Kirkus Reviews gives Unstoppable: The Victoria Woodhull Story a “Get It” verdict, calling it “a deftly paced and meticulously researched novel” and “a compulsively readable portrait full of rich characterization and well-observed historical detail.”
Some of the most compelling stories are hiding in plain sight.
They may be buried in history books, reduced to a footnote, or remembered for a single controversial moment. But occasionally, a writer discovers the person behind the historical record—and realizes there is a much bigger story waiting to be told.
That is what Kate Danaher has done with Unstoppable: The Victoria Woodhull Story, a historical novel about a woman who was decades ahead of her time.
And now, Unstoppable has received a coveted “GET IT” verdict from Kirkus Reviews.
Read the full Kirkus review of Unstoppable
Victoria Woodhull was born into poverty in 19th-century Ohio. She married young, became a mother, educated herself largely through books, and eventually emerged as a financial entrepreneur, advocate for women’s rights, and the first woman to run for president of the United States.
She did this in an era when women couldn’t even vote.
That contradiction alone is remarkable. But for Danaher, Woodhull wasn’t simply a historical symbol. She was a complicated, ambitious, provocative woman with convictions, flaws, relationships, enemies, and enormous dreams.
That distinction matters.
A historical figure becomes a story when we stop looking only at what the person accomplished and start asking who this person was—and what it cost her to pursue what she believed.
Kirkus praised Danaher’s novel for its “rich characterization and well-observed historical detail,” noting that Victoria remains a vibrant presence throughout the book.
That is an important lesson for any writer working with history.
Historical fiction presents a particular challenge.
The writer has an extraordinary amount of material to work with: dates, political events, famous people, social customs, clothing, locations, technology, newspapers, and documented events.
But research alone doesn’t create a compelling narrative.
The story comes from the character moving through that world.
In Unstoppable, Danaher brings 19th-century America to life through details ranging from parlors and steamships to lavish dinners and the social conventions of the period. Kirkus specifically praised the novel’s novelistic rendering of the era.
But those details work because they surround a character who wants something.
Victoria wants a voice.
She wants independence.
She wants women to have a say in the government they help support.
And, ultimately, she wants to challenge a system that has already decided what a woman is allowed to be.
That gives the historical detail dramatic purpose.
One of the most useful questions a writer can ask when developing a story is:
What does my protagonist want that the world says she cannot have?
The larger the obstacle, the greater the potential for conflict.
Victoria Woodhull didn’t merely enter politics. She announced her intention to run for president at a time when women had no right to vote.
That creates an immediate dramatic question:
What happens when someone attempts the impossible?
For a storyteller, that is fertile territory.
The goal itself creates opposition. The culture resists it. Powerful people become threatened by it. The protagonist has to decide how much she is willing to sacrifice.
And that is where historical research becomes story structure.
Kirkus notes that Victoria’s campaign attracted powerful enemies, particularly after she publicly accused Henry Ward Beecher of adultery. The resulting scrutiny put her at risk of imprisonment.
This is another essential storytelling principle:
A protagonist’s goal becomes dramatically interesting when someone—or something—has a powerful reason to stop her.
Writers sometimes spend enormous amounts of time developing a protagonist’s backstory while overlooking the forces working against that character.
But conflict is what turns biography into narrative.
It would be easy to describe Victoria Woodhull simply as “the first woman to run for president.”
But that doesn’t tell us why we should care about her.
The more interesting question is:
What kind of woman would attempt something so improbable?
Danaher’s novel explores Victoria’s beliefs about marriage, sexuality, religion, women’s rights, money, and political power. Kirkus describes her as a far-seeing woman whose ideas about gender, religion, and happiness within marriage feel remarkably modern.
That’s where a historical figure becomes a character rather than a museum exhibit.
Writers should resist the temptation to make historical characters perfect heroes.
Contradictions are often more interesting than accomplishments.
A character who is brave but reckless, visionary but flawed, compassionate but difficult, or idealistic but capable of making disastrous choices can give a story far more life.
Great historical storytelling doesn’t make readers feel like they’re reading about “back then.”
It makes them feel as though they’re standing in the room.
That requires research, certainly—but also sensory detail, relationships, conflict, dialogue, and character choices.
Kirkus’s review highlights Danaher’s use of historical detail and her richly characterized cast, which includes figures such as Walt Whitman, Elizabeth Cady Stanton, Cornelius Vanderbilt, and Ulysses S. Grant.
Kate Danaher’s Unstoppable: The Victoria Woodhull Story is a reminder that history is filled with people whose stories are waiting to be rediscovered—and that the writer’s job is not simply to tell us what happened.
It is to make us care about the person it happened to.
Congratulations to Kate Danaher and Story Merchant Books on this important recognition from Kirkus Reviews.
Tobe A. Roberts IV obtained his Master of Fine Arts degree at New York University’s Tisch School of the Arts (TSOA) Graduate Film Program. Tobe entered Graduate School as one of the top six applicants to spearhead the first TV & Film Producers Training Program of the University. He gained experience in publicity at Paramount Pictures East Coast Publicity, became the East Coast Editor for an online film E-Zine, and eventually became co-producer of a New York-based video production company specializing in Indigenous programming.
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