By Jill Barnett
"She had bewitched the main severe, snobbish, and good-looking Duke in England. Joyous MacQuarrie...the pixie-like, green-eyed good looks had seemed from nowhere and fell unashamedly into his fingers. And all that his society pals knew of the mysterious woman used to be that she was once Scottish and that her grandmother were a Locksley. Even her nice bloodline didn't make pleasure rather right sufficient to be a Duchess, yet a proud nobleman like Alec, Duke of Belmore, did as he pleased...and he desired to marry the gorgeous lady who aroused his hope.
But Alec quickly stumbled on he couldn't do what he proud of pleasure Fiona MacQuarrie. effervescent with laughter, choked with spirit, she grew to become stately Belmore Park the wrong way up with merriment and unusual occurrences. She may well also have gotten Alec to chortle -- and to cherish her -- if it had no longer been for the reality she concealed. notwithstanding he grew to become to fireside while he tasted her petal-soft lips, he grew to become to ice whilst he chanced on that this winsome woman used to be, in reality, a witch. A witch whose powers of white magic weren't continually completely lower than control....Too overdue, pleasure knew she was once desperately in love and that not anything may cease the process their future -- the scandal threatening to ruin her and the fervour that held them either spellbound in a forbidden, impossible to resist fit of 2 enchanted hearts.
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Additional resources for Bewitching (Bewitching and Dreaming, 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.
Bewitching (Bewitching and Dreaming, Book 1) by Jill Barnett