Evie Porter has everything a girl could want: a doting boyfriend, a house with a picket fence, a fun group of friends. The only catch: Evie Porter doesn't exist.

First comes the identity. Once she's given a name and location by her employer, she learns everything there is to know about the town and the people in it.

Then the mark: Ryan Sumner.

The last piece of the puzzle is the job. For Evie, this job feels different. Ryan has gotten under her skin and she's started to picture another kind of life for herself - one where her boss doesn't pull the strings. But Evie can't make any mistakes. Because the one thing she's worked her entire life to keep clean, the one identity she could always go back to - her real identity - just walked right into this town.

A woman, who looks just like her, has stolen her name - and she wants more.

As Evie's past begins to catch up with her, can she stay one step ahead to save her future?

You meet a stranger at a party. She looks like you, sounds like you. Even has your name... She's here to take something you have. So how far will you go to protect it? 'The best cat and mouse suspense I've read in years, with plenty of heart. I'm still breathless' LISA GARDNER ** MAJOR TV SERIES OF FIRST LIE WINS IN DEVELOPMENT ** ----------------------- Evie Porter has everything a girl could want: a doting boyfriend, a house with a picket fence, a fun group of friends. The only catch: Evie Porter doesn't exist. First comes the identity. Once she's given a name and location by her employer, she learns everything there is to know about the town and the people in it. Then the mark: Ryan Sumner. The last piece of the puzzle is the job. For Evie, this job feels different. Ryan has gotten under her skin and she's started to picture another kind of life for herself - one where her boss doesn't pull the strings. But Evie can't make any mistakes. Because the one thing she's worked her entire life to keep clean, the one identity she could always go back to - her real identity - just walked right into this town. A woman, who looks just like her, has stolen her name - and she wants more. As Evie's past begins to catch up with her, can she stay one step ahead to save her future? A gripping, tense and stylish mystery thriller, with an anti-heroine you'll root for and a love story at its heart, First Lie Wins has received killer raves from your favourite bestselling authors: 'As emotionally moving as it is gripping. I loved every minute' MARY KUBICA 'Will consume you... I devoured it' JULIE CLARK 'Smart, fast-paced and twisty... kept me on the edge of my seat' MEGAN MIRANDA 'The most suspenseful game of deception I've ever read. Brilliant' ELLE COSIMANO 'Outstanding! An ingenious, unforgettable cat and mouse thriller' WENDY WALKER 'A suspenseful and taut page-turner that is impossible to put down' MEGAN SHEPHERD Real readers are enthralled by this electrifying thriller: 'Suspense fans rejoice - this is phenomenal' READER REVIEW 'Heartpounding . . . Definitely one of the best books this year' READER REVIEW 'OMG . . . I was immediately sucked in' READER REVIEW 'Absolute perfection' READER REVIEW 'A thrilling ride from start to finish' READER REVIEW 'Kept me guessing until the end' READER REVIEW 'Twisty and engaging' READER REVIEW

This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400–1600. The book will be of interest to art historians, visual culture historians, and early modern historians.

This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400-1600. The book will be of interest to art historians, visual culture historians, and early modern historians.

No one knows what happened that morning at River Point. Five boys went hunting. Four came back. The boys won't say who fired the shot that killed their friend, Grant; the evidence shows it could have been any one of them.

Kate Marino's senior year internship at the District Attorney's Office isn't exactly glamorous-more like an excuse to leave school early that looks good on college applications. Then the DA hands her boss, Mr. Stone, the biggest case her small town of Belle Terre has ever seen. The River Point Boys are all anyone can talk about. Despite their damning toxicology reports the morning of the accident, the DA wants the boys' case swept under the rug. He owes his political office to their powerful families.

Kate won't let that happen. Digging up secrets without revealing her own is a dangerous line to walk; Kate has personal reasons for seeking justice for Grant. As she investigates with Stone-the aging prosecutor relying on Kate to see and hear what he cannot-she realizes that nothing about the case-or the boys-is what it seems. Grant wasn't who she thought he was, and neither is Stone's prime suspect. As Kate gets dangerously close to the truth, it becomes clear that the early morning accident might not have been an accident at all-and if Kate doesn't uncover the true killer, more than one life could be on the line including her own.

Would you let your family play matchmaker to help you get over a broken heart?

Ashley Elston's 10 Blind Dates is the perfect Christmas treat: delicious, warm, funny, escapist YA romance.

Sophie wants one thing for Christmas – time with her boyfriend Griffin. So when her parents plan a trip to visit her sister over the holiday, Sophie begs to be left behind with her grandparents and her boisterous extended family. But she and Griffin break up and she's devastated.

Sophie’s grandmother, hating to see her so upset, devises a (not so) brilliant plan – to distract her from heartbreak. Over the next ten days, different family members will set Sophie up on ten different blind dates, which doesn't sound awkward at all . . .

When Griffin turns up unexpectedly, it makes Sophie more confused than ever. Because maybe, just maybe, she’s started to have feelings for someone else. Someone who is definitely not available.

Film rights have been bought by Matt Kaplan and Ace Antertainment, the team behind hit Netflix YA movie Jenny Han's To All The Boys I've Loved Before. Everything Everything screenwriter J. Mills Goodloe is attached to adapt the screenplay.