By Teresa Medeiros
"**AWAKENED through A KISS**
Laura Fairleigh wishes a husband. If she is to maintain a roof over her siblings’ heads, the prim rector’s daughter needs to wed by means of her twenty-first birthday. whilst she unearths a mysterious stranger with the face of an angel and the physique of Adonis subconscious within the woodland and with out reminiscence of his identify or his previous, she makes a decision to assert him for her personal. Little does she be aware of that her fallen angel is actually the satan in conceal.
Sterling Harlow, the infamous rakehell often called the “Devil of Devonbrooke,” awakens to the mesmerizing kiss of a stunning younger lady who informs him he's her long-lost betrothed. together with her sun-kissed cheeks and smattering of freckles, she seems each inch the blameless, yet her curves own a woman’s attract. whilst she assures him he's the ideal gentleman, he wonders if he’s misplaced his wits in addition to his reminiscence. He might have sworn he was once now not a guy to be happy with mere kisses—especially from lips as candy and luscious as Laura’s.As he makes an attempt to discover the reality ahead of their marriage ceremony evening, **A Kiss To Remember** ignites a keenness neither of them will ever be capable of forget....
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Extra resources for A Kiss to Remember (Fairleigh Sisters, Book 1)
So begin by locating the ordinary preposition, and its cliché: This I took for a sign that he had himself something to produce and that we should only have to wait. We waited in fact till two nights later; but that same evening, before we scattered, he brought out what was on his mind. ” So do what James does, and replace the preposition “on,” with one from the list on page 41: We waited in fact till two nights later; but that same evening, before we scattered, he brought out what was in his mind.
And yet, across, on that southern shore, an ancient two-story wood-frame house rests on a structure of tangled steel, of wood and earth and sacks of sand, like a two-story bird with split-shake feathers, sitting fierce in its tangled nest. The point is, good writers do more than simply conjure up clever comparisons for the things they describe; they couch those comparisons in language that relates to them or is suggestive of them. Let’s try one ourselves. Assume the subject about which we are writing is an asylum, and we are in search of a title.
For instance, what do you make of this: Are we human, or are we dancer? Notwithstanding the confusion in meaning, you’d think The Killers would have enough grammatical sense to change the word dancer to its plural form, Â�dancers. I mean, really, why would anyone speak like that? Who do The Killers think theyÂ€are? But when you think about it, if we can be human, and not necessarily humans, then why can’t we be dancer, and not necessarily dancers? The point is, plurality is relative. You can change it to give your prose a special feel.
A Kiss to Remember (Fairleigh Sisters, Book 1) by Teresa Medeiros