By Connie Brockway
"A lady forced. . .
In the glittering international of Regency England, Anne Wilder performed a deadly game. A widowed woman through day, through evening she turned a masked thief preying on society's elite. She roved excessive above London's black rooftops, pressured via phantoms from her earlier to take ever better risks. Until her stressed spirit led her into Colonel Jack Seward's capture. . . the place seduction used to be her purely manner out.
A guy obsessed. . .
She'd performed him for a idiot, benefiting from his hungry reaction to flee from his clutches. But as Jack searched for his thief, his center fell captive to a self-possessed widow. Torn among illicit ardour and smooth love, Jack is duty-bound to trap the audacious legal, whether it potential ripping society aside to do so. Now he stalked her during the *ton,* by no means knowing the beautiful widow who captured his middle used to be an identical lady who roused his such a lot violent passions.
A love that confounded king and nation. . .
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Additional resources for All Through the Night (Royal Agents, Book 2)
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.
All Through the Night (Royal Agents, Book 2) by Connie Brockway