2024 was horrendously and wonderfully busy. I’d written a novel, a novella, and done all the myriad tasks involved in getting everything set up to market and (hopefully!) sell them. By August I was completely exhausted. I’d just got the novella over to my editor and was facing the daunting task of completing all the edits to my novel so that could go to my editor at the start of September. I needed a break. To unplug and rest my eyes. I took a week off and decided to immerse myself in some fictional worlds. Being as I was, so very tired that I’d been propping my eyelids up with matchsticks, I did not have it in me to look at a book in order to read it. So, I downloaded some audiobooks on Audible and took myself off to the middle of nowhere for a while. One of those books was A Very English Murder, the first book in Verity Bright’s Lady Eleanor Swift mystery series.
A cosy mystery was, I thought, exactly what I needed.
Little did I know the can of worms I was opening when I hit play on that first novel.
Because, you see, these novels are highly, inexplicably, irresistibly addictive. To the point that when I originally penned this post on September 8th 2024, less than a month later, I’d already made it through the first eight books, despite having to force myself to take a break from them for three weeks so my edits actually got done!
In other words, if we exclude the days I wasn’t letting myself read, I was getting through roughly one of these books per day since I started.
Once my novel was safely with my editor, I donned the headphones once more and there was no sign of me slowing down. The only saving grace was that there are many books in the series.
So many, in fact, that I originally wrote this stating there are ’18, soon to be 19′, and kept updating it. I gave up once that became ’23, soon to be 26′, and settled on simply saying ‘many’!
Needless to say they kept me going for a few weeks once the editing was finally done, and I recovered from the inevitable burnout!
(Edit from the future: In the intervening months – now years! – I’ve continued to devour the series. I did hit a bit of a wall when I reached Death on the Nile and had to take a break, but Verity Bright continues to release them, I continue to read them, and I’ll post my reviews of each individually as and when I get around to writing them!)
What Makes The Lady Eleanor Swift Mysteries So Confoundingly Addictive?
The question you’re probably wondering is the hell Verity Bright puts in these books that makes them so damn appealing?
And, honestly? I’m not entirely sure.
If you caught my review of A Very English Murder (which had been on my TBR for ages, I just never seemed to get around to it), you’ll know I had mixed feelings about that first novel. There were elements of it I found extremely annoying, and yet, when I got to the end I couldn’t not read the next one.
Like, right then and there.
It was a compulsion.
As the books have gone on I’ve been trying to dissect what, exactly, makes the Lady Eleanor Swift Mystery series so impressively addictive. Before I dig into that, one point that I (finally) realised while listening to book eight (Death On A Winter’s Day), is that the most annoying thing about these novels may actually only be an issue because I’ve been listening to them.
I’ve no idea what the paperback or Kindle format looks like, but I suspect that the great swathes of the novel consisting of notes in Eleanor’s notebook are only so repetitive when you’re hearing it all read out loud.
This only occurred to me in Death On A Winter’s Day when I thought to myself, “If I hear Karen Cass say “Motive?” one more bloody time I’ll scream!” And realised no author in their right might would possibly have written it over and over again in such quick succession had they actually been writing prose.
So, it could be that I shot myself in the foot listening to these. I’ll test the theory when I can get my hands on the paperbacks!
Right, now that’s out of the way, here’s why I think these books are impossible to stop reading (even when they’re annoying tf out you!).
Lady Eleanor Swift Herself
The main character in these novels is, as you’ve probably guessed by now, a woman by the name of Lady Eleanor Swift, or Ellie as her mother called her. Nobody else uses this nickname, although she does have a running internal monologue that sees her address herself by the short version of her name regularly. That, in itself, is most endearing. And it’s not the only thing about the character that’s appealing.
She’s ferociously cheerful, most of the time, no matter what is actually going on. Rare moments that see her mood plummet show she possesses remarkable self-awareness and a capacity to pick herself up, dust her (invariably green) dress off, and tell herself it will all be okay. She then proceeded to act as if it’s already okay until she feels better.
She’s obsessed with the colour green. She has red hair. If you’ve seen my Insta feed (or most of the images on this website for that matter!) you’ll understand why I relate to this so much!
Kind hearted, gentle, endlessly compassionate, and (almost insufferably) positive, Eleanor Swift is simply a character who is pleasant to read. She’s low maintenance. The most annoying thing she does is ramble when she talks and interrupt people while they’re speaking because she needs to ramble some more. And, honestly, I found this so relatable it actually made me like her more.
She has a somewhat tragic backstory; her parents vanished when she was young, she never found out why. They were educational pioneers travelling the world with her in tow, and suddenly she had to return to England to live with an Uncle who was never there, in a great big English country Hall with rules and social expectations she didn’t understand. Swiftly (pun intended) she’s shipped off to boarding school which was hell on earth. When she was old enough she hopped on a bicycle and travelled the world, running into a man who hired her to explore strange new places that his travel company could use for the holidays for the wealthy elite.
Smart, funny, capable, remarkably down-to-earth, Ellie gives us a series of books about an English lady that aren’t really about an English lady because she’s not your typical noble woman. She creates a found family in her staff and treats them (in so far as she’s able) as equals, while regularly lavishing them with gifts and treats.
Is it realistic? No.
Does it make me tear up every time they all have a ‘moment’? Absoluuuutely!
Gladstone
You will find when Bane is finally released in November that I am a huge fan of dogs as characters in books. Dogs who are not simply a mentioned presence as an afterthought, but whose characters are as detailed and well rounded as any human. Lady Swift has Gladstone, a leather slipper-obsessed, sausage snaffling, slobbering, ageing yet wonderful bulldog. She inherited him from her Uncle at the start of A Very English Murder, along with Henley Hall and all her staff. Instantly taking to the bulldog he becomes a faithful companion who is, on occasion, actually instrumental in plot developments. This is so well done. It’s not over the top, or done too much. He’s more like a human comic relief character who regularly pops up throughout and just occasionally says or does something that proves helpful.
Romantic Non-Romances
While I’m a huge fan of mystery romance novels, these are quite definitely cosy mysteries as opposed to romantic mysteries. All that being said they do have hints of romance throughout in that Eleanor is attracted to and develops love interests throughout the course of the books. How this will pan out I don’t know yet, but so far it’s been done very well. There has been some instant attraction, but no insta-romance wherein she becomes overly invested in anyone. She’s kept her options open, and while her thoughts may turn to her romantic frustrations several times throughout each book, the romance elements are so minimal I’d hesitate to call them the sub-plot.
After the first couple of books I quickly noticed the plotting pattern at work: there’s a main mystery plot, a secondary plot that involves something personal to Ellie but not romantic, and then there is a love interest (or two) that wanders in every now and then, getting her attention as and when she has time with everything else going on.
I found this thoroughly enjoyable and refreshing. You get invested in her relationships and root for her to get her man and get what she needs from a man. But at the same time, it’s an incredibly slow-burning element of the stories.
The result of this is that you have to read the next book in order to find out what happens next with the love interest. You can’t not, it’s an open loop, your brain won’t allow it. Your brain needs to know who she ends up with, if she gets her romantic happily ever after. And yet, when you reach the end of the book that is (at least so far as I’ve read!) still an open question.
So you have to read the next one in the hopes that you might actually find out!
It’s actually quite masterfully done.
The Side Characters
Ellie (naturally) has a trusty side-kick (as all sleuths should!) in the form of Clifford the Butler. Interestingly I read an interview with Verity Bright (or at least, the female half of the husband-and-wife-duo that make up Verity Bright) in which she reveals Clifford was originally a woman, and Ellie’s maid rather than her Butler. Evidently another cosy mystery (not super popular) came out just before A Very English Murder was published that featured a lady and her maid and the almost scrapped the series completely. At the last, they switched the character to a man, and promoted him to Butler status. I, for one, and inordinately grateful that they did.
For some reason I can’t see the books having anywhere near the same dynamic if the sleuth and her side-kick weren’t Ellie and Clifford. The Butler takes on an almost surrogate father/uncle role as the books progress, growing increasingly fond of and invested in Ellie’s happiness and safety. He’s also very droll, very serious, a wonderful contrast to Lady Swift’s personality.
Beyond Clifford there are the aforementioned love interests: Lancelot and Hugh.
The former is a very loveable if rather ridiculous character, while Hugh is the grumpy to Eleanor’s sunshine.
Also around are the rest of the staff at Henley Hall, a Mrs Trottman, the cook, Mrs Butters, the housekeeper, Polly the maid, plus a groundskeeper, a gamekeeper and several lords, ladies, and assorted villagers and police officers who appear and recurring throughout.
Even the smallest character has been carefully drawn, from the urchin children Ellie occasionally enlists to help her, to the postmistress’ mother who suffers from dementia. Having such a great cast of supporting characters who also keep reappearing is great fun. It makes each book familiar even while it’s new, and leads to a lot of running jokes and cute details.
Long-Running Mysteries
From the start of the series there are several enigmas surrounding Lady Eleanor Swift herself that beg to be solved. Her parents vanished; will we ever find out where or how? Might they still be alive? Uncle Henley died before the start of the series, while Ellie was abroad and it was months before she received news and returned home. How did he die? Was it really natural? Given the residents of Chipstone are dropping faster than the denizens of Midsomer it seems highly unlikely but what’s the story there? And what about Uncle Henley himself? A mysterious character who did a lot of unspecified adventuring, potentially for reasons beyond personal motivations. Could he have been a spy? How is it that Clifford became Cliffod? How are Polly’s parents?
We’re desperate to know! Each book gives us breadcrumbs that fill in some gaps, yet we seldom get a definitive answer about any of these questions.
So we keep reading to find out more and, hopefully, have the riddle eventually solved!
All The FOOD
I’m a huge foodie. I appreciate good food. These novels are, in many parts, love sonnets to food. Lady Swift herself has a voracious appetite and is constantly eating, snacking, or planning her next opportunity for fruit cake. It’s really so nice to have such detailed descriptions of food and drink become part of the fabric of the tale. They’re not intrusive or annoying, they’re enjoyable and generally make me very hungry.
I’m also incredibly motivated to discover if it’s actually possible to brew all the concoctions Mrs Trotters comes up with in the form of Parsnip Perry, Chesnut Liqueur, and various other seemingly lethal brews that Ellie partakes in while partying with her staff on special occasions.
All The Lady Eleanor Swift Mysteries In Order
With nineteen books in the series (and counting!) it’s tough to know which to read next. And, believe me, this is one addiction that will see you ending one and immediately reaching for the next. So, it’s good to know what order they’re supposed to go in!
Book 1: A Very English Murder
A Very English Murder introduces Lady Eleanor Swift in exactly the sort of gloriously murder-riddled English countryside setup I can never resist: a country house, a stubborn bulldog, a long-suffering butler, baffled police, and a spirited heroine who absolutely refuses to mind her own business. In Verity Bright’s series opener, Eleanor returns to Henley Hall after her uncle’s death and witnesses a murder no one believes happened, prompting her to launch her own investigation through a village full of suspects, secrets, and extremely unhelpful policemen. The result is funny, fast-paced, and undeniably addictive, even while its repetitive sleuthing habits and mildly maddening character dynamics threaten to drive you up the wall. Somehow, that contradiction becomes part of the charm. This first Lady Eleanor Swift mystery is delightful, infuriating, and alarmingly easy to inhale.
Book 2: Death at the Dance
Death at the Dance is the book where Lady Eleanor Swift stopped being a passing reading fling and became a full-blown obsession. In Verity Bright’s second outing, a glittering 1920s masked ball ends in murder, a blood-spattered candlestick, an emptied safe, and Eleanor’s absurdly charming beau Lancelot hauled off to jail, leaving her to charge headlong into a high-society mystery full of jewel thefts, Bright Young Things, romantic nonsense, and delicious chaos. It keeps all the wit, warmth, and theatrical English charm of the first book, but with tighter pacing, stronger stakes, and a far more entertaining mystery at its centre. Eleanor is still impulsive, Clifford is still magnificent, Gladstone is still stealing every scene he waddles into, and while some of the repetitive sleuthing habits remain, this one is so fizzy, funny, and addictive it’s almost impossible not to tumble straight into book three.
Book 3: A Witness to Murder
A Witness to Murder finds Lady Eleanor Swift trying, with predictably little success, to avoid yet another corpse, only to be dragged into a murder investigation, a political campaign, and a fresh round of village chaos when a local politician drops dead and an innocent cook is blamed. In this third outing from Verity Bright, the series starts to deepen beyond pure cosy escapism, folding in women’s rights, local politics, and Eleanor’s growing sense of purpose without losing the humour, warmth, and general air of charming bedlam that makes these books so addictive. Clifford remains impeccable, Gladstone remains iconic, and the slow-burn romantic nonsense continues to simmer in the background. It is still occasionally repetitive in the way clues are processed, but the plotting is sharper, the stakes feel more grounded, and the whole thing is such an entertaining blend of fudge, feminism, and foul play that it’s very hard not to barrel straight into the next book.
Book 4: Murder in the Snow
Murder in the Snow sends Lady Eleanor Swift into a gloriously festive round of Christmas chaos when a village celebration at Henley Hall turns fatal and what looks like a heart attack starts to smell very much like murder. In this wintry fourth instalment from Verity Bright, the series leans hard into everything it does best: snowy atmosphere, poisoned treats, household drama, dry butler brilliance, and the sort of cosy absurdity that only gets more entertaining the deeper you fall into it. The setup is ridiculous, the police remain mildly maddening, and Eleanor still has a habit of processing clues more times than strictly necessary, but the personal stakes feel stronger here and the mystery is satisfying enough to carry it all. The result is festive, farcical, and thoroughly enjoyable, like Christmas with a body count and a bulldog.
Book 5: Mystery by the Sea
Mystery by the Sea takes Lady Eleanor Swift out of Henley Hall and into a Brighton holiday that goes spectacularly, scandalously wrong when the corpse wheeled out of her hotel turns out to be the husband she believed died years earlier. In this fifth outing from Verity Bright, the series finally adds real emotional weight to all its usual charms, giving Eleanor a mystery that is as personal as it is entertaining, with seaside glamour, buried secrets, old betrayals, and a genuinely satisfying whodunnit at its centre. Clifford is in peak form, Gladstone remains an icon, and the slow-burn dynamic with Hugh Seldon finally starts to feel like it’s going somewhere meaningful. Yes, you still have to make peace with the series’ love of improbable timing and repeated clue recaps, but this is elegant, addictive escapism with sharper writing, stronger character development, and just enough scandal to make it irresistible.
Book 6: Murder at the Fair
Murder at the Fair drops Lady Eleanor Swift into another round of charming village chaos when a seemingly innocent May Day celebration ends with a body in the reeds, a vicious obituary, and the creeping suspicion that someone in Little Buckford is turning local gossip into murder. In this sixth instalment from Verity Bright, the series feels especially confident, delivering one of its strongest mysteries so far with brisk pacing, satisfying twists, and just enough emotional weight to give the usual bunting, banter, and bulldog antics a sharper edge. Gladstone is in magnificent form, Clifford remains the dryly competent backbone of the whole affair, and Hugh Seldon finally starts to feel like a genuine romantic prospect rather than just a gruff obstacle in Eleanor’s path. Funny, clever, and full of mischief, mayhem, and small-town scandal, this is exactly the kind of cosy nonsense I can’t stop inhaling.
Book 7: A Lesson in Murder
A Lesson in Murder sends Lady Eleanor Swift back to her old boarding school for a mystery that feels more personal, more reflective, and more quietly satisfying than some of the series’ more chaotic outings. In this eighth instalment from Verity Bright, the murder itself may follow the familiar cosy structure, but the school setting gives the story real thematic weight, exposing the rot beneath reputation, respectability, and institutional polish while forcing Eleanor to reckon with a place that helped shape her. The plotting is more comforting than surprising, and some of the side characters blur a little into function, but the emotional tether to Eleanor’s past makes the whole thing land beautifully. With Clifford steady as ever, Gladstone still stealing scenes, and the series operating at that sweet spot before the formula starts to show its seams, this is one of the quieter Lady Eleanor Swift books, but also one of my favourites.
Book 8: Death on a Winter’s Day
Death on a Winter’s Day is, for me, the absolute high point of the Lady Eleanor Swift series: the moment Verity Bright’s formula fully clicks into place and delivers something genuinely special. Set on a remote Scottish island where a house party game turns into a locked-room murder, this eighth outing gives Lady Eleanor Swift everything she needs to shine, from a brilliantly tense snowbound mystery and a genuinely satisfying whodunnit to folklore-laced atmosphere, personal echoes of her vanished parents, and the long-awaited romantic payoff with Seldon that makes the whole thing hum. It still has the warmth, humour, and charm the series does so well, but here everything feels sharper, richer, and more emotionally rewarding. If I had to pick one Lady Swift book that captures exactly why these stories are so addictive, it would be this one.
Book 9: A Royal Murder
At a regal regatta, Eleanor faces royal intrigue when the host dies under suspicious circumstances, sparking a scandal that implicates high society figures. Tasked by royal command, Eleanor uses her wit and resources to delve into hidden gambles and debts, racing against time to restore peace and prevent further chaos.
Book 10: The French for Murder
Vacationing in the French Riviera turns dire when a murder in Eleanor’s villa leads to Clifford’s arrest. Stranded without her butler, she must navigate the glitzy underbelly of film stars and high stakes to prove his innocence, uncovering more than just the identity of the killer.
Book 11: Death Down the Aisle
Eleanor attends a friend’s wedding only to have the groom arrested for a murder just before the ceremony. Delving into the victim’s connections and hidden motives, she races against time to find the real killer and save the wedding, all while uncovering deeper secrets in her friend’s seemingly perfect life.
Book 12: Murder in an Irish Castle
Invited to an Irish castle, Eleanor’s holiday spirit is dampened when a body is found, setting off a chain of deadly events. With the castle filled with secrets and a legend of hidden treasures, Eleanor and Clifford sift through clues and histories, determined to solve the murder before the killer strikes again.
Book 13: Death on Deck
On her first luxury cruise, Eleanor expects relaxation but finds murder instead. When Detective Seldon is implicated, she must prove his innocence by unravelling a tangle of aristocratic secrets and alliances, learning that on the high seas, everyone has something to hide.
Book 14: Murder in Manhattan
Eleanor’s New York adventure turns into a murder investigation when a doorman is killed. Teaming up with a local cop, she dives into a world of wealth and secrets, where solving the murder means digging through layers of deceit and danger in the heart of the bustling city.
Book 15: Murder by Invitation
A royal celebration turns deadly when a committee member is murdered, thrusting Eleanor into a mystery involving bunting, hidden photographs, and village scandals. As she untangles the web of secrets, the festive mood turns sombre, pushing her to solve the murder to prevent another tragedy.
Book 16: Murder on the Cornish Cliffs
A winter getaway to Cornwall involves Eleanor in a murder investigation when she finds a body on the beach. The death unveils a tangled plot of family secrets and betrayals, leading Eleanor through dangerous twists as she tries to uncover the truth before the killer strikes again.
Book 17: A Death in Venice
A Venetian vacation turns deadly when Eleanor witnesses a murder during a gondola ride. Caught between feuding families and a centuries-old rivalry, she unravels a plot involving stolen heirlooms and masked threats, racing against time to catch the killer amidst the city’s hidden canals.
Book 18: Murder in Mayfair
During a high society event in London, Eleanor is drawn into a murder investigation tied to a stolen pearl necklace. Posing as a governess, she navigates through the upper echelons of society to uncover a network of thieves and liars, with her findings leading her dangerously close to the killer.
Book 19: Murder on the Nile
Eleanor’s Egyptian holiday aboard a Nile cruise is disrupted by a murder linked to a stolen treasure. With ancient sites and modern sins intersecting, Eleanor deciphers clues that delve deep into the past, risking everything to solve the mystery before her trip becomes a permanent stay.
Book 20: A Midwinter Murder
Eleanor is looking forward to a peaceful Christmas in the Yorkshire moors as a guest of the reclusive Duke of Auldwyke. But when the Duke’s secretary is found dead with a mysterious rose-shaped pendant in hand, it’s clear the holiday season won’t be merry for long. Trapped by snow and surrounded by guests with secrets, Eleanor must work with a very familiar inspector to solve the case before the killer strikes again.
Book 21: A Recipe For Murder
With a major event just around the corner, Eleanor is knee-deep in planning when a beloved cook dies of poisoning. As more villagers fall ill and suspicions rise, Eleanor uncovers a trail of sabotage and secrets. But when a poisoned cake ends up far from home, she realises someone is targeting those closest to her—and the clock is ticking to stop them.
Book 22: Death at a Paris Hotel
On her honeymoon in Paris, Eleanor’s celebratory dinner is shattered when a man crashes through the hotel roof and dies at her table, pressing a pearl brooch into her hand. When the police suspect she and Hugh are linked to the dead thief, the newlyweds investigate cabarets, aristocrats, and an old love story to clear their names. With a shadowy man following their every move, Eleanor must solve the case before Paris becomes their deadliest trip yet.
Book 23: Murder at the Royal Palace
At Buckingham Palace for Hugh’s knighthood, Eleanor’s proud day turns grim when a royal guard collapses and dies. Asked to investigate unofficially, she and Clifford go undercover among palace guests and staff, uncovering gossip, affairs, and whispers of hidden treasure. When a second soldier is murdered behind locked palace gates, Eleanor must untangle the lies before court intrigue turns deadly.
Book 24: Murder on a Frosty Night
Eleanor is hoping for a peaceful first married Christmas when a mysterious telegram summons the Byron Detective Agency to a remote village by midnight. But when they arrive, they find their would-be client dead in the churchyard before they’ve even accepted the case. With grudges simmering all over the village and another body soon discovered in the castle ruins, Eleanor realises this festive investigation is stranger and more dangerous than it first appears.
Book 25: A Very Irish Mystery
While in Dublin following a lead on her long-vanished parents, Eleanor visits a famous brewery with Hugh and Clifford, only to discover the owner dead inside one of the barrels. Hired to investigate, the Byron Detective Agency uncovers inheritance disputes, romantic scandal, business rivalry, and a missing secret beer formula. When a leading suspect also turns up dead, Eleanor must solve the case before the killer closes in on her too.
Book 26: Murder Stage Left
Lady Swift and Hugh Seldon are charmed by a visit to the town of Stratford-upon-Avon, where excitement is building around a new production of Macbeth. But when priceless Shakespearean artefacts go missing and the theatre’s leading man is found dead after a suspicious fire, Eleanor is drawn into a drama full of backstage rivalries, hidden secrets, and deadly performances. With every suspect playing a part, she must uncover the truth before the killer ensures it’s curtains for her too.
4.28 Average
