The Body that Floats by Jayne Chard is a humorous whodunnit that continues the (mis)adventures of sisters Julia Fortnam and Frankie Grant. Despite their personalities clashing almost as often as they cooperate, the recently reconnected siblings are shaping up to be a formidable pair of amateur sleuths.

Following the events of More than Murder, Julia and Frankie are settling into an increasingly comfortable routine in Rose Cottage, the home they jointly inherited – providing they can survive living together for a year, that is – in the picturesque Berkshire village of Little Clarsden.

Still, despite their relative harmony, the past keeps threatening to rear its ugly head while the present is plagued by the minor annoyances of cohabitation. As their last little trip away went so well – aside from the murder and mayhem anyway – Julia believes it will be beneficial for their bond if Frankie accompanies her on a mini break.

Fortuitously, Julia’s friend Linda Rawlings now lives in the quaint fishing village of Portscatho in Cornwall and is keen for her to visit, so the sisters pack up the Riley and proceed in a southerly direction at a moderate pace. Well, the latter is more Julia’s doing than Frankie’s.

The two of them quickly become embroiled in life in Portscatho, assisting with preparations for the Morgawr Festival and listening to gossip in the village pub. However, it is their discovery of the corpse of unpopular property developer Stephen Tomson while swimming off Tatum’s beach that indicates Julia and Frankie are in for a busman’s holiday…

The dynamic between the sisters, whether they are solving murders or squabbling over mundanities, is key to the success of this cosy crime series. Chard writes their dialogue with an easy rhythm that captures both sibling irritation and underlying loyalty. Their differences complement each other, especially when it comes to cracking a case.

The contrasting strengths of Julia’s analytical mind (and impressive collection of Poirot novels) and Frankie’s canny instincts (and eclectic employment history) ensure that the sleuths are prepared for almost every eventuality, although they still find time for a fair few pratfalls during the trip to Cornwall.

Indeed, the sisters’ exchanges often spark comic moments, particularly when their investigative enthusiasm leads them into awkward or improbable situations. Frankie’s flair for drama contrasts amusingly with Julia’s attempts at practicality. This comedic energy prevents the darker aspects of the mystery from dominating the story.

Such scenes could easily become slapstick, but Chard keeps them grounded in character. Frankie is not simply reckless; she is inventive, stubborn and, occasionally, surprisingly capable. Julia may see herself as the more rational sister, but she is equally capable of misjudgement, particularly when it comes to interpreting other people’s motives.

In fact, it is Julia’s growing notoriety that sets The Body that Floats in motion. The success of her blog about the murder mystery weekend at Medfield House leads to her being interviewed on a local radio show. The need to make up for the credit-hogging she engages in during the interview is what prompts her to invite Frankie to Portscatho.

This episode neatly illustrates Chard’s talent for comic observation. The interview becomes a subtle battleground between Julia’s carefully cultivated image and Frankie’s more irreverent perspective as she listens from home. It is a small but telling moment, revealing both the competitiveness and the affection that define their relationship.

Instead of portraying them as a perfectly harmonious pair of sleuths, Chard allows the sisters’ history to complicate their collaboration. Past grievances echo through their conversations, and moments of irritation or rivalry appear alongside flashes of comradery. As a result, their relationship feels authentic and evolving rather than static.

Rather than relying on broad jokes, Chard builds comedy through timing and understatement, carefully capturing the gentle absurdities of everyday life in both Little Clarsden and Portscatho. Similarly, Julia’s slightly over-serious approach to situations contrasts amusingly with Frankie’s improvisational problem-solving.

Yet beneath the humour lies a carefully structured mystery. As events progress, the story shifts from a comedy of manners to a more traditional whodunnit. While the discovery of the eponymous corpse introduces a darker undertone, Chard maintains the conventions of cosy crime: the puzzle is intriguing, the suspects plausible and the resolution satisfying.

Small communities create a closed circle of suspects, heightening the sense of intimacy and suspicion. So, as the mystery deepens, the relationships among Julia and Frankie’s new Cornish acquaintances – both friends and foes – become crucial clues. Gossip, misunderstandings and personal histories all play a role in solving the murder.

Such details certainly bring the setting of Portscatho to life. The coastal landscape provides a fitting backdrop for the mystery, and Chard uses the environment to create both charm and suspense. Harbours and windswept cliffs evoke a bucolic setting, but beneath the picture postcard beauty lies darkness and secrets.

In addition to firmly situating the murder in a realistic Cornwall, Chard also takes the welcome step of introducing more of Little Clarsden in The Body that Floats. In true Midsomer Murders style, it is the sort of village where everyone knows everyone else’s business or at least thinks they do.

While both village and villagers were introduced in More than Murder, Chard provided only a flavour of the strange social ecosystem then. This time round, Little Clarsden feels like a real community, albeit one that – in contrast to infamous cosy villages such as St Mary Mead – has not been the scene of a murder… not yet, anyway.

For more mysteries in Cornwall, click here.

Chapters Crime Press
Print/Kindle
£3.99

CFL Rating: 5 Stars