Two little girls stand with their heads bowed in my living room. I’m told they’re my granddaughters. Daisy is nine, and Alice seven. Daisy is the spitting image of her mother. This is the first time I’ve met them since my daughter and I fell out after she married that waste of space, Vince. They’ve come to live with me because their mother — my daughter — was murdered. In her own home while they slept close by. I think Vince killed her. But the police can’t prove it. I’ve always known he was no good. He treated my daughter like dirt. I said he’d cheat on her — but she wouldn’t listen.

Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of best-selling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity's notes and outlines, hoping to find enough material to get her started. What Lowen doesn't expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read.

Who is Audrey Hoedemaker? It's a question her sister Maureen has heard more times than she can count, and she doesn't know what the short answer would be. Little sister, troubled teen, backpacker, musical theatre coach, con artist, childcare worker. Murderer. A tragic, traumatic childhood casts a long shadow on the Hoedemaker sisters. Maureen has worked hard to move beyond the violence of the past and build a good, honest life for herself. Audrey, however, just can't seem to do the same, careening from one state of chaos to another.

After the killing of a prominent mob lawyer, NYPD homicide detectives Jacob Jackson and Caitlin Grimes start receive chilling, written “rules” for how to commit the perfect murder. "Rule number one for the perfect murder: Evidence is your enemy. Leave none behind." Jackson (Reid Scott) and Grimes (Cobie Smulders) race to find the killer, setting them on a collision course with the city’s crime underbelly, and a perpetrator who seems happy to toy with them. “Rule number two. No crimes of passion. The perfect murder is always business, never pleasure.”

Kidnappers grabbed Jenna in broad daylight, right in front of her children and their horrified classmates. Her family was issued an insane ransom demand: $25 million in cash and jewels, payable by the end of the school day, otherwise they’ll never see her again. As Jenna’s mother scrambles to gather the money, detectives Mo Butler and George Ortega follow the trail of the kidnappers, which will lead them through a sordid landscape of jealous lovers, broken dreamers, and twisted schemers. But every second counts, and there’s one thing Jenna Wade doesn’t have: very much time.

Virginia, 1864—Libby Steadman’s husband has been away for so long that she can barely conjure his voice in her dreams. While she longs for him in the night, fearing him dead in a Union prison camp, her days are spent running a gristmill with her teenage niece, a hired hand, and his wife, all the grain they can produce requisitioned by the Confederate Army. It’s an uneasy life in the Shenandoah Valley, the territory frequently changing hands, control swinging back and forth like a pendulum between North and South, and Libby awakens every morning expecting to see her land a battlefield.

At the start of a new century, a shocking murder transfixes Manhattan, forcing bitter rivals Alexander Hamilton and Aaron Burr to work together to save a man from the gallows. Just before Christmas 1799, Elma Sands slips out of her Quaker cousin’s boarding house—and doesn’t come home. Has she eloped? Run away? No one knows—until her body appears in the Manhattan Well. Her family insists they know who killed her. Handbills circulate around the city accusing a carpenter named Levi Weeks of seducing and murdering Elma. But privately, quietly, Levi’s wealthy brother calls in a special favor.

1940, Emilia Romagna. Lili and Esti have been best friends since meeting at the University of Ferrara; when Esti’s son Theo is born, they become as close as sisters. There is a war being fought across borders, and in Italy, Mussolini’s Racial Laws have deemed Lili and Esti descendants of an ‘inferior’ Jewish race, but life somehow goes on—until Germany invades northern Italy, and the friends find themselves in occupied territory.

Haven Ambrose, a trailblazing nautical archaeologist, has come to the sun-soaked village of Positano to investigate the mysterious shipwrecks along the Amalfi Coast. But Haven is hoping to find more than old artifacts beneath the azure waters; she is secretly on a quest to locate a trove of priceless gemstones her late father spotted on his final dive. Upon Haven’s arrival, strange maelstroms and misfortunes start plaguing the town. Is it nature or something more sinister at work?

Rough-around-the-edges Harriet Morrow has long been drawn to the idea of whizzing around the city on her bicycle as a professional detective, solving crimes for a living without having to take a husband. She seizes the chance when the prestigious Prescott Agency hires her as its first woman operative. The move sparks controversy—with skeptical male colleagues, a high-strung office secretary, and her boss, Mr. Theodore Prescott, all waiting for her to unravel under the pressure . . .

In 1927, eight-year-old Clara Harrington’s magical childhood shatters when her mother, renowned author, Bronwyn Newcastle Fordham, disappears off the coast of South Carolina. Bronwyn stunned the world with a book written in an invented language that became a national sensation when she was just twelve years old. Her departure leaves behind not only a devoted husband and heartbroken daughter, but also the hope of ever translating the sequel to her landmark work. As the headlines focus on the missing author, Clara yearns for something far deeper and more insatiable: her beautiful mother.

In Boston, 1865, Charlotte and Henrietta Stevenson, daughters of a Massachusetts Supreme Court Justice, have accomplished as much as women are allowed in those days. Chafing against those restrictions and inspired by the works of Jane Austen, they start a secret correspondence with Sir Francis Austen, her last surviving brother, now in his nineties. He sends them an original letter from his sister and invites them to come visit him in England.

Two childhood friends are reunited at a Jewish settlement in Czechoslovakia, the camp promised as a safe place to wait out the war, and each sees the other as a means to save what they love most. Hannah and Hilde were friends long ago, but when fate brings them back together at Theresienstadt, they are adversaries. At this so-called model ghetto, the Nazis plan to make a propaganda film to convince the world that the Jewish people are living well in Nazi-run camps. But Hannah and her fellow prisoners have other ideas.

Torn between her girlfriend, Magdu, and her best friend, Daphne, Finn is looking forward to a day of rock climbing and bonding for the three women on the soaring cliffs near their Australian town. But nothing goes as she planned, and in a horrific accident, Magdu falls to her death. Rocked by grief, Finn tries to pinpoint where it all went wrong. Did Magdu die because of Finn’s friendship with overbearing Daphne, who has never wanted Finn to change or leave her? Can Finn trace it all the way back to the tragic childhood loss of her sister?

As newlyweds, Molly and Robin made the Hummingbird Inn into a trendy destination for queer travelers in the quirky mountain town of Eureka Springs, Arkansas. But when their career ambitions drove them apart, the young couple separated, handed over the property’s upkeep to a management firm, and never looked back. Seven years later, Molly and Robin return to the Hummingbird Inn for very different reasons.

In San Francisco in 1866, an Irish nun, abandoned following a torrid relationship with a Chilean aristocrat, gives birth to a daughter named Emilia del Valle. Raised by a loving stepfather, Emilia grows into an independent thinker and a self-sufficient young woman. To pursue her passion for writing, she is willing to defy societal norms. At the age of seventeen, she begins to publish pulp fiction using a man’s pen name. When these fictional worlds can no longer satisfy her sense of adventure, she turns to journalism, convincing an editor at The Daily Examiner to hire her.

Colette Marceau has been stealing jewels for nearly as long as she can remember, following the centuries-old code of honor instilled in her by her mother, Annabel: take only from the cruel and unkind, and give to those in need. Never was their family tradition more important than seven decades earlier, during the Second World War, when Annabel and Colette worked side by side in Paris to fund the French Resistance. But one night in 1942, it all went wrong.

London, 1953. Louise is still adjusting to her postwar role as a housewife when she discovers a necklace in a box at a secondhand shop. The box is marked with the name of a department store in Paris, and she is certain she has seen the necklace before worked with the Red Cross in Nazi-occupied Europe —and that it holds the key to the mysterious death of her friend Franny during the war.

After discovering she's a witch and being whisked away to the magical land of Crenshaw, Ellie wants nothing more than to spend time with her new wife, Prospero, who has magically altered Ellie's memories to convince her of exactly that. Prospero herself is guilt-wracked after erasing Ellie's memories and being forced into a sham marriage with the woman she loves for real. But Crenshaw is dying, poisoned by Prospero's enemies who want their community to return to the human world, and she will do anything to save it.

After high-powered politician Bridget O'Keefe sweeps into the uninspiring life of Australian electorate officer Emma Ives, nothing is the same again. Hapless, hopeless Emma is smacked with an instant crush on the polished woman who's her new boss . . . her hot, untouchable, straight boss. Yes, she knows she's an idiot because unrequited lust at work is a terrible idea. Even so, she can dream.