic Thriller by J. Cronshaw

Gone By Christmas, a tense domestic thriller by J. Cronshaw, is now available.
Follow Sian Matthews as her daughter vanishes after Lancaster’s Christmas Market and family secrets rise to the surface.
A gripping novella perfect for readers who enjoy fast, chilling page-turners.

My new domestic thriller novella, Gone By Christmas, is out today!

This story follows Sian Matthews as her world cracks open after her fifteen-year-old daughter fails to return from Lancaster’s Christmas Market.

A single blue mitten on the doorstep is the first sign that something is terribly wrong.

Sian expects Courtney to walk back through the door after her choir performance.

Instead she finds a photograph that chills her and a silence she can’t explain.

The police soon turn their attention to Courtney’s father, and every new piece of evidence tightens the noose around their family.

Sian then begins receiving messages that point to a far older lie.

Someone close to her knows exactly what happened that night.

A thriller for a single evening

Gone By Christmas is a sharp, tense novella designed to be read in one sitting.

It’s set in the cold streets of Lancaster in the run-up to Christmas Day, where every step Sian takes drags her deeper into danger.

This is a story about trust, fear, and the cracks that appear when a family’s secrets begin to show.

If you enjoy dark, fast-paced domestic thrillers with emotional stakes and a tight focus, this one is for you.

You can start reading tonight and see for yourself what really happened to Courtney Matthews.

A 3D promotional image for the psychological thriller Gone By Christmas by J. Cronshaw. The image features both a Kindle and a paperback version of the book cover. The cover shows a traditional British house at night, with two warmly lit windows and a decorated Christmas tree glowing outside. Snow falls gently under a dark winter sky. The title Gone By Christmas is displayed in bold yellow letters, with the tagline above reading “Could this Christmas be her last?” The author’s name appears at the bottom in white capital letters.

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.

Why I Chose Bare as the setting for my domestic thriller The Teacher

Discover why J. Cronshaw set his new domestic thriller The Teacher in Bare, a close-knit village near Morecambe. From the Village Club to the promenade, The Little Bare, and the chippy, explore how the village feel shapes this tense story of secrets, lies, and obsession. Out 11 October 2025.

When I first started writing The Teacher, I knew I needed a setting that would heighten the tension of the story.

Somewhere ordinary, familiar, and close-knit—because domestic thrillers are at their most unsettling when the danger isn’t in some distant city, but right on your doorstep.

View along the promenade approaching Bare from Morecambe. The image shows the sandy and rocky shoreline on the left, with terraced houses and buildings lining the seafront on the right. A cloudy sky stretches overhead, and a red pedestrian path with railings runs alongside the beach.

For me, that place was Bare.

Bare is a small village that sits snugly on the edge of Morecambe. It has its own rhythm and identity, a tight community where people know each other’s names, faces, and habits.

That closeness creates the perfect environment for a novel about secrets, whispers, and the kind of gossip that can tilt a family’s life off balance.

I know Bare well.

Exterior view of Bare Village Club in Bare, near Morecambe. The building has a low brick frontage with solar panels on the roof and a sign above the entrance. Several cars are parked in the surrounding car park under a cloudy sky.

I spent many evenings at the Village Club when I was part of the Speakers’ Club. It’s one of those places where you get a real sense of the heartbeat of the community—locals gathering, stories being shared, and reputations made or broken over a pint.

It has the same warmth and camaraderie that makes Bare feel like home, but also the same intensity that means nothing stays hidden for long.

The geography of Bare also appealed to me.

You can wander along the promenade and in ten minutes find yourself at the Eric Morecambe statue, but somehow the village feels contained, almost like its own world.

The chippy, the pub, and the micro pub The Little Bare all serve as social anchors—places where people meet, watch, and talk.

View of Bare high street near Morecambe, showing a row of shops and stone-fronted buildings with bay windows. Trees line the pavement, with hanging branches and planters filled with flowers. Parked cars sit along the street, and a person with a trolley is walking in the distance.

For a writer, those spaces are goldmines: the chance encounters, the knowing looks, the snippets of conversation that ripple outwards until the whole village seems to be in on a story.

That sense of being watched, of living under a magnifying glass, runs through The Teacher.

Isabel Draper, my protagonist, has what looks like a perfect family life, until her daughter’s new teacher begins to creep into their world. He’s charming, dedicated, and admired by everyone.

Soon Olivia, Isabel’s daughter, is calling him her favourite teacher and sharing secrets she won’t tell her own mother.

As money goes missing, rumours spread, and social workers start asking questions, Isabel finds herself doubted by everyone around her.

Bare is the ideal stage for that unraveling.

In a small, self-contained community, one whisper can be as damaging as proof, and once a story takes root it’s almost impossible to shake.

By setting the novel here, I wanted to capture that claustrophobic intensity, where the promenade might offer views out to the wide expanse of the bay, but the village itself closes in tight.

The Teacher will be released on October 11.

It’s a story about family, trust, and the danger that comes when someone admired by everyone else is the very person you should fear.

A 16:9 ad promoting the psychological thriller novel "The Teacher" by J. Cronshaw. The ad features a gloomy, rain-soaked background with a dark semi-detached British house in the center. One window glows with warm yellow light, adding an eerie contrast. Overhead, in bold white text, reads the hook: "Who is Teaching Your Child?" The book cover is prominently displayed in the center, flanked by a Kindle and a hardcover edition, both showing the same moody cover design with the title "The Teacher" in bright yellow font and the author's name "J. Cronshaw" in white.