If you loved how Holmes and Watson sift clues at Baskerville Hall—tracking strange footprints on the moor, puzzling over the "hound" with phosphorous, and unmasking Stapleton—then you’ll savor the meticulous sleuthing in The Moonstone. Sergeant Cuff follows threads around a stolen diamond through a great estate, with witnesses’ testimonies and tiny details (like smeared paint and night-time prowling) gradually snapping into a solution as elegant as Holmes’s trap on the Grimpen Mire.

Enjoyed Watson’s letters and reports to Holmes from Baskerville Hall—the way the case in The Hound of the Baskervilles unfolds through dispatches and diary-style updates? Dracula doubles down on that format. You’ll piece together the threat through Jonathan Harker’s journal, Mina’s typewritten notes, Dr. Seward’s phonograph entries, and a doomed ship’s log, building the same mounting tension you felt as Watson chronicled eerie howls on the moor and the mysterious lantern signals near the Grimpen Mire.

If the bleak moor, the treacherous Grimpen Mire, and the sense that something unnatural stalks Sir Henry set your nerves on edge, The Woman in Black will grip you. Arthur Kipps travels to Eel Marsh House—cut off by the tide like Baskerville Hall is by the moor—and confronts a haunting whose whispers and apparitions build dread the way the spectral hound’s pawprints and night-time cries did. The atmosphere itself becomes a menace, just as in Holmes’s most eerie case.

If you liked seeing Watson—the grounded observer—document Holmes’s deductions, you’ll appreciate how reporter John Schuyler Moore narrates The Alienist. He shadows Dr. Laszlo Kreizler across Gilded Age New York, much like Watson trails clues across the moor, recording forensic details, interviews, and breakthroughs. Cameos by Theodore Roosevelt and the Isaacson brothers’ lab work mirror the satisfying procedure behind Holmes’s staged climax for the Baskerville culprit.

If the last-act turn—Stapleton’s true identity and the "supernatural" hound’s phosphorous—delighted you, The Murder of Roger Ackroyd delivers that same jolt. Poirot investigates secrets in a quiet English village household where every alibi hides a snag, and each clue re-angles the case, much like the shifting suspicions at Baskerville Hall. It’s a model of misdirection that scratches the same itch as Holmes’s final unmasking.