Get And Then She Fell (Cynster, Book 20) PDF

By Stephanie Laurens

ISBN-10: 0730496724

ISBN-13: 9780730496724

"*New York instances* bestselling writer Stephanie Laurens returns to a different completely impossible to resist department on her liked Cynster genealogy in *And Then She Fell.*

Set in Regency England, London’s Henrietta Cynster, often called “The Matchbreaker” has a distinct expertise for with the intention that undesirable marriages by no means occur. After breaking apart one ill-suited couple, Henrietta is obligated to discover the suitable bride for the debonair James Glossup. 

The task proves to be a demanding one for the single-minded Henrietta, who believes that discovering love isn’t in her personal stars. yet Henrietta discovers—in spite of her own denials of love—that either she and James are indubitably interested in each one other.

Fans of Stephanie Laurens’s Cynster books and readers of shrewdpermanent and compelling historic romances can be transported and entertained by means of *And Then She Fell.*


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Extra resources for And Then She Fell (Cynster, Book 20)

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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And Then She Fell (Cynster, Book 20) by Stephanie Laurens

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