If what hooked you in Missing, Presumed was DI Manon Bradshaw’s painstaking hunt for Edith Hind—sifting interviews, revisiting timelines, and feeling pressure from powerful parents like Sir Ian Hind—you’ll love how The Dry has Aaron Falk return to his drought-stricken hometown to probe a supposed murder–suicide. Like Manon’s team, Falk methodically reconstructs movements and motives, and every neighbor seems to be hiding something. The steady accumulation of clues, the fraught interviews, and the way the community’s gossip reshapes the case will scratch that same procedural itch.

You enjoyed how Missing, Presumed moves between Manon, DS Davy Walker, and the Hinds—Miriam’s grief, the family’s privilege, and the squad’s grind—to deepen the missing-person case. Case Histories similarly braids multiple narrators and cold cases that collide on PI Jackson Brodie’s desk. As with Edith Hind’s disappearance, shifting angles—victims’ relatives, witnesses, and the investigator—create emotional resonance and surprising connective tissue that recontextualizes every clue.

If Manon’s loneliness, online dating missteps, and self-doubt sharpened the tension around Edith Hind’s case for you, In the Woods dives even deeper. Detective Rob Ryan’s past bleeds into his present investigation, and the psychological fallout shapes every decision—much like how Manon’s vulnerabilities color her interviews and instincts. The interrogation rooms, fraught partner dynamics, and the way personal history distorts memory echo the intimate, inner-focused pull you liked.

If you were drawn to DI Manon Bradshaw’s steel and warmth—the way she holds her own with superiors, needles Davy with dry humor, and still refuses to let go of Edith Hind’s trail—meet Detective Antoinette Conway. In The Trespasser, she shoulders a high-pressure murder file while fending off a hostile squad room and media glare, much like Manon facing brass and the Hinds’ influence. It’s the same mix of grit, empathy, and razor instincts in a heroine who won’t be sidelined.

If the slow-burn cadence of Missing, Presumed—methodical canvassing, revisiting scenes, and the cumulative weight of small details in Edith Hind’s world—worked for you, The Crow Trap delivers that same measured unraveling. DI Vera Stanhope lets interviews and local tensions simmer until patterns surface. The rural setting, layered motives, and gradual tightening of the noose mirror the way Manon’s team builds a case piece by piece until the final picture snaps into focus.