In The Witness, Elizabeth Fitch is the daughter of a controlling and cold mother who is a famous surgeon. When her mother is away at a medical conference, Elizabeth changes her appearance, makes fake IDs for herself and her friend and they go out to one of the hottest night clubs in the area. They drink too much and meet two Russian men who take them back to their house. However, when they get there two other Russian men come and murder her friend and one of the Russian men that brought her there. Elizabeth escapes and goes into a witness protection program.
They very nearly had to pry Liza out of the expensive London hotel. Surrounded by mementoes of her loving but tragically deceased family, the pretty, young girl had gone from a promising future to ruin. There was no money to even pay the hotel bill, and she had to sweet-talk the harrumphing manager into giving her cash for a hansom cab to follow up her only hope for sustaining herself—a job as a lady’s maid to Princess Victoria. But she could not know that very soon she and the princess would become Prisoners in the Palace.
In Alice Hoffman’s The Red Garden, Hallie Brady arrives in the wilderness near Hightop Mountain in 1750. Nobody white had settled this part of Massachusetts before, and the native people who camped nearby vowed that no man would find happiness west of the mountain. Teenaged, English-born Hallie comes with her not-good-for-much husband and a couple of other families he has duped into following him in circles for days before winding up in the shadow of the mountain just as the November snows are settling in.
“Ye Toads and Vipers!”
Meggy Swann has reason to be angry. Her mother had finally succeeded in getting rid of her, having her dumped miles and miles from home at her father’s tiny house in London. She’s never met him before, and he clearly doesn’t want her. It’s not like she can run away somewhere else though. An accident at birth has left her legs crooked, and she is in constant pain.
Only able to walk with the help of two sticks, the world of 1573 can be an especially cruel place for such a one, but she has angrily adapted. Alchemy and Meggy Swann, by Karen Cushman, tells her story from the time she is dumped like a sack on her father’s narrow doorstep, frightened and seemingly helpless, to the brave things she must do to protect herself and others she has come to love.
Tessa Harris’ The Anatomist’s Apprentice plunges the reader into the viscera of 18th-century English culture and crime.
Jessie Knadler, transplanted from Montana, is living a less than satisfying life in the Big Apple. She’s just been laid off from her position as a magazine editor; she recently learned that her lover has a proclivity for (really) young girls; and she’s certain that her late nights spent drinking into the wee hours will not prolong her life. When she’s offered a freelance opportunity to return to Montana to write a story on a popular rodeo event, Jessie figures she’s got nothing better to do…plus there’s always the nagging fact of needing cash. In Rurally Screwed: My Life Off the Grid with the Cowboy I Love, Jessie’s trip back West will dramatically change her life.
Promising young archaeologist Verity Grey ventured to the wilds of Scotland for a job interview little knowing that she was leaving behind her secure London flat for encounters with ghostly visions and the threat of madness in Susanna Kearsley’s Shadowy Horses.
In A Vision of Light, by Judith Merkle Riley, Margaret of Ashbury is a rather ordinary albeit quite pretty woman—ordinary that is, except for the Voice she sometimes hears and the visions she sometimes sees. One day, the Voice tells Margaret that she should write a book about the extraordinary things that have happened to her. She argues with the Voice… she is a woman so who would listen to her, and what is more, like nearly everybody, she does not know how to write. And further, she has not done any great deeds worth writing about.
The Voice answered:
“Put in it what you have seen. There is nothing wrong with being a woman, and doing ordinary things. Sometimes small deeds can show big ideas. As for writing, do as others do: get someone to write it for you.”
“Voice,” I said, “how do I know you are from God, and not the Devil, tempting me into something foolish?”
“Margaret,” answered the Voice, “isn’t it a good idea? God never gives bad ones.”
Johann had been terrible to her, absolutely terrible! Beautiful, 17-year-old Giselle told him that she loved him, and he had waved her away. He thought her family was not rich enough, not important enough for him to consider a relationship with her. But Johann was wrong. Shortly after he humiliated her, she and her sister discovered that they did come from an important family—and they were rich. For Giselle and her identical twin Ingrid are Dr. Frankenstein’s Daughters.