Reading order
| # | Title | Published | Author | Buy on Amazon |
|---|---|---|---|---|
| 1 | Dark Moon | 1981 | J.H. Brennan | Buy |
| 2 | The Curse of Frankenstein | 1986 | J.H. Brennan | Buy |
| 3 | Dracula’s Castle | 1986 | J.H. Brennan | Buy |
| 4 | Monster Horror Show | 1987 | J.H. Brennan | Buy |
| 5 | The Crone | 1990 | J.H. Brennan | Buy |
| 6 | Power Play | 1992 | J.H. Brennan | Buy |
| 7 | Marcus Mustard | 1994 | J.H. Brennan | Buy |
| 8 | The Mystery Machine | 1995 | J.H. Brennan | Buy |
| 9 | Little House | 1996 | J.H. Brennan | Buy |
| 10 | Blood brother | 1996 | J.H. Brennan | Buy |
| 11 | Kookaburra Dreaming | 1997 | J.H. Brennan | Buy |
| 12 | Jennet’s Tale | 2000 | J.H. Brennan | Buy |
| 13 | Frankenstella And The Video Shop Monster | 2003 | J.H. Brennan | Buy |
| 14 | Final Victory | 2009 | J.H. Brennan | Buy |
| 15 | The Secret Prophecy | 2012 | J.H. Brennan | Buy |
| 16 | Nectanebo: Traveller from an Antique Land | 2019 | J.H. Brennan | Buy |
J.H. Brennan’s standalone novels represent the full range of his interests as a writer. Published between 1981 and 2019, these sixteen books include horror stories, children’s fiction, fantasy novels, and supernatural tales that do not fit neatly into any of his ongoing series. For readers who know Brennan only through his gamebooks or the Faerie Wars Chronicles, the standalones offer a broader picture of what he can do.
The horror titles tend to be his most unpredictable work, drawing on the same occult knowledge that fuels his non-fiction but channeling it into fictional scenarios designed to unsettle. His children’s standalones, by contrast, are warm and playful, often built around a single quirky premise. The fantasy novels fall somewhere in between, with enough darkness to keep adult readers engaged but accessible enough for younger audiences.
Taken together, these books trace Brennan’s evolution as a storyteller across four decades. Early entries from the 1980s reflect the era’s appetite for horror and the supernatural, while later books show a writer comfortable enough in his craft to experiment with tone and subject matter without worrying about genre boundaries.