By Lynsay Sands
She by no means anticipated to marryAnnabel was once approximately to take the veil to develop into a nun,when her mom unexpectedly arrived on the abbey to take her domestic . . . in order that she will marry the Scottish laird whois betrothed to her runaway sister! She understands not anything aboutbeing a spouse, not anything approximately tips on how to run a household,and certainly not anything concerning the marriage bed.He by no means anticipated to fall in loveFrom the instant Ross MacKay units eyes on Annabel,he is occupied with his shy, candy bride . . . and the truth that she'sblessed with lush curves in basic terms makes him utter hisown prayers of thank you. but if an enemy endangers her life,he'll circulate the Highlands themselves to avoid wasting her. For thoughAnnabel's now not the bride he deliberate for, she's the one lady he wishes . . .
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Additional resources for An English Bride in Scotland (Highlander, 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.
An English Bride in Scotland (Highlander, Book 1) by Lynsay Sands