Lucy Parker’s Headliners flows out of the events of London Celebrities #4, The Austen Playbook, and the goodness of the former flows like honey out of the latter’s wonderfulness. (Did I maybe love it because it cleansed the reading palate with joy after my dour Jean Brodie read? I don’t think so.)
Parker cleverly situates the great betrayal, in this case committed by the hero, in Playbook‘s events. Journalist Nick Davenport exposed Sabrina Carlton’s father and grandmother’s deception in a news “scoop”, showing the artistic London world that Sabrina’s grandmother was the plagiarist of a famous play, The Velvet Room, a fact her father kept secret and benefitted from. It’s hard to fault someone for doing their job well, but the innocent hurt parties, journalist Sabrina and her actor-sister, Freddy, were the media circus’s reputation-destroying skills’ sacrifices. Nick isn’t proud and he is apologetic. He too lost something: his best friend, theatre critic “Griff” Ford-Griffin, in love with Freddy and now her fiancé. When Headliners opens, however, it isn’t only Sabrina’s career that has nose-dived; Nick’s night-time serious news program is gone. Sabrina and Nick are given an opportunity for career redemption when they’re asked to co-host a flagging morning show. If they can keep their tempers in check, not hiss and snap at each other, they can revive their careers and return to prime-time fame out of the morass of media notoriety. Two long-time rivals have to cooperate for the sake of their formerly successful careers. Can they do it, can they keep volatility in check? Continue reading
Lucy Parker writes one of my favourite contemporary romance series, “London Celebrities,” with heroes and heroines as denizens of London’s West End theatre scene. In the series’ fourth volume, however, the West End is in the background. Heroine-actress Freddy Carlton (for Frederica, a nod to Heyer?) joins the cast of a “digital mash-up of characters from different Jane Austen books, transplanted into a murder-mystery, house-party scenario. Outcome guided by the choice of the player,” that is, the televison and app audience. All taking take place on a estate, à la Downton Abbey. The estate, 16th-century Highbrook Wells, magnificent and crumbling, is the mortgaged-to-the-gills family home of acerbic theatre critic and Freddy nemesis, James “Griff” Ford-Griffin. Griff can’t afford to say no to the “digital mash-up” and the company of actors, Freddy too, arrives at Highbrook as if it’s Elsinore. Put Griff and Freddy together in this enforced intimacy and let sparks fly: antagonists to lovers, opposites-attract denying their attraction. Not really. This isn’t a criticism. Parker hasn’t written what at first appears to be your romance trope of antagonists-to-lovers. No matter how witty and thick the banter ( it is fabulous), Parker juggles three simultaneous narratives, of which the romance between Freddy and Griff is the gentlest, the most assured of a positive outcome.
I cannot begin to describe how much I loved Parker’s first two books in the London Celebrities series. Act Like It edges out Pretty Face by a hair’s breath as my favourite. My love for the first two was followed by my anticipation for the third, Making Up. I built up a lot of excitement and eagerness to get to Making Up and I dug in with the reading hunger of a Crusoe presented with his first home-cooked meal. I’d encountered Parker’s leads in previous books and loved them: Pretty Face Lily’s pixie roommate, Beatrix Lane, and a giant of a make-up artist, Leo Magasiva. They were familiar, beloved, and would make my Kindle emit sparks with their charm – my reading immersion would be complete. (For now, let’s say there was mild glow emanating from the Kindle; sparkly territory, we did not reach.) Making Up opened with Parker’s snarky humour, which I’d come to love in the two previous books: sharp, witty, quick banter, self-deprecating barbs, and a backstage irreverence that only people who perform for a living can understand, face forward, wild, sweaty groping awkwardness to get there. Continue reading
Miss Bates rolled joyously around in Lucy Parker’s romance writing like the first touch of clean sheets. Before reading Pretty Face, she listened to Act Like It. MissB. is a fickle rom-reading mistress, rarely glomming, as she did when she first started reading rom ten years ago. But Parker’s original setting, flawed, likeable characters, and witty writing, who still manage to be heart-tugging and romantic, captured and held on for two days of continuous listening and reading. Though this review will focus on Pretty Face, everything she says about it applies to Act Like It (with the exception of one of the best audio-book narrators Miss Bates has ever listened to). Like Miss B’s Ruby Lang discovery, Parker made it onto a “not-to-be-missed” romance writer list by page three of Pretty Face and oh, ten minutes into Act Like It. There be many reasons why MissB. liked Parker’s work, but she’ll start with setting. Original, engaging, charming, Parker’s novels take place in London’s West-End theatre district, amidst actors, agents, directors, celebrity gossip-rags, and paparazzi bulb-flashes. Kudos to Ms Parker for normalizing the scene, for eliciting sympathy for the “pretty faces”, male and female, with their vulnerabilities, weaknesses, insecurities, and ordinary yearning to love and be loved, find a life-partner, and enjoy understanding, support, affection, and tenderness. Continue reading