For a first journey through Chloe Walsh’s Boys of Tommen, read Binding 13, Keeping 13, Saving 6, Redeeming 6, Taming 7, then Releasing 10. This follows the publisher’s numbered sequence and keeps the two clearly identified continuing-couple pairs together. It is the route recommended here for meeting the whole group, rather than a claim that every other entry point is forbidden.
The practical complication is that three different numbers can appear on a book: the numeral inside its title, its position in the original series, and a translated edition’s part number. Saving 6 is the third original novel, not the sixth. Italian Redeeming 6 has parts 4.1 and 4.2. Sorting the biggest number on the cover will therefore produce the wrong shelf.
The Six-Book Route and Its Four Romantic Centers
The Piatkus description of Binding 13 identifies the opening and lists the series in this order:
- Binding 13 — Johnny Kavanagh and Shannon Lynch.
- Keeping 13 — the continuation of Johnny and Shannon.
- Saving 6 — Joey Lynch and Aoife Molloy.
- Redeeming 6 — the continuation of Joey and Aoife.
- Taming 7 — Gerard “Gibsie” Gibson and Claire Biggs.
- Releasing 10 — Lizzie Young and Hugh Biggs, also called Hughie in the publisher’s series links.
This is a useful map because six books do not mean six unrelated romances. Moving from Binding to Keeping stays with a relationship; moving from Keeping to Saving changes the focal couple. Those are different reading transitions. A reader looking for Johnny’s next installment needs Keeping, while a reader ready to investigate another part of the Lynch family will find that change at Saving.
Do not turn the list into a promise that the entire universe, every couple, or every future storyline is finished. It identifies six original novels checked for this guide. A current list of published books answers what can be placed on the shelf; it does not, by itself, answer every question about eventual romantic closure.
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Publication Order Is a Reading Route, Not a Straight Timeline
The question “chronological order” sounds simple until a connected saga changes viewpoint. The opening moment of a character’s history, the period covered by an entire novel, and the point at which readers learn that history are different things. A novel can reach back without belonging wholly before everything already read.
That distinction matters with Saving 6. Its official description introduces Joey’s responsibility for younger siblings from age twelve. That establishes an earlier stage of his life within its advertised scope. It does not supply a complete chapter-by-chapter synchronization chart for all six novels. Nor does the smaller number in its title establish an earlier series position.
For a first read, keeping the numbered order lets a later shift in attention remain a shift in attention. You meet a group through one central relationship and then reconsider what interests you when another person moves into the foreground. That change can be part of the attraction of a connected series; chronology is not automatically an improvement on it.
On a reread, a personal timeline can be rewarding. Keep it separate from a first-reading recommendation and distinguish dates actually stated in the books from guesses based on school terms or memories. This guide does not propose a tandem read or invented interleaving of chapters. If another list moves Saving 6 or Releasing 10 to the front, first ask whether it is sorting opening dates, whole story spans, or intended discovery. Without that explanation, “chronological” conceals the very choice you need to make.
Our general romance-series order guide explains those categories more broadly. Here, the concrete answer is to use the six-title sequence above for a first group-focused read.
Binding 13 and Keeping 13: Choose a Continuing Relationship
Binding 13 brings rugby player Johnny and newcomer Shannon together at school. The reader decision is whether you want to enter this social world through an encounter between people with very different public positions. That is a more useful test than assuming a sports setting means the sport will be your only concern.
Imagine that the group atmosphere attracts you but long relationship arcs usually do not. In that case, sample Binding before buying a matching pair. You are assessing whether you want sustained attention to these two people, rather than collecting interchangeable stories about teammates. The title list already tells you that the next volume stays with them.
The Keeping 13 page explicitly identifies it as their continuation, with Johnny sidelined by injury. Consider the difference between meeting an athlete through his social position and continuing with him when that position is disrupted. If sporting achievement drew you to Binding, ask whether the vulnerability of losing that role also interests you. This is an interpretation of the advertised setups, not an assessment of every scene.
Keeping is consequently a poor substitute for an unavailable first volume. Starting there exchanges the initial relationship context for the pressure that follows it. If you already read Binding in another language, however, changing language at Keeping is a different issue: confirm the work’s identity and test the translation’s voice, rather than restarting solely because the cover design changed.
Saving 6 and Redeeming 6: Another View of the Lynch Family
Saving 6 turns toward Joey and Aoife, with family responsibility and addiction in its published premise. The connection therefore offers more than a new romantic pairing. It creates a decision about following another person under pressure within the same broader group, rather than merely revisiting the original romance from a new jacket design.
A useful comparison is between Johnny’s visible sporting role and Joey’s advertised responsibility for others. A reader interested in how a person is seen by a school may initially be drawn to Johnny’s opening. A reader interested in the weight of duties that peers cannot see may be especially curious about Joey. These are reasons to investigate different arcs, not reasons to declare one character’s pain greater or one book universally better.
Redeeming 6 continues Joey and Aoife rather than introducing a replacement couple. Keep Saving before Redeeming. If a recommendation shows only the fourth novel because its cover or description is striking, recognize that the appeal concerns an ongoing relationship whose introduction is elsewhere.
There is a sensible pause between reading the first pair and committing to the second. Ask whether you want another sustained arc in this world and whether its stated subjects suit you now. You do not need to prove loyalty to the original couple by proceeding immediately. Equally, interest in Joey is a concrete reason to continue after Johnny and Shannon: the change in focal responsibility may be precisely what you want from the wider cast.
Taming 7 and Releasing 10 Are Different Entry Decisions
Taming 7 centers childhood friends Gibsie and Claire. Compared with the school-newcomer entrance of Binding, that premise starts from familiarity. The question becomes whether you want a relationship carrying a shared past, rather than the first construction of an alliance between newly encountered people.
That difference can help a returning reader choose a next arc. Suppose you remember the original couple but have lost track of secondary names. Identify the leads before opening the fifth book: Gibsie is Gerard Gibson, not a separate character whose earlier novel you somehow missed. A nickname and a formal name should occupy one place in your notes.
Releasing 10 turns to Lizzie and Hugh. There is also an important qualification to the numbered route: the Random House Audio publisher page markets it as readable independently. A sequence guide should preserve that information instead of inventing an absolute requirement to purchase five predecessors.
Choose Binding first when the group’s developing context is your main interest. Consider Releasing as an alternative when that particular couple prompted the search and you accept encountering the wider world from a later published viewpoint. Independent readability is not a guarantee of no references to earlier books, and it does not certify a particular kind of ending. Keeping those questions separate gives you a genuine choice without misrepresenting the publisher.
Italian Editions: The Fourth Novel Occupies Two Places
Italian readers need the original map and the local part labels together. De Agostini verifies Binding 13 as Marcami stretta, Keeping 13 as Mettiti in gioco, and Saving 6 as Un nuovo match. These subtitles identify editions of the first three works; they are not additional novels between them.
The key change is Redeeming 6. The catalog labels A un passo dalla meta as 4.1 and L’ultima chance as 4.2. Read both local parts in that order before moving to Taming 7, Contro ogni regola, number five. Counting physical Italian volumes would otherwise shift your idea of what “book five” means.
For example, an Italian reader who owns the first three books plus 4.1 has four physical volumes but has not covered the entire original fourth novel. Buying Taming because it says five would leave 4.2 unaccounted for. Conversely, someone who read the complete English Redeeming should investigate the contents before treating both Italian parts as two new stories.
As checked on 24 October 2026, De Agostini’s Releasing 10 listing is 6.1, scheduled for 27 October 2026. It is forthcoming at that checkpoint. The label establishes the listed part; it does not justify inventing the title, date, or contents of an unverified second part. This is an edition distinction, not a seventh original Tommen novel.
Other Languages: Keep the Work and the Edition Separate
Brazil’s publisher retains Binding 13 with the subtitle Marcação cerrada no amor, and Keeping 13 with Se apaixonar é a parte fácil. Portugal’s Singular edition also uses Binding 13. Matching the original title is useful; matching Portuguese alone does not establish that two listings represent the same regional edition.
Montena identifies the Spanish opening as Binding 13, Los chicos de Tommen 1. French Chatterley uses Boys of Tommen, tome 1, Binding 13. The German publisher’s 2026 catalog, printed pages 74–75, retains the English titles with German series positions one through six.
These are verified edition examples, not a promise that every format is available everywhere. Use the full local title and ISBN when reserving a copy. A translated novel, audiobook, new paperback, and decorative edition can all point to the same work. A useful shelf records one story position and then the copy chosen, rather than counting each format as fresh progress through the saga.
Walsh’s Other Shelves and Bonus Material
The author’s books page also separates Ocean Bay, Pocketful, Broken, and Carter Kids. Keep those labels visible when exploring beyond Tommen. A whole-author checklist is a different project from finding the next Tommen novel; placing every book between Binding and Keeping would obscure an explicitly continuing relationship.
There is another connected branch worth distinguishing: the publisher-supplied Treacherous record identifies a later generation of Broken. For that branch, follow the author’s displayed Broken shelf: Break My Fall, Fall to Pieces, Fall on Me, Forever We Fall. Then the Carter Kids shelf runs Treacherous, Always, Thorn, Tame, Torment, Inevitable, Altered. The author links Always as 1.5; the author-published Carter Kids listing also shows the numbered series entries. Its English-language text is distinct from the Portuguese storefront navigation.
That is a separate family-reading project, not homework required before Binding. Beginning with Broken is the practical choice here for readers interested in discovering the earlier family context before moving to descendants. Someone looking specifically for Johnny and Shannon gains a clearer plan by keeping Tommen together. Do not mix a generational transition in this older branch with a change of focal couple inside Tommen. Nor should Always’s decimal become an invented Tommen novella. This guide does not claim one verified universal timeline connecting every Walsh series.
The author’s Tommen extras page identifies alternative and deleted scenes, including material labeled for Redeeming 6. Explore those after the associated main book. They are extras with contextual labels, not missing numbered prerequisites. Their short length is no reason to assume they are an appropriate introduction; even a heading can disclose where someone stands later in the story.
School Settings Do Not Set the Audience Rating
Walsh’s own audience notice specifies mature readers aged eighteen and above. Meanwhile, regional catalogs can use YA, New Adult, or crossover shelving. Germany’s cited catalog recommends sixteen and above. Those are different statements from different sources, and neither a school uniform nor a shelving category should replace the author’s explicit notice.
For Releasing 10 specifically, Piatkus warns about childhood abuse, sexual trauma, self-harm, suicide, explicit sexual content, and graphic violence. Consult the actual warning before choosing that arc. The list here is not an exhaustive inventory for every other volume, and a topic absent from a short description has not thereby been ruled out.
The school setting also does not make the characters automatically university students: Piatkus’s Saving description explicitly begins Joey’s responsibilities at twelve. Keep character ages, intended reader age, and content separate. This guide discusses advertised relationships without treating a young cast as permission to market the books indiscriminately to younger readers.
A Small Reading Plan for Three Real Situations
If you are completely new, choose a sample of Binding 13 in the language you intend to read, then keep Keeping as the next title. Our guide to evaluating a romance sample helps separate enjoying the opening voice from assuming what the rest contains. A sample can test your interest; the series description supplies the continuation information.
If you are returning after Keeping, decide whether Joey and Aoife’s stated subjects appeal now. Saving is the next original position. Mark that choice before considering special editions or extras. This prevents a visually appealing rerelease of an already read work from becoming an accidental restart.
If you switch languages halfway through, write down the original work and the local part completed. “Redeeming 6, Italian 4.1 finished” is much more informative than “four books read.” It tells you exactly which question to resolve next. For other romance directions, browse Alisson Bento’s catalog; those books are a separate reading choice, not additions to Walsh’s world.
