In “The Other Anna” Sharp female protagonist named Anna, is adorned with servants, fine jewels and apparel, who is seemingly bored with her lifestyle. An artist, named Askett, mistaken’s her to be a model, which she excitingly accepts, as the two develop a ritual of meeting every week for her features to be drawn. Askett feels no attraction towards Anna because he has prior established ideals of models being desperate and indecent. This causes Anna to create stories about the other women, also named Anna, who lives in her home and describes her to be the perfect women. This eventually causes Askett to fall in love with this other Anna and with a marriage proposal visit's her home. Only to discover the other Anna never existed as was only the original's Anna description of herself (The Yellow Book 13). The ending is left open-ended allowing for the reader to decide whether Askett and Anna get married or Anna is left rejected from her immature prank. Understanding Sharp’s personal character and strong beliefs for equality helps to better situate her motive for, “The Other Anna” and how she wanted Anna to be able to escape the form of her normative bourgeois company and enter the world of the working class. Hence, why she became a model instead of living her non-eventful life at home being served upon by her servants. 

Historically, women were not just classified based on their clothing to determine their status in society but also their occupation. DeVault writes that women’s traditional options for jobs included: clerical, sales, needle trades, and teaching and if need be, those who were scandalous enough to become burlesque dancers, models, or entertainers. The latter types of occupations were considered for the lower class as they were described to be, “loose women in tights” (8), which ironically, women can now only dream to have these careers and make over $50, 000 a year (O' Leary 3). Askett's disapproval for models similarly represents the voice of the 1890’s conservative society and how Anna’s pursuit in modeling was promiscuous, if not immoral, as it translated to selling oneself in a way of their physical appearance.