A Night Like This (Smythe-Smith Quartet, Book 2) - download pdf or read online

By Julia Quinn

ISBN-10: 0062072919

ISBN-13: 9780062072917

Nora Roberts calls Julia Quinn’s novels, “Delightful.” the number 1 New York occasions bestselling author of the impossible to resist Bridgerton kinfolk, Quinn bargains old romance readers new delights with A evening Like This—the moment publication (following the exceptional Just Like Heaven) to add the affairs, romantic and melodic, of the endearing, if painfully untalented, Smythe-Smith musicians. On A evening Like This in Regency England, whatever can ensue, particularly while a stunning pianist sitting in on the annual Smythe-Smith musicale catches the attention of a haunted, hunted guy in determined desire of redemption. there's easily no writer within the realm of historic romance fiction warmer than the notable Julia Quinn—and somebody who has ever been swept away via the affection tales of Amanda fast, Lisa Kleypas, or Jill Barnett will cherish A evening Like This.

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Extra info for A Night Like This (Smythe-Smith Quartet, Book 2)

Example text

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 they€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.

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A Night Like This (Smythe-Smith Quartet, Book 2) by Julia Quinn


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