His Diamond of Convenience

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His Diamond of Convenience coverA recent trip meant lots of reading in a short period of time. On one flight, I enjoyed the gentle realism of Donna Alward’s Almost a Family followed by the playful Playboy’s Proposal, from Ashlee Mallory. A few days later, it was much further into escapism, with His Diamond of Convenience, from Maisey Yates.

His Diamond of Convenience is a 2015 Harlequin in the Presents line. Yes, there is still a market for stories of idle rich virgins meeting idle rich macho men in exotic locations for hot kinky sex, leading to marriage. It’s not my cup of tea, and I’m tempted to say that if you removed the sex and made the woman poor, this could have been written decades ago, but on second thought, that’s not true.

Victoria was in her teens when she was romanced by an older man, who used her infatuation to learn about and take over her father’s high-end retail clothing business. The loss did not bring poverty. Now in her late twenties, she lives, quite well, off income from investments purchased with a loan from her trust fund, and occupies her time serving on the boards of charities. However, her relationship with her father was damaged, as was her trust in men. A later arranged marriage to European royalty failed spectacularly when her intended prince ran off with the matchmaker, further lessening her interest in romance. She’s all business, and her goal is to get her family company back.

Dmitri is a former prize fighter, from Russia, now living off the businesses he purchased with his winnings, including a chain of gyms, and the business once owned by Victoria’s father. His rowdiness and womanizing is often in the press, which is making it difficult for him to start a children’s charity in memory of his mentor. Victoria finds Dmitri, and offers him a deal: They’ll pretend to be engaged, to clean up his image, and she’ll use all her charity and society connections to launch his charity. In exchange, he’ll give her the former family business.

After a racy meet cute, this settles down to a ‘marriage of convenience turns into marriage of love’ story. And while our hero is immediately presented as extraordinarily crude and obnoxious, his tender side is already known to the heroine and presented in his introduction. This does not leave much room for character revelations and development. However, there is good tension as our couple give in to propinquity and come to terms with the notion of a long term relationship, something new to each of them. Though he is coming from one-night stands, and she is coming from betrayals, their common obstacle is trust.

I’m not sure I buy how quickly both learn to trust, as usual I’m annoyed by first-time sex being fabulous, and while the minor kinks (public sex and bondage) are narratively appropriate, they still seem a little out of place for people who barely trust each other. Perhaps I’m just being old-fashioned, assuming first-date sex should be vanilla, and my dislike of wealthy characters probably reveals a personal bias. On the other hand, maybe it’s a valid plot hole that wealthy Dmitri could have started offering discounts at his own gyms, instead of going the children’s charity route and relying on other people to fund his dreams, boost his reputation, and lower his taxes. At least he’s only targeting the 1% (yes, that phrase is used).

For all this story’s dated romance trappings, it’s not one that could have been written a few decades ago. His Diamond of Convenience is a woman rescuing a man.  It’s almost a role reversal, in that the hero cannot redeem himself and achieve his goals without the help of the strong heroine that walks into his life, and tells him what to do. She’s the Victorian angel in the house, but she’s also clearly in charge of more than the domestic sphere. He acknowledges as much when he suggests how she can indicate when she is ready for a sexual relationship (though it does not take long), and throughout the story she represents the couple in public.

I appreciate the role reversal, but I still prefer stories where no-one needs to be rescued, and I prefer more ordinary characters, for whom losing or gaining a business has financial consequences. So why did I read this? It was in a free library, any book is better than no book, and it made a couple of hours in an airport much more pleasant. And now it goes to the laundry room in my apartment building, to bring a couple of hours of pleasure to someone else.

 

 

The Playboy’s Proposal

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Cover - Playboy's ProposalThe Playboy’s Proposal, by Ashlee Mallory, is a 2016 publication from Entangled, a romance publisher.

Benny, a doctor, has recently finished her residency, and celebrated by moving into a new high-rise condo. Unfortunately her neighbour, Harry, has a reputation as a local playboy, and often has loud, late parties. He also parks in her spot. Late one night, she visits him in a too-cute meet: While the young and beautiful are enjoying the party, she slinks in, wearing revealing pajamas, disheveled, complete with dinosaur slippers, in a scene that unfortunately reminded me of Rosemary entering the party at the climax of Rosemary’s Baby. Benny gives Harry piece of her mind, and threatens to go to the condo board. For reasons not entirely clear, Harry is promptly smitten with her. Perhaps it is simply seeing a woman not all dressed up or otherwise keen to impress him.

Harry is suddenly required to shed his playboy image. First, the condo board warns him of escalating fines and possible eviction for complaints against him. Second, the ad agency he works for is hoping to land a client with a strong family values outlook, and wants him to settle down. And third, he’s required to look after a young niece for several days. No more parties, and he starts parking in his own spot.

A minor accident means Harry takes his niece to the nearest clinic, and the attending physician is none other than Benny. At the clinic, Harry notes Benny’s plain Jane approach to appearance, and clumsy attempts to flirt with another doctor. He proposes a deal – he’ll package her so she can get a date with the obvious object of her affections, in exchange for her dropping all complaints about his behaviour.

If you know any version of Pygmalion/My Fair Lady, you know what happens next. To help speed Harry’s conversion along, Benny has a large and happy family, who welcome her new friend Harry (and several siblings have been recently married – a series, of course).

The story is definitely light, and heavy on the coincidences, but it’s a fun quick read, tempered with a few serious and sentimental notes. Both characters grow, predictably and rapidly, though it’s nice to see it on both sides, and Benny is a reasonably strong and independent woman. I can accept that her position in her family, and her focus on her career, might have left her less concerned about appearance and social graces – and while Harry teaches her these things, the plot makes it clear that these are secondary to inner qualities. The story is well told, and the heat level is just right. There are several funny scenes where Benny deals with trying to date her doctor friend while Harry both helps and hinders. I’m looking forward to reading about the other members of Benny’s family.

Almost a Family

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Almost a Family coverDonna Alward’s Almost a Family is a self-published romance from 2014. I’m a fan of Alward, and the gentle mix of realism and fantasy in her books. This one did not disappoint, though it sailed dangerously close to cliché a few times.

Molly and Jason were high school sweethearts, and lovers through university, but when Jason proposed, Molly said no. Jason had their life together completely planned, and she had her own dreams.

Molly goes to law school, and settles in Calgary, a successful corporate lawyer. Jason goes to veterinary college, and returns to Fredericton to work at a clinic. Six years pass. Jason pines for Molly, and Molly focuses on her work.

Then Molly’s sister, Kim, is badly injured in a car crash. Kim is a single mother, and asks Molly to come back to Fredericton to look after her three-year-old daughter Sarah. Kim doesn’t tell Molly that Jason now lives next door, and is already helping look after Sarah.

The set-up ensures that Jason and Molly are thrown together, with a shared goal of looking after a child. It’s what Jason always wanted, and a trial run of family life for Molly. She likes it, but the old problem of Jason dictating how their relationship should go reminds her why she left in the first place.

As usual, with a couple who have been apart for years, I wonder why neither of them moved on. Molly has done some non-serious dating, and Alward delicately implies that she has not spent every night alone since Jason. However, Molly does not want a relationship, and is focused on her demanding career. Corporate law offices are not known for encouraging employees, especially women, to have lives apart from work. Jason wants a wife and children, but has made very little effort to find someone else. His devotion is somewhere between romantic and creepy.

With Jason and Molly back together, there are lots of happy memories recalled, and lots of sexual tension and suspense. Our couple repeatedly find themselves a little too comfortable with each other. To stay together, one or both are going to have to compromise, but who, and how much? I was afraid it was going to be Molly, giving everything up for Jason, since she so readily takes on the mother role, and starts to doubt the path she is on.

Molly starts off as a successful career woman who enjoys expensive hotels, fine clothes, and expensive make up. She has no idea how to look after kids and is challenged by baking cookies. In a few short weeks she decides there are things more important than a high-paying career. It always bothers me when a plot pushes a working woman into being a proper wife and mother. However, Molly’s reconsideration of priorities is organically motivated by a sobering and wonderfully understated plot point, and accommodating Jason and his plans is the last thing on her mind.

In the end, both characters make decisions based on growth they have experienced, and the compromise is more complex than I feared it might be. Unfortunately, the final scene, set at an airport, also has clichés I’ve seen in too many movies, and you don’t have to be reading the book on a flight, as I was, to be aware if how unlikely it is to be heading for security screening when they call boarding for your flight.

In among the too-cute kid scenes and too-good-to-be-true family moments (family sledding invariably includes crying from cold, tiredness, and/or injuries), the platonic relationship between Jason and Kim, Molly’s sister, stands out for its realism and depth. These two people deeply care for each other – heck, they love each other – but as friends, notwithstanding an awkward moment or two that makes their relationship more real. The friend relationship also complicates the relationships between the siblings and the lovers.

One of the reasons I love romances is that they show happy endings for lovers – it does give one hope. Family reconciliations, in this case between the sisters, are another common and hopeful feature. In Almost a Family, Alward shows a third happy situation – a close relationship between a man and a woman who are friends. Jason and Molly have their romantic HEA, but it was the love between Jason and Kim that left me weepy.

As I write this, the book is free on Amazon (click the title above), and if you are weary of millionaire muscled heroes or scene after scene of sex with little else (or even if you are not), I strongly recommend it as an introduction to Alward.

Royal’s Bride

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Royal's Bride cover imageAfter reading Kat Martin’s Royal’s Bride, a 2009 book recently republished by the upscale Harlequin imprint Mira Books, I had two thoughts. First, this is great, and second, this wonderful mix of melodrama, passion, and realism seems familiar. That’s because I read another Martin, Heartless, about a year and half ago, and loved it too.

The story opens in 1854. The three sons (a trilogy, of course) of the Duke of Bransford have gathered at his death-bed. The estate has fallen on hard times, and the Duke has arranged for his oldest son, Royal, to marry Jocelyn. Jocelyn’s family has money, and by marrying him she’ll become a duchess.

Royal’s been out of the country for a decade, after looking after the family holdings in Barbados, and is reluctant to marry a woman he’s never met. But when he rescues her from a carriage accident on the way to his castle, it’s love at first sight. Unfortunately, the lady in the carriage is not his intended. Lily is a poor cousin and good friend of Jocelyn’s, living with Jocelyn’s family and sent early to prepare everything for the rather fussy Jocelyn.

Lily is technically a lady, in the same class as Jocelyn, but after the death of her parents she spent some time among the poor. Though she’s not opposed to marriage, her goal is to open a hat shop, and support herself. Royal admires this, establishing himself as a modern progressive hero. He is no stranger to improving oneself through industry. He desperately needs Jocelyn’s money, as his late father incurred large debts under odd circumstances, but he’s also engaged  in projects such as starting up a brewery.

Thus the triangle is established – Royal must marry Jocelyn, but loves Lily. Lily loves Royal, but knows it can never be. And Jocelyn wants her title. Then the plot thickens: Jocelyn can tell Royal has little interest in her, and begins an affair with Christopher. She reasons, quite logically to my mind, that men sleep around before marriage, and even have mistresses, so why shouldn’t she have a little fun, before and after her marriage, especially since her future husband seems uninterested in her. And Lily, aware of Jocelyn’s activities with Christopher, feels less guilty than she otherwise would about time with Royal, but still keeps her activities secret from Jocelyn, assuming that the arranged marriage will go ahead.

Meanwhile, Royal learns that his father was defrauded by a con artist, and while no legal action can be taken against him, Lily has memories of cons, and an uncle with connections among less respectable folks. A scam the scammer plot unfolds while our couples try to sort out their relationships. The possibility of Royal getting back some of his father’s lost money might free him to marry Lily, but Jocelyn wants her title, and while Chris enjoys her company, he does not want to marry her, as he cannot give her what she wants.

The women are strong and determined characters, and Martin does a great job of making the ambitious Jocelyn both sympathetic and unpleasant. The men are decent, and roguish without being repulsive. The plot nicely addresses questions like why now (often unanswered when a couple suddenly come together), and backs up the meet cute with solid reasons for our couple to be attracted to each other.

The settings move from society balls to grimy taverns, and every single plot thread is tied up in a neat ribbon, complete with an unnecessary epilogue that sets up the next story.  That’s excessive, but tolerable. It’s a fun, fast-paced read that seems shorter than its 400 pages, probably due to the multiple sources of suspense, and having two couples doubles the opportunity for delicious and mostly scandalous steamy scenes.

The MacGregors: Rebellion

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Cover - Nora Roberts - RebellionI’ve never read Roberts before, though I know the name. I didn’t associate her with Romance novels, but instead with the sort of works published by Harold Robbins and Jacqueline Susan. That may sound a bit snobby, particularly coming from a fan of category romance, not known for its great literature, but I prefer works that are a little less sweeping, dramatic, and long. The MacGregors: Rebellion is over 300 pages of sweeping drama, with a curious conclusion (which I give away, so stop here if you don’t like spoilers).

The story opens in 1735, in Scotland, where young Serena witnesses the rape of her mother by a British officer, and we’re off to a bad start. I know bad things happen, and this is to give Serena more than the usual reasons to dislike British men, but presenting this as prologue rather than a flashback makes it more immediate than it needs to be, and it sets an unpleasant tone for the story. Perhaps that tone is justified. The plot revolves around the Jacobite rising of 1745, which led to much bloodshed. Roberts has done a lot work to incorporate real events into her story, including the flight of Charles to the Isle of Skye, but it’s a grim setting for romance.

After the prologue, the story jumps to 1745, and Serena’s brother returns home with an English friend, Brigham. He is attracted to Serena, and she wants nothing to do with him. Serena’s a strong woman, which is good, but Brigham does not take no for an answer. Literally. So begins a tiresome courtship, where she is repeatedly overwhelmed by him, and he constantly pushes past her boundaries. This is an older story, from 1988, and perhaps that explains the unenlightened approach.

Apart from being unable to control himself around Serena (sigh), Brigham is a decent sort – intelligent, kind to her siblings, and so on. As proof of his goodness, he tracks down and kills the man who raped Serena’s mother. And I am supposed to be happy about this? Frontier justice, and winning a woman by killing another man?

Serena and Brigham have their wedding relatively early, and the rest of the story is the gruesome outcome of the Battle of Culloden. Serena and Brigham flee to America, which solves the problem of her not wanting to become a courtly lady, but means the American Revolution clouds their later years. Perhaps a lesson of the story is that romance happens anywhere and everywhere, but the story’s emphasis on the unpleasant realities of war distracts from the romance, such as it is.

In happier news, I won a free tote bag from Mills and Boon, for retweeting one of their announcements! It’s just a tote bag, but it’s always fun to win something. And, half-way through the year, I’m still on track for working an hour every week on Romance 1. I did miss a week, a few weeks ago, but made it up yesterday. An hour a week is a long way from the eight hours a day that Nora Roberts apparently puts in, but for some reason a lesson I learned from archery training comes to mind: Don’t worry about where you hit the target, just work on consistency.

The Little Old Lady Behaving Badly

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Cover - The Little Old Lady Behaving BadlyA friend is convinced we need more romance novels featuring characters in their 50s and 60s, instead of their 20s and 30s. In other words, our ages, as opposed to the ages of our children. I disagree. I reject a simplistic model of literary identification, where we identify with characters who are like us.

A major pleasure of literature (and film) is identifying with characters who are not like us (and a challenge for all authors is to encourage that identification).  Second, while we grudgingly acknowledge that our bodies are not quite they same as they were decades earlier, we generally don’t think differently. We may approach a new relationship with some experience in matters of the heart, but that rarely makes it any easier. It always “feels like the first time.” (My goodness, is that song really 40 years old?) And it has not escaped my notice that the Harlequin Next imprint did not last.

As an example of a romance featuring older characters, I was introduced to The Little Old Lady Behaving Badly, by Catharina Ingelman-Sundberg (and translated from Swedish by Rod Bradbury). This is one in a series of stories featuring The League of Pensioners, a group of elderly folks who rob banks and commit other crimes to stave off boredom and help others.

The plot is a series of capers, from robbing a bank to defrauding Russian oligarchs, mixed with various other endeavors to improve life for older folks and low-paid health care workers. These include opening a restaurant and creating a dating app. There are also two romance sub-plots.

Despite the large cast and many activities, or perhaps because of them, the pace occasionally sags over the almost 500 pages of this book. On the first page, some awkward character introductions suggest I should have started with the first book in the series, The Little Old Lady Who Broke All the Rules.

Capers are distinguished by humour, but after too many close calls with resolutions in the tradition of cozy mysteries, attempts to build suspense are not taken seriously. There is some satisfaction in seeing a feisty older woman raise the rip-off stakes after ill-mannered mobsters ridicule her age and appearance. This is one of several fun episodes.

Much of the story milks the joke of seniors being unexpectedly devious and clever, and while it’s good to remind folks that not all seniors are contentedly slurping down mashed peas in nursing homes, constantly bringing that up as the contrasting normal actually reinforces the stereotype. The romance subplots are less comic, more realistic and therefore more effective at reminding readers that romance is for all ages – if anyone needed reminding. I had no problem identifying with Martha and her romantic concerns, though she is several decades older than me.

This is a cute but not entirely satisfying book. I’m sufficiently intrigued to consider reading the first one, as I expect that might have more character depth. It may also have the first meeting of a couple who finally formalize their relationship in this story. Meanwhile, here are some other possibilities for romances featuring older couples:  http://www.booklistreader.com/2015/10/01/book-lists/age-is-just-a-number-romance-novels-with-older-couples/

What We Find

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What We Find coverJust like Sleepless in Manhattan, What We Find, from Robyn Carr, is a 2016 mirabooks imprint from Harlequin, and first in a series. However, What We Find is drama, not comedy. No worries about too much rom-com here. Instead, I found the book alternately frustrating and wonderful.

Maggie is a thirty-six-year-old neurosurgeon in Denver. She’s facing a malpractice suit, and various legal and financial complications from a collapsed group practice. She’s been dumped by her boyfriend of three years, after an accidental pregnancy followed by a miscarriage. Needing a break, she heads for her father’s rural campground, but her planned one week break extends into months after her father has a heart attack. Though it is early in season, the campground already has a resident of several weeks, a mysterious stranger named Cal.

The story is almost 400 pages, and gets off to a slow start. The opening chapter has multiple flashbacks to fill in various aspects of Maggie’s back story, and the plot occasionally detours to dwell on some aspect of character, or introduce characters who I suspect will turn up in later stories.

Once our couple have met, and are thrown together, things get more interesting. Maggie and Cal begin a relationship based largely on mutual sexual desire, and I like that Maggie is a woman who has enjoyed her share of sex, unlike many romantic heroines. I’m also amused that she’s long found the campground a good source of temporary male company, in part because my own Romance One heroine runs a campground, and takes the same pleasure in it.

The casual relationship that becomes something more is a common approach, but it requires a good explanation as to why this person, why now? Too often there is something magical about the other person that is never satisfactorily explained, but in this case it’s not just the other person, but the characters arriving at a point in their lives where they are ready for a more serious relationship and better able to choose a partner.

In this middle portion of the story, the driving question is how this relationship with Cal will go, complicated by the related questions of:

  • Who is Cal, where is he going, and will he come back?
  • What will happen with the malpractice suit?
  • When will Maggie go back to work?

This part of the story works really well, and I enjoyed reading it. But as matters started to get resolved, I became frustrated again. I’m not sure whether it was too many colourful characters, or too many plot detours, but the last straw was the discovery that a minor character’s back story included getting a free house. That’s when it dawned on me that everyone in this story is very rich.

Maggie is a neurosurgeon, and though bankruptcy is occasionally mentioned as a threat she faces, she never seems short of cash, and is able to leave work for an indefinite period to mull over her life. Family money paid for her education, so she never had the burden of student loans. The campground wasn’t the source of family wealth – she has her small-town hard-working simple life father to give her life advice, but also has a wealthy urban step-father, to give her money (and more life advice).

The campground isn’t poor though. It provides a comfortable living, to the point that the uninsured costs of a heart attack warrant no more than a mention that it’s costly. Then there’s Cal, who is also able to take months off to mull over his life, again thanks to unearned money, and, like Maggie, is able to return to the workforce on his own terms. Cal’s background, like Maggie’s, manages to combine wealth and homespun roots.

I’ve nothing against wealthy characters, but when they haven’t earned it, and a significant part of their character growth is deciding to slow down and enjoy life, because it’s the simple things that matter, I’m more exasperated than sympathetic. Maggie and Cal are wounded people with serious problems, but they are also extremely privileged, and they are blind to that.

What We Find is great romantic fantasy, with strong believable characters, but it’s also pastoral fantasy, supported weakly, and in any event a contradictory notion. A relationship is a particular and personal social contract, in that you exchange personal authority for other benefits. It is the opposite of the state of nature, the antidote to a life which Hobbes tells us is not just “nasty, brutish, and short,” as often mentioned, but also “solitary.” What We Find is trying to have it both ways, celebrating both the tamed and the untamed.

It’s unfortunate that the medical and legal realism, and the gritty tragedies of the characters lives, are undercut by their fantastical wealth. Apart from that significant flaw (and the sometimes leisurely pace), this is an enjoyable and well crafted story.

Sleepless in Manhattan

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Sarah Morgan’s Sleepless in Manhattan is another recent (2016) Harlequin that is discreet about its publisher. Like Lord of the Privateers and its Mira Books imprint, this one’s www.hqnbooks.com site redirects to Harlequin. This book is also part of a series, though the first, and it’s another second chance romance.

As the title suggests, this is a contemporary, set in New York City. In Morgan’s Forward, she notes that she loves New York, and that when she visits, “I always feel as if I’m walking onto a film set” because so many of her favourite movies are set there. I’ve never visited, but from seeing New York in so many movies it’s hard to believe it’s anything other than a film set, so I like her take on the city. And she says the setting worked liked another character. So I had high expectations for the portrayal of the city, but unfortunately they were not met.

Cities, especially New York, have both magic and grit. In Wish Me Tomorrow, I got a strong sense of that, particularly in the character’s residences. The heroine lives in a small shared apartment; the hero has a decent place in a building with a cranky elevator and power outages. The New York of Sleepless in Manhattan has the magic, but not the grit. Nowhere is this more apparent than in the residences.

The hero, Jake, lives in a modern Manhattan apartment where floor to ceiling windows provide a fabulous view of the Hudson River and the Brooklyn bridge. Paige lives in a Brooklyn brownstone, renovated into three apartments and owned by her brother, Matt, who lives in the upper two floors. Paige and her friend Eva share a one floor apartment, and their friend Frankie lives in the lower unit (and they all work together). The three women and Matt routinely get together on the lush rooftop garden for movie nights (often joined by Matt’s best friend – you guessed it – Jake). I’m sure places like these exist, but this is the New York of movies and dreams and very very rich people. A brownstone in Brooklyn is at least a couple of million dollars, and it’s questionable that Matt’s bought and renovated the place on his landscape architect salary (2017 average $56,738).

The cozy living arrangement, and limited use of other locations, gives the story a small town feel at odds with the setting, and weakens the romance story line. There are eight million stories in the naked city, but this one is about two people who met as teens, are already in love, already know all about each other, and see each other socially.

Just in case you are wondering where the eight million stories is from…

Since I’m going over what disappointed me about the story, I’ll also mention that the usual suspects were present – hero frequently has meaningless sex to distract himself from woman he really loves, heroine has minimal relationships while hoping to land the man she really loves, and there’s fantastic first time sex (hampered only by the hero’s apparently large penis). Matt and Jake both came from nothing to amass great wealth, especially Jake, and Paige’s new business becomes fantastically successful – after a money-is-no-object boost from Jake.

With that out-of-the-way, there were enjoyable aspects. The tone is light, and every chapter starts with a witty epigram from one of the characters. The plot starts with a wonderful dark note – Paige is expecting a promotion, but she and her friends are fired – and the writing is sharp. Despite the job loss and struggles to find new work, there is never any serious threat of poverty, and never any doubt that the couple will get back together.  The tension, such as it is, consists of wondering when Paige and Jake will get back together, how, how steamy and frequent the sex scenes will be (steamy, but not excessively frequent) and what might cause the climactic hiccup in the relationship. It’s enough to keep the story moving along, and the starting a business subplot dovetails with the starting a relationship plot.

Paige does get rescued by Jake, in that he suggests the three women start their own business, and he helps get the business going, but she’s independent enough to do it, and skillful enough to succeed once the business gets customers. There’s character growth too, mostly on Jake’s part, and it integrates well with the plot.

In Morgan’s afterword, she acknowledges receiving a 75 published titles recognition from Harlequin, and thanks her readers. Perhaps it’s all the references to movies, made by the author and the characters, but this story would be great as a romantic comedy film. That I can imagine these characters and the plot events as a film is a tribute to Morgan’s great story telling skills. However, for me, this story was a little too rom-com.

#amwriting update 3

DeGolyer Library, Southern Methodist University (source)

As promised, another update on the progress of Romance 1. Almost 1/3 through the year, and I’m still doing my hour a week – sometimes late Sunday night, but it’s getting done. Earlier this week I passed 14,000 words, which is still not the 20,000 of an earlier version, but these are better words, if I do say so myself. The early chapters are underwritten, so on revision it will be longer.

I am sticking to my outline for the timeline and most events, but fixing secondary character and setting issues as required. For example, my hero is engaged (to the wrong woman), and I had him receiving demanding phone calls from her, as well as his demanding boss. This was getting redundant, and I was having problems justifying why he ends the engagement, and quits his job. The solution was to make his girlfriend and his boss the same character. That solved both the redundancy and the motivation problems.

For this week’s chapter, I had to decide if my heroine and hero go to bed. It didn’t make any difference to the heat level, as I was not planning to write a sex scene if they did. Whether or not they went to bed was important – the mechanics of what they did, if they did, were not. The choice was between some heavy kissing in the hall, and then they go into her room, or some heavy kissing in the hall, and then they go to their separate rooms. They went into her room.

The first consideration was whether or not going to bed together would be in character for them. For her, yes. In a minor act of rebellion against too many heroines, even in contemporary romances, that lead sheltered sex lives while their lovers have enjoyed many casual flings, my heroine has had her fair share of fun. For him, yes, primarily because it’s a chance to throw plot rocks at him. He’s engaged, and starting to think he’s made a mistake. He has, but after going to bed with her, he feels guilty, which is going to push him back to the wrong woman and make the Happy Ever After harder to resolve.

The second consideration was how going to bed together might affect the plot. The next morning, she finds out that he lied about who he was, what he was doing, and that he was engaged. It’s a major betrayal of trust, but it’s so much worse if they’ve just slept together. I couldn’t resist the temptation to heighten the betrayal.

By the way, if you are wondering why he’s in her house in the first place, his truck was destroyed when the road washed out (and trapped them together).  I may be having too much fun with this….nah. No such thing. Hopefully it will be fun read, too.

Lord of the Privateers

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Lord of the Privateers cover imageStephanie Laurens’ Lord of the Privateers is a 2016 Harlequin from their Mira Books imprint. Mira appears to be a premium line for established authors. Although the web address (www.mirabooks.com) redirects to Harlequin, the book does not mention that it is a Harlequin. This particular story is a historical romance, but I’ve got another Mira Books title in my to-be-read pile, and it appears to be a contemporary. Lord of the Privateers is the concluding volume of quartet of stories, which means the hero has three brothers, all recently engaged. It works well enough as a standalone story, though it may have greater appeal for readers who want to find out what happens next with the other couples.

As this is a recent publication, I’m going to say spoiler alert right here, for those who feel such warnings are required. Come back after you’ve read it, and let me know if you agree with my comments.

I’ll confess starting with a bad feeling about the story, since it begins with a 7 page character list, and 3 pages of maps. Laurens is certainly a skilled writer, as far as the mechanics of writing go, and the heroine is the strong and independent type I like to see, but the plot was too drawn out and did not work for me.

It’s a second chance romance, with the couple getting back together after eight years. They were hand-fasted and planning to marry, but he went away on a government mission for months longer than expected, was unable to contact her, and when he did finally return she refused to see him. So the separation was based on a simple misunderstanding. Okay, I’ll buy that.

Royd runs a merchant ship, and Isobel is the hands-on heir to a shipyard – and they’ve been business partners for the last eight years. Wait, what? They’ve been working together for the last eight years, and haven’t cleared up that misunderstanding?

Royd is asked to go on another government mission, to rescue people kidnapped to work in an African diamond mine, and Isobel wants to come as she has a relative among the missing. As their ship leaves, they discover a stowaway – Isobel’s eight year old son. Royd had no idea. Huh? She’d wanted and managed to keep that a secret from him,  despite working with him, and moving in the same social circles? Now you’re starting to bug me.

(I sometimes do editing work for stories. Here, I’d suggest eliminating the child, and shortening the time apart. That would be more believable, and allow for more suspense about whether or not the couple will get back together. With the child being eight, and introduced as a stowaway, I was certain he’d be in peril later in the story, but nothing of the sort ever happens. His main plot purpose seems to be more motivation to bring the couple together, which isn’t needed given the minimal obstacles.)

The couple talk things over, all is forgiven, and we get a couple of steamy, detailed, multi-page sex scenes. I suppose I can’t complain about great sex on the first meeting, since they’ve enjoyed each other’s company before, but I can complain about the revelation that she’s been celibate since they parted, while “he certainly hadn’t been.”

There’s still some uncertainty on both parts, especially hers, wondering if she can truly trust him. And by now the plot is moving along in a quest structure, as they are enroute to rescue the kidnapped mine workers. So I keep reading, expecting for that trust to be tested. Nope. Doesn’t happen. The rescue goes almost exactly as planned, they travel back to England without incident (except for more sex scenes), and then there’s a second quest plot, as they arrange to entrap the masterminds behind the mine kidnappers.

By now the story seems more boys adventure than romance (except for the sex scenes and a couple of mission planning scenes I dozed through). Adventure stories are fine – I like Clive Cussler in small doses – but the adventure here is not suspenseful or risky enough to carry the story, especially in the absence of romantic suspense.

Despite the title, there’s no privateering in the sense of boarding ships and waving swords about. The mine rescue sequence could be exciting, but for the most part lacks suspense, and it’s very late in the story when some weaponry and heroics turn up. When the story finally ends, 500+ pages later, I feel like I’ve made it to the end of a disappointing date.