Now that Miss Bates has read her second Michelle Smart romance, she can say that Smart is writing some awfully interesting HPs. Plot- and convention-wise, her roms are made of melodrama and hyperbole, but they’re also wonderfully tongue-in-cheek aware of the HP’s tropes. In Married For the Greek’s Convenience, melodrama and hyperbole come in the form of the novel’s premise and hero’s and heroine’s fraught families. Elizabeth Young and Xander Trakas met, wooed, wedded, and consummated their love as just-past-teens ten years ago from the story’s opening. When it opens, bitterness reigns, especially for Elizabeth. Mere days after their Caribbean-beach wedding, Xander abandoned Elizabeth (ostensibly because he cared about her and was protecting her) and asked her to ensure their marriage was annulled. Now Xander needs Elizabeth. Firstly, he recently discovered the judge never confirmed the annulment. Secondly, he needs a “convenient” wife to present a respectable front to a judge who will decide whether he can retain temporary custody of Loukas, his eight-year-old nephew, while his brother and sister-in-law are recovering from addictions, so severe that SIL needs a liver transplant. Wow. Moreover, the people vying for Loukas’s custody? His cold-hearted, avaricious, negligent parents. Xander’s mother makes Cruella de Vil look like Florence Nightingale. Continue reading
(Dear Readers, Miss Bates continues to toil at the day-job above and beyond the call of duty. But when Friday night rolled around, she needed to put the feet up, brew the green tea, add the honey, and read the romance. It was a good one and there was late-night-in-bed reading. And this is why today, she offers her 300th review, compact as heroine Sierra West in Maisey Yates’s One Night Charmer.)
A Maisey Yates review is apropos for Miss Bates’s 300th. Yates is one of her favourite contemporary romance authors, balancing a visceral contemporary voice with traditional-values rom-HEA (marriage and babies). Her characters fall in love, work things out, and commit, but also go on a journey that transcends their weighed-down-with-negativity past. This is no less true for One Night Charmer than all the fabulous Copper Ridge novels and novellas. Moreover, One Night Charmer‘s elements are missbatesian rom-nip: an older, surly hero, wounded and jaded, a “bouncy”, smart ingenue heroine, drunken sex, the wages of sin, marriage-of-convenience, and a baby-filled epilogue. Continue reading
Miss Bates loves the opposites-attract romance trope, especially when the hero’s and heroine’s surface characteristics mask their opposites. Opposites-attract “squared” describes Sabrina Jeffries’s second Sinful Suitors 1830-set romance, The Study Of Seduction. “Grumpy Edwin” Barlow, Earl of Blakeborough, pits himself against “frivolous beauty” Lady Clarissa Lindsey, his sister’s best friend. In time, Edwin reveals a wicked wit and Clarissa, a gravitas borne of pain.
Edwin is a member of the St. George’s Club, a gentleman’s circle dedicated to protecting their families’ and friends’ women from scoundrels, socalled “sinful suitors.” Edwin’s friend, Warren Corry, Marquess of Knightford, Clarissa’s cousin, has watched out for her and her widowed mother, Lady Margrave. Knightford is called away to the continent to help Clarissa’s brother, Niall. Edwin and Clarissa, long-acquainted, have sparred and jabbed at each other since Clarissa and Yvette, Edwin’s sister, tittered, gossiped, and shopped together. Edwin’s steadfast, stodgy, introverted propriety rubs Clarissa’s social butterfly effervescence and flirtatious energy to poke and prod at his restrained demeanor. Nevertheless, Edwin insists he take Knightford’s place, protecting Clarissa from a stalker. Count Geraud Durand, France’s chargé d’affaires, follows, goads, importunes, and forces his unwanted, oily attentions on Clarissa and infuriates Edwin.
Jennifer Hayward’s Carrying the King’s Pride, first in the Kingdoms and Crowns series, opens with a break-up. ” ‘We should end it now while it’s still good. While we still like each other. So it doesn’t get drawn out and bitter. We did promise ourselves that, after all, didn’t we?’ “, says heroine Sofía Ramirez to lover and hero Prince Nikandros Constantinides. Hmmm … then, they have mind-blowing sex, “exit Sofía”. Whirl-wind sex is followed by a dizzying sequence of events: Nik’s brother dies, father suffers massive heart-attack and Nik’s spare-heir, billionaire-businessman-playboy status goes down like ebbing fireworks. Meanwhile back in Sofía-World, our heroine is working hard at her fashion-design and boutique business and eating A LOT of chocolate. Poof, add a little nausea and Sofía is preggers. Little does she know … Nik had her watched all along and knows immediately when she sees a doctor to confirm the pregnancy. He flies back to Manhattan and scoops her away to his Akathinian island-kingdom-paradise. All improbably delicious events and the premise to Hayward’s marriage-of-convenience romance: how can King Nik, though engaged to a Countess whose family’s wealth can save the island-nation, give up his heir? He can’t, of course, but fully expects Sofía to give up her life to marry him. Sofía puts up a feisty fight. Alas, she loves the arrogant ass and wants to have this baby too.
In keeping with its melodramatic ethos, the HP romance thrives on a good revenge story. Revenge is lurid, dramatic, passionate, and more tangible than hate. Hate is nebulous; revenge is concrete and action-driven. New-to-Miss B. Michelle Smart’s Wedded, Bedded, Betrayed is powered by the hero’s vendetta against the heroine’s family. Gabriele Mantegna served two years in prison to save his innocent father from doing so. When he emerged, his father was dead, mother a ghost of her former self, fiancée a no-show, and business, Mantegna Cars, rudderless. For the next four years, Gabriele pursued “a subtle one-man vendetta against” the Riccis, the family who set up his father to take the fall. One night, seeking incriminating evidence at Ignazio Ricci’s Caribbean island villa, Gabriele rescues a maiden-waif captured by thieves. This woman-sprite is Elena Ricci, Ignazio’s beloved, over-protected daughter. What sweeter revenge than blackmailing his enemy’s precious princess into marrying and bedding him? Otherwise, Gabriele exposes her father’s corruption. When desire and love enter a picture where they had no place, what is a wrong-headed alpha-hero to do but the dumb-ass thing – cling to revenge and vindication. Continue reading
Donna Alward is one of Miss Bates’s favourite category romance writers, How A Cowboy Stole Her Heart one of her favourite romances. Miss Bates has reviewed wonderful Alward roms, including 2014 fave, Her Rancher Rescuer. In The Cowboy’s Convenient Bride, Alward tackles a contemporary marriage-of-convenience romance. It’s spring in Gibson, Montana, and ladies’ man Tanner Hudson is “sick of the bar scene”. Tanner’s wife left him, claiming he was “built for fun, but not for a lifetime.” Since then, he hides his yearning for love and commitment behind a loose-and-free persona. Laura Jessup is town pariah because she slept with Gavin, golden-girl Maddy Wallace’s husband. Gavin died and Laura is mama to four-month-old Rowan, apparently Gavin’s daughter. Appearances are deceiving, however, because Gavin was a friend, offering his lawyer-services to help Laura extricate herself from drug-dealing boyfriend Spencer. Spencer was in jail when EMT Tanner helped Laura give birth: ” … she vaguely remembered pleading with him to stay with her. She’d felt so alone, so afraid, so … adrift”. Laura breaks down and tells Tanner the truth, also confessing she fears Spencer discovering Rowan and pursuing them: “If Spence ever found out that he had a child … It would be nothing short of a nightmare.” Kind, chivalrous Tanner offers Laura a marriage-of-convenience to protect Rowan and allow Laura to establish her online website design business using Tanner’s name.
Sherri Shackelford’s The Rancher’s Christmas Proposal isn’t proposed by Shane McCoy, said rancher; rather, Tessa Spencer, our heroine, proposes. (A more original and interesting premise, but the word “rancher” in a title sells books. And Shackelford’s book deserves a readership.) Miss Bates is guilty of inspie romance assumptions (sadly proving true too often), which she extended to Shackelford’s unlikely pairing of con artiste and rancher. Inspirational romance characterization is one-dimensional: hero and heroine make Christian conversion avowals and Pollyanna-world reigns, making internal and external conflict caricaturish. Shackelford’s previous Prairie Courtships series novel, The Engagement Bargain, though not as fine as Rancher’s Christmas Proposal, contained this complexity of characterization in a sub-genre that sees so little of it. Continue reading
Miss Bates is going to miss this quote challenge, so much she might keep doing the occasional opening line review. And for this, she has to thank Willaful who nominated her!
Tonight Miss Bates indulges in rom-reader nostalgia. A chance purchase at the local Costco, Julie Garwood’s 2007 Shadow Music, and Miss Bates was thrown down a vista of years, over thirty, to her early adolescence reading of Kathleen Woodiwiss’s The Flame and the Flower. She’s never looked back. She scoured AAR lists for rom titles. One of the first she read after Garwood was Jennifer Crusie’s Bet Me, consumed, an apt metaphor, in one long languorous summer afternoon into early evening. It sent her to Crusie’s back-list; though Bet Me and Welcome to Temptation remain among Miss Bates’ favourite cerebral contemporary romances, it’s an early Crusie that serves as sentimental favourite. Miss Bates uses the term “sentimental” in the best way possible, as a book replete with sentiment, open and unabashed in celebrating the heart, wallowing in emotion. As Crusie herself wrote in the preface to a new edition, ” … if there was one thing I’d learned in my creative writing classes it was to avoid melodrama, to never be sentimental, to go for irony and detachment whenever possible, because otherwise I’d get killed in the critiques. But I think I knew all along I was wimping out, that if I’d had any backbone, I’d have gone first for the hearts of my readers, so I decided that for my first book for Bantam, I’d try something new, something different. Hearts would be touched, tears would be shed. By God, I was going to be emotional.” That book was The Cinderella Deal and its opening line is as good as any Crusie wrote:
The storm raged dark outside, the light in the hallway flickered, and Lincoln Blaise cast a broad shadow over the mailboxes, but it didn’t matter.
Miss Bates wended a weary way through Renée Ryan’s The Marriage Agreement. Sometimes, the world is “too much with us” and even a romance can’t carry us away from daily worries. Miss Bates can say with certainty the slow pacing and preciousness of inspirational romance make the immersive reader experience elusive. Ryan’s novel is of that ilk of eye-rolling premises calling for reader tolerance and suspension of chagrin.
Ryan’s inspirational romance opens in 1896 Denver, at the Hotel Dupree, with handsome, aloof owner, Jonathan Hawkins, and his pretty, blonde guest services manager, Fanny Mitchell. It’s obvious to the reader Fanny and Jonathan carry a whiff of notoriety. Fanny rejected a suitor, a fiancé actually, at the last minute, a man her parents, family, and friends thought ideal. She held out, rejecting a man she didn’t love who didn’t love her; her reputation, the price. Alas, it looks like scandal dogs her in Denver, possibly, according to Ryan’s rendition, the most supremely puritanical “upright” Christian town ever conceived. A broken engagement and Fanny might as well slap a J on her dress for Jezebel. Jonathan fares no better: though a successful, wealthy, caring man, who runs his businesses with employees who would otherwise be on the street, prostitutes and their children, he carries the stigma of illegitimacy and a prostitute mother. He and Fanny share friendship, affection, and an affable working relationship at the hotel. When a charity ball finds them NOT fighting (horrors! 😮 ) their attraction by sharing a kiss and caught by a gossiping silly puss of a girl, well, Jonathan, to save a woman he’s come to care deeply about, offers marriage. Continue reading
Dear readers, Miss Bates has been scarce lately: 😦 , the world is too much with her. For the next few weeks, likely months, she offers mini-reviews, much as she’d prefer to wax loquacious. Better a mini-review than none at all, though! Her first such is a historical romance novel, set in late 13th century England and Wales, Elizabeth Kingston’s The King’s Man. It opens as Gwenllian of Ruardean cares for the injured Ranulf Ombrier, Of Morency. He lies feverish, envisioning Gwenllian as ministering angel. Beyond his injuries, Ranulf, frighteningly handsome to the plain, tall, gawky Gwenllian, suffers spiritual torment, pleading with Gwenllian, a hold on her wrist and tormented eyes, to push her dagger into him. What torments him? What has brought this notorious Norman lord, king’s man to Edward I, the king’s assassin, to her family’s castle? Gwenllian, a woman trained in combat, in command of men, is as much her mother’s “woman” as Ranulf is the king’s: stripped of her womanliness by a mother who wants her to be a weapon in preserving Welsh independence against Edward’s hegemony. Lady Eluned, Gwenllian’s mother, bids Gwenllian return Ranulf to King Edward; thus begins a journey bringing Gwenllian and Ranulf, and the push-pull of their antagonism and peculiar attraction, her beast to his beauty, to Edward’s court, landing in the machinating, self-seeking king’s hands. Gwenllian, once promised to Aymer of Morency who was killed by Ranulf, was to be lady of Morency. To this day, her family contests Morency lands. Edward seizes an opportunity of Ranulf and Gwenllian’s presence: he announces their impending marriage, rids himself of a thorny conflict between two powerful families, and seals Ranulf and Gwenllian’s strange symbiosis and rancour and attraction. Continue reading