The Iron Knight


Book Description

My name—my True Name—is Ashallayn’darkmyr Tallyn. I am the last remaining son of Mab, Queen of the Unseelie Court. And I am dead to her. My fall began, as many stories do, with a girl… To cold faery prince Ash, love was a weakness for mortals and fools. His own love had died a horrible death, killing any gentler feelings the Winter prince might have had. Or so he thought. Then Meghan Chase—a half human, half fey slip of a girl—smashed through his barricades, binding him to her irrevocably with his oath to be her knight. And when all of Faery nearly fell to the Iron fey, she severed their bond to save his life. Meghan is now the Iron Queen, ruler of a realm where no Winter or Summer fey can survive. With the unwelcome company of his archrival, Summer Court prankster Puck, and the infuriating cait sith Grimalkin, Ash begins a journey he is bound to see through to its end—a quest to find a way to honor his vow to stand by Meghan's side. To survive in the Iron Realm, Ash must have a soul and a mortal body. But the tests he must face to earn these things are impossible. And along the way Ash learns something that changes everything. A truth that challenges his darkest beliefs and shows him that, sometimes, it takes more than courage to make the ultimate sacrifice.




Romancing the Beat


Book Description

What makes a romance novel a romance? How do you write a kissing book?Writing a well-structured romance isn't the same as writing any other genre-something the popular novel and screenwriting guides don't address. The romance arc is made up of its own story beats, and the external plot and theme need to be braided to the romance arc-not the other way around.Told in conversational (and often irreverent) prose, Romancing the Beat can be read like you are sitting down to coffee with romance editor and author Gwen Hayes while she explains story structure. The way she does with her clients. Some of whom are regular inhabitants of the New York Times and USA Today bestseller lists.Romancing the Beat is a recipe, not a rigid system. The beats don't care if you plot or outline before you write, or if you pants your way through the drafts and do a "beat check" when you're revising. Pantsers and plotters are both welcome. So sit down, grab a cuppa, and let's talk about kissing books.




Romance By The Book


Book Description

Book-loving, librarian Jessie has loved Gavin Williams for practically her whole life. So when a psychic predicts that Gavin is Jessie's one fated soul mate, she's ecstatic. There's just one itty bitty little problem. Gavin's engaged to marry another woman. What's a book lover to do? Easy. Check out dozens of romance books, study the (totally realistic) way characters fall in love, and make a foolproof plan on how to win her soul mate (in one week). Meet cute? Check. Dance under the stars? Check. Kiss in the rain? Check. Romance books don't lie - it'll all go perfectly. Except, there's another problem. Gavin's twin brother: William Williams IV. Jessie has hated William for as long as she's loved his brother. William is grump to Jessie's sunshine, stand-offish to her extrovert, cold to her warm. And when William learns of Jessie's plan to derail his brother's engagement he swears that he'll do anything to stop her. But after William and Jessie (unwillingly) share a dance...a romantic dinner...a kiss...Jessie starts to wonder, is William actually her soul mate? Or is this just another one of his games? She's can't tell, because this romance definitely isn't going by the book. Romance by the Book is Book 3 in Sarah Ready's Soul Mates in Romeo Romance Series.




Fully Ignited


Book Description

"Published by arrangement with Harlequin Books S.A."--Colophon.




The Everything Guide to Writing a Romance Novel


Book Description

Every year, thousands of romance manuscripts are submitted to publishers, but only the best are eventually published. This simple guide—written by two awardwinning romance novelists—will show readers what it takes to break into this highly competitive market and will provide them the information they need to get their manuscript out of the slush pile and onto the bookshelf. Readers will learn how to do the following techniques: build a story from premise to plot; add a fresh twist to a classic storyline; create compelling characters; write sizzling sex scenes that carry an emotional punch; research agents and markets; write a story that an editor can’t reject; and promote themselves and their work. New writers, and even experienced writers, will find the solid howto information here invaluable. This is a musthave for aspiring writers who want to write the perfect love story.




Camus, a Romance


Book Description

A woman’s passion for the Nobel Prize winner yields “a rich hybrid of biography, literary criticism, intellectual history and memoir” (The Washington Post). Elizabeth Hawes was a college sophomore in the 1950s when she became transfixed and transformed by Albert Camus. The author of such revered works as The Fall, The Plague, and The Stranger, he was best known for his contribution to twentieth-century literature. But who was he, beneath the trappings of fame? A French-Algerian of humble birth; the TB-stricken exile editing the war resistance newspaper Combat; the pied noir in anguish over the Algerian War; and the Don Juan who loved a multitude of women. Above all, he was a man who was making an indelible mark on the psyche of an increasingly grounded and empowered nineteen-year-old girl in Massachusetts. Confident that one day she would meet her idol, Elizabeth never let go of his basic message: that in a world that was absurd, the only course was awareness and action. In this “beautiful memoir of a life-long obsession” (Harper’s Magazine), literary critic Elizabeth Hawes chronicles her personal forty-year journey as she follows in Camus’s footsteps, “bring[ing] this troubled and complex writer back into the light” (The Boston Globe). “A fascinating spin on the mere biographies others produce”, Camus, a Romance is the story not only of the elusive and solitary Camus, one wrought with passion and detail, but of the enduring and life-changing relationship between a reader and a most beloved writer (The Huffington Post).




The Cul-de-Sac War


Book Description

In this charming rom-com, two enemies find something they never expected in one another—taking "all's fair in love and war" to a hilarious and heartwarming new level. Actress Bree Leake doesn't want to be tied down, but just when it's time to move on again, Bree's parents make her an offer; hold steady in Abingdon for one full year, and they will give her the one thing she's always wanted—her grandmother's house. Her dreams are coming true . . . until life throws her some curve balls. And then there's her new neighbor. Chip McBride. For the first time in her life, she's met the person who could match her free-spirited air—and it's driving her to the ledge of sanity. She would move heaven and earth to have him out of her life, but according to the bargain she's struck, she cannot move out of her house and away from the man who's making her life miserable. So begins Bree's obsessive new mission: to drive Chip out of the neighborhood—and fast. Bree isn't the only one who's a wee bit competitive, and as Chip registers what Bree's up to, he's more than willing to fight fire with fire. But as their pranks escalate, the line between love and hate starts to blur. Good fences make good neighbors—and sometimes love and hate share a backyard. Sweet, stand-alone romantic comedy Book length: 77,000 words Includes discussion questions for book clubs




Howdunit: A Masterclass in Crime Writing by Members of the Detection Club


Book Description

Winner of the H.R.F. Keating Award for best biographical/critical book related to crime fiction, and nominated for the Edgar Allen Poe and Macavity Awards for Best Critical/Biographical book.




A Romance


Book Description

Reproduction of the original: A Romance by Jean Paul




Reading the Romance


Book Description

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.




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