100 Books Like Carmilla

I love this book so much, I have read it at least three times. It is a classic gothic novel with an eerie setting and interesting characters, including those with psychosis that add to the mystery of he novel.

While the film version is undoubtedly a classic, the novel is by far better.

When I first read Interview with the Vampire (I was 12), I was struck by how Anne Rice made darkness beautiful. The mood, the grief, the sensuality—it all felt so rich and strange and alive.

I didn’t just want to read about Louis and Lestat; I wanted to live inside that shadowed world, however painful. The power of her vampires was alluring, even as their sadness confused me. How could being immortal be such a torment?

This book taught me that supernatural fiction could be poetic, philosophical, even transcendent. There’s a reason this novel endures.

It made me want to write stories where beauty and horror dance together in candlelight.

I’m a big fan of a story with quirky details that really add to getting to know the characters. It's even better when magic is thrown in the background in a way that makes it seem ordinary and acceptable—not strange at all.

This story does all of that and then some by taking outcasts and explaining their stories one by one while weaving them all together into one quiet redemption.

I love Anita Blake, the feisty, insecure, kick-butt heroine of this story. She’s everything I want in a protagonist: Strong and clever enough to solve her own problems, naive enough to think that will always be the case, and a stranger to her own heart. Lots of room for growth. And grow, she does.

This book (and series) lean more toward the paranormal romance side of urban fantasy, but it also has a dark and gritty noir feel that walks the line of horror. This genre mash-up checked all the boxes for me, keeping me invested in the characters, the world, and the heart-pounding plot.

I desperately want to be best friends with Henry (Monty) Montague, the delightful, ridiculous, irrepressibly queer gentleman of this book.

The story follows Monty on a joyous and, at times, harrowing romp through 18th-century Europe, accompanied by his prickly but secretly brilliant sister and his quiet, kind-hearted best friend (who he’s totally in love with but far too clueless to do anything about.)

What I love the most about this story is the way it depicts queerness in a way that feels true to its historical setting. Monty interrogates his identity with the flawed language and beliefs he inherited from the world around him, which I suspect anyone who didn’t grow up with access to an open and loving queer community, i.e., most of us, can relate to.

The Mirror Season is a difficult and beautiful novel about trauma – sexual assault, specifically – and it’s handled so compassionately, kindly, and brightly. Its central metaphor losing your magic after something unthinkable happens to you, left only with broken shards, works on many levels (as all good metaphors do). Ciela and Lock are brought together after one horrible night at a party, and their relationship is rendered realistically – they struggle separately and together. The something queer is pan: enchanted pan dulce, and a pansexual protagonist. 

I had to include this first Harry Potter book because Harry is the epitome of a gifted child and I loved these books from the first.

When my own book, The Meme Machine, came out in 1999, someone rang me excitedly to tell me that my book was number 5 on Amazon!!! (There were not so many books listed on Amazon in those days!!).

I was so thrilled that, of course, I had to find out what the top four were. And guess what – they were the hardback and paperback versions of the first two Harry Potter books, which I’d never even heard of. I bought them immediately and never looked back, receiving each one in the post on its publication day.

What terrific books they were and are.

A formative book from my childhood, The Weirdstone of Brisingamen kick-started my love of all things magic, heroic, and fantastical. Not only that, but the setting was close to where I grew up – these were locations I knew but viewed through a mythic lens. Loosely based on the legend of the Wizard of Alderley Edge, Alan Garner creates a fantasy world that feels so real as two children are pulled into an adventure where the very future of the world of men is on the line. It remains so influential on my own writing that I still return to the old dwarf caves of Fundinvale as an adult and enjoy the tale every bit as much as I did when I was a ten-year-old reading by torchlight under the duvet.

This book has engendered controversy for almost forcefully bridging the gap between the 15th Century Wallachian Prince Vlad III or Vlad the Impaler or Dracula. Stoker had already constructed his character, called “Count Wampyr,” before he learned of his future namesake. However, he quite clearly establishes a connection between the two through an explanation provided by Abraham Van Helsing. The Dracula of the eponymous novel is a heavily fictionalized version of the real-life figure, but so are most similarly positioned characters in literature, film, and television. Florescu and McNally provide a cursory overview of Slavic and Balkan vampire folklore, a biographical sketch of Vlad the Impaler, and illuminate the process by which Stoker adapted this violent, cunning, and sometimes brilliant nationalist and military tactician into a fictional monster.

As contemporary Gothic author and artist Franklin Bishop observe, John Polidori ‘was responsible for introducing into English fiction the enduring image of the vampyre in the guise of a suave, cynical, and murderous English Lord. With the presentation of Lord Ruthven [Byron] as a vampyre, Polidori created a personification of evil that countless authors have since imitated in attempting to satisfy the enormous public interest in this genre of literature. The literary-metamorphosed vampire that emerged from the Villa Diadoti ‘ghost story’ contest quickly developed a life force of its own – which was not surprising since it was the collective brainchild of Byron and his physician John Polidori – and created a minor literary scandal when it was published in 1818. The Vampyre was based on Lord Byron’s unfinished story "Fragment of a Novel," but it is arguably the most influential vampire work of the early 19th century.

I loved… show more.