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typos

Hi, everyone.  The air has changed in Southern California.  The heat of late summer that drives my breath back into my lungs, has suddenly dissolved into a cool, clear breeze.  It feels as if the world has come back into focus.  I’ve broken out the Pumpkin Spice candles and the Gingerbread tea and wrapped the house in garlands of silk autumn leaves that I bought on sale at Michael’s because the trees in SoCal are not going to provide real ones.  (Sigh!)

Our new puppy has come home.  Summer Moon.  She’s an English Golden Retriever. She isn’t golden, at all, of course.  She’s as white as the full moon.  Hence her name.  “Moon” because of her color.  “Summer” because she came home in late summer.  She looks like an angel but is full of mischief.  Her big brother, Rhythm, doesn’t quite know what to make of her.  She has two speeds: “on” and “off.”  And when she’s “on,” nothing in the house is safe from her tiny teeth, including Rhythm’s tail.

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I’ve just finished uploading the corrected manuscripts for Mirror, Mirror, so now the paperback version will soon be available on Amazon.  I used three proofreaders this time for the manuscript, and the last one read every one of the 120,710 words aloud plus punctuation marks.  When I was an editor/proofreader, before I went to law school, this is the way we read the final version of manuscripts because we had the best chance of catching errors by reading aloud.  So this time I thought I was safe from complaints about TYPOS.  But alas!

About a week after Mirror, Mirror had been published as an ebook, I got the message from Irate Reader.  “I like your book BUT—” Insert drum roll, thunder and lightning. “BUT it has TYPOS!!”  No hint of what those TYPOS might be.  I felt as if someone had sent one of my children home from school with a message pinned on his/her back, “Your child has CHICKEN POX!  Your HORRIBLE EXCUSE for a Mother!”

My first reaction was to protest.  Three proofreaders, I told her!  Every word and punctuation mark scrutinized, aloud!  But, alas!  Irate Reader was unrelenting.   Her next email cut even deeper. She called me, “UNPROFESSIONAL!” I had a big Breneˊ Brown moment after that.  If you don’t know about Breneˊ Brown, she describes herself as a “shame researcher.”  She is a professor at the University of Houston, who has written on the topic of shame and how it affects our lives.  When Irate Reader’s wrath descended upon me, I had been reading Dr. Brown’s book, I Thought It Was Just Me (But It isn’t).  And I knew that the paralyzing, sick feeling in the pit of my stomach was shame.

Despite my best intentions, I’d humiliated myself in public, by telling a story that I had hoped many people would enjoy.  I wasn’t a woman with three post-graduate degrees, all cum laude.  I was an UNPROFESSIONAL with TYPOS.   Sort of like a careless excuse for a mom who’d sent her kid to school with CHICKENPOX and now the child had to be sent back to the incompetent parent.

I was deeply hurt by having my imperfections hurled in my face.  I thought about taking the book down.  FOREVER.  I’d worked so hard on it every night for six long months.  I’d worked on it on the nights when my heart had been breaking because my Golden Retriever Melody was dying.  I’d worked on it on the nights when I’d been so tired that I couldn’t see the page because I’d been writing for the courts of appeal all day.  But I had kept on going because I had thought my characters were telling me a story that would entertain and touch hearts.  And I’d launched that story into the world after so much time and care, happy and proud, and hoping to find readers with hearts to be touched.  But, now, within a week of its publication, it had been deemed worthless. TYPOS!  UNPROFESSIONAL! All because I’m not, and never will be, PERFECT.

“The quest for perfection is exhausting and unrelenting.”  Breneˊ Brown

Since self-publishing has become an option for writers, a myth has grown up that self-published writers are the only ones who launch books with typos.  That was the gist of Irate Reader’s “UNPROFESSIONAL” (SNIFF) label.   I got a does (dose, get it?) of this prejudice early on when I published my first novel, Dance for A Dead Princess.  At some point, one of the TOP 100 AMAZON REVIEWERS got her 3-star hands on it.   But she didn’t stop at 3 grudging stars.   She went straight to the top, to THE ZON itself and advised that I was illiterate. Why, there were whole sections of the book that hadn’t even been spellchecked!   REALLY!  THE NERVE!

Turns out, Ms. TOP 100 didn’t understand that the Tudor diary of Thomas, Carey, the First Duke of Burnham, is written in my approximation of Tudor English. That means the way Shakespeare wrote and spelled.   THE ZON backed way down after I explained the development of the English language and added, “Bet you wouldn’t have sent a QUALITY CONTROL NOTICE to Random House!”

So, just in case anyone else out there besides Irate Reader and Ms.Top 100 thinks that TYPO’s are the exclusive manifestation of the ignorance of self-published writers and that all the brains belong to the traditionally published ones, let me offer the following examples of TYPOS from novels you will recognize (and by the way, editions of these WITH TYPOS are worth hundreds of dollars)

Theodore Dreiser, An American Tragedy

Characters are referred to as “harmoniously abandoning themselves to the rhythm of the music—like two small chips being tossed about on a rough but friendly sea.”

Pearl S. Buck, The Good Earth

A wall against which people set up their huts being described as “It stretched out long and grey and very high, and against the base the small mat sheds clung like flees to a dog’s back.” Editions of the book that include the misspelling can go for as much as $9500.

J.K. Rowling, Harry Potter and the Philosopher’s Stone

Some copies of this book are valued at a small fortune for this reason. On page 53, in a list of school supplies that young wizards are expected to bring to Hogwarts: “1 wand” is listed at both the beginning and at the end. That said, the typo did reappear in a few later printings even after it was caught in the second round, so it’s only the true first editions that are worth beaucoup bucks. [This example illustrates just how hard these pesky little TYPOS are to eliminate even after they have been found.]

“The Wicked Bible”

The1631 edition of the King James Bible by Robert Baker and Martin Lucas included an accidental new twist on the 7th Commandment, informing readers that “Thou shalt commit adultery.” This managed to incense both King Charles I and the Archbishop of Canterbury—its publishers were hauled into court and fined £300 (a little over $57,000 in today’s U.S. dollars) for the oversight and they had their printing license revoked. Most of the copies were subsequently burned, and the book picked up the sobriquet “The Wicked Bible” or “The Sinners’ Bible.” Only about 10 copies remain today—one was put up for sale by British auction house Bonhams just last year.

As for me, I went back over the book one more time.  I found some commas that only I would notice were out of place.  There were a couple of repeated words, a few line breaks, and an “it” for an “in.”  One very kind reader wrote to tell me that my dates were wrong at the beginning of one of the chapters.  (Bless her.)

So the corrected version is up.  I’m sure there are more TYPOS out there because perfection is unattainable for me.  But here’s the deal.  If you find any more and email me with the error, its location, and your address, I’ll send you a Starbuck’s gift card for a cup of coffee.  And I’ll send you my greatest thanks for liking my stories and for being my friend.   Even though I’m not perfect.

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In Amanda Palmer’s book, The Art of Asking (a book I highly recommend to all, but especially to anyone who is creative)  Ms. Palmer explains how she came to realize that the creation of art always involves asking and that asking is difficult because the outcome of asking is always uncertain.  The answer may be yes, but the answer may also be no.

 

Ms. Palmer, who has earned success as an alternative rock, punk singer, began her entertainment career as a human statue called the “The Eight Foot Bride.”  After leaving college, Ms. Palmer quickly abandoned her career as a server in an ice cream store when she discovered that she could make more money as a street performer.  She put on a wedding dress, painted her face white, and stood on crates in Harvard Square, holding a bouquet of day-old flowers which she rescued from florists shops.  When passers-by left money in the hat at her feet, she would “come to life,” lean down and offer them a flower from her bouquet.  Some people immediately would accept the statute’s offer, but others would walk away quickly, refusing the “bride’s” silent request to take the flower. A third group would hesitate, undecided whether or not to accept the offering.  In The Art of Asking, Ms. Palmer describes how the other bystanders would chant “Take the Flower, Take the Flower” to the Undecided.

 
I was getting ready to publish my new novel, Mirror, Mirror, when I finished The Art of Asking.  I realized that I was looking forward to putting the book out in the world for readers to experience and enjoy, but I was also reluctant to turn it loose, too.  That feeling seemed odd to me because I had been working feverishly every night after work to write the novel and to polish it for publication.  So why did I suddenly have stage fright?

 
I realized that asking readers to experience a new novel is difficult.  The answer from readers might be yes, or the answer might be no.  Indie authors are bombarded with “courses” to “teach” them how to launch a book, a process that is supposed to persuade many readers to say “yes” all at once to a new novel.  But I slipped Mirror, Mirror quietly into the ranks of ebooks on Amazon without any “guarantee” of any yeses.  I realized when I hit the publish button, that like the “Eight Foot Bride,”  I was holding out my “flower” and hoping many people with say “yes” to it.  That is the art of asking.

 

To hear Amanda Palmer’s TED talk about The Art of Asking,  go here youtube.com/watch

To see the Eight Foot Bride, go here youtube.com/watch

To read Mirror, Mirror, A Legal Thriller go here amazon.com/…book/dp/B0757GSP35/ref=sr_1_5

 

 

 

 

 

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Hello, World!  I’m back.  I didn’t plan to be away so long.  A lot has happened since I last was regularly posting.  First, I finished and published Dark Moon, A Legal Thriller, chapters of which I posted here as I worked on the book.  My heartfelt thanks to everyone who read those early posts and to everyone who has since purchased and enjoyed the finished product. A special thank you to everyone who has written to me about his or her experience with Dark Moon.

 

Then in August of last year, I published my second legal thriller, The Death of Distant Stars.  Whereas Dark Moon is the story of a criminal trial, The Death of Distant Stars is about a civil trial, a wrongful death suit that Kathryn Andrews brought against the pharmaceutical company that made the drug that killed her husband, Tom.  Again, my thanks to everyone who has enjoyed Distant Stars, and my deepest thanks to everyone who has taken the time to write to me.  It is the best thing in the world to wake up to an email from a reader who has enjoyed one of my books.
My characters have a way of refusing to go away at the end of a novel.   Sarah Knight, one of the central figures in Dark Moon, came back in Distant Stars to defend Hugh Mahoney, who was accused of obstruction of justice.   Hugh, who sees the world differently after his experiences with Kathryn and Sarah in Stars, is returning in my latest legal thriller, Mirror, Mirror.   Although he plays a smaller role in this book, the way that Sarah did in Distant Stars, his brash, hard-charging personality is once again on display.  Hugh, like most of my characters, is not black or white but many layers of gray. Carrie Moon, ex-wife of the formidable Howard Morgan, of Ride Your Heart Til It Breaks, also has a minor role in Mirror, Mirror.  For all the readers who thought she was a silly wimp to stick with Stan Benedict, you’ll discover what Carrie is really made of.
The hero of Mirror, Mirror is Jeff Ryder, who at thirty-three, is on top of the legal world as the story opens. He is on the verge of making partner at Warrick, Thompson, and Hayes, the law firm you all first met in Ride Your Heart.  But Jeff is knocked off his perch on the day that he wins one of the biggest cases of his career, and his downward descent is rapid and terrifying until he finds himself in jail, accused of four murders, and with an alibi that he cannot use because it will destroy the woman Jeff loves.  More next time.

 

 

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It is said that the spaces between the notes make the music.  In the same way, the longing between separated lovers makes the story of their love.

Batumi  is a seaside city and the capital of Adjara, an autonomous republic,  in southwest Georgia.  There, at the edge of the Black Sea, Georgian artist  Tamara Kvesitadze  has created the 26-foot tall, moving sculpture called “The Statue of Love.” Her steel creation is based on the tragic love story of Ali and Nino, a Muslim boy and Georgian Christian girl who were separated by the coming of World War I and the Russian Revolution. Nino fled to Paris with the couple’s child while Ali joined the defense of Azerbajan and was killed when the Red Army invaded in 1918. The novel by Kuban Said, a Dr. Zhivago– style epic, was published in 1937.

At seven p.m. each evening, the computer-controlled statues move slowly toward each other in a spectacular light show, They join briefly in a passionate kiss, and then pass through each other,  leaving the beloved behind.  When I saw this video, I wished I could send it to Unhappy Reader, whose dissatisfaction with Ride Your Heart ‘Til It Breaks, I explained in my last post.   Perhaps viewing the video of “The Statue of Love”  would explain the story of Carrie Moon and Stan Benedict to Unhappy Reader in a way my words apparently failed to do.

At the beginning of Ride, an invisible force seems to draw Stan and Carrie toward each other evening after evening in Jazz By the Bay, just as the statues move toward each other in the twilight by the sea in Batumi.  Carrie thinks she is drawn toward Stan and his artistry as a musician without realizing her obsession stems from her need to recover her own inner artist and musician, the persona she left behind when she became a lawyer. Although Stan fights his attraction to Carrie because he thinks love never lasts for him, her unconditional support shines like a beacon in his emotional darkness and draws him closer and closer, just as the computers driving “The Statue of Love” move the lovers irresistibly toward each other in the twilight.

Stan and Carrie meet in a passionate embrace, like the the lovers in the “Statue of Love.” But they, too, literally pass through each other, as the pressure of their very different lives drives them apart.  Stan’s insecurities lead to muffing his chance  to become a big name musician in Los Angeles.  Carrie finds she cannot sustain the pressure of her legal career and the demands of wife and soon-to-be mother.

Tragedy strikes, moving Stan and Carrie apart, like the moving figures in the “Statue of Love.”  Years pass like the hours that pass before the computer activates the moving figures in Batumi once again.  And then, just as the computer switches on at the appointed time, the Universe moves Carrie and Stan toward each other once again, this time to learn love’s greatest lesson of all.

To view the magnificent spectacle of the “The Statue of Love” at twilight go here:

https://www.youtube.com/watch?v=3ds9fE0tnzE

To purchase a copy of Ride Your Heart ‘Til It Breaks, click the link on the side bar of this website.  And let me know if you agree or disagree with Unhappy Reader.

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ride_heart_Goodreads

This week I heard from a reader. I do not often hear directly from readers, but the ones who have written up until now have sent good news: they enjoyed Dance for A Dead Princess or Ride Your Heart ‘Til It Breaks. Until this week, the ones who didn’t like my books, either left words to that effect in Amazon reviews, or remained silent. No one took me to task in a long, personal email.

But this week, a reader not only left a negative review on Amazon, she wrote me a long email outlining everything she thought was wrong with Ride Your Heart ‘Til It Breaks. And I could immediately tell that she didn’t “get” the story. She had received a free copy as part of a Read and Review program, and I’m sure she was under the impression that Ride was a formula romance novel. And, reading between the lines, she was upset, outraged might be a better word, because there were no explicit sex scenes in Ride and because Ride is an honest look at how difficult love can be and how we sometimes find lost pieces of ourselves in the people we believe we love and hang on at all costs. Ride is a complex book. It does not say hot sex equals undying love. I know that is theme of formula romance. But I was not writing formula romance in Ride, to the chagrin of Unhappy Reader.

I have come to feel that, as a female writer, all of my work has to overcome the presumption that because a woman wrote it, it is formula romance. When I set up promotions on the various ebook promotions sites, I often have the Hobson’s choice between “Romance” and “Contemporary Fiction.” I consider both of my books to be “Women’s Fiction” although even that label does not immediately remove my novels from the formula romance presumption. While Dance for a Dead Princess does have some elements in common with formula romance, as Diane Donovan of the Midwest Review observed, it goes far beyond formula fiction.   In my day job, as an attorney, I deal with the presumption of innocence, which, frankly, is more akin to a presumption of guilt. And I have come to feel, in my night job, as a fiction writer, that any book for a female audience carries the formula romance presumption.  And when it doesn’t live up to that presumption, some readers, like Unhappy are, to put it frankly, outraged.  Hence her personal email critique.

What is formula romance, you are asking at this point. Good question. The roots of formula romance have impeccable literary credentials. The unforgettable Jane Eyre by Charlotte Bronte and the equally charming Pride and Prejudice by Jane Austin are the ancestors of the modern romance novel. In both books, a heroine of little fortune marries a man of means for love and not for pure social advantage.  In archetypal terms, the Cinderella trope.   The plots of both books center around the barriers between the hero and the heroine and how these are ultimately resolved. Jane Eyre attempts to resolve a moral issue, a married man in love with a young women of little means but great love and virtue. Pride and Prejudice is a comedy of manners, poking subtle fun at the mating conventions of the day. The hero overcomes his pride of position to marry the young woman of great love and virtue but little fortune. From these outstanding beginnings, modern-day formula romance has evolved (or devolved) into predictable plot lines, which are resolved in fifty-thousand words or less. (Unhappy complained that Ride, at 100,000 words was just too long, and she was sooooo bored. My advice: if a book bores you, stop reading it.  It’s like  hitting yourself in the head:  it feels so good when you stop.)

In the modern formula romance, Hero, with six-pack abs, which he miraculously unveils within five pages of the opening, (and which are always on the cover), has sex with Heroine in Chapter One. Notably, they are both strangers. By Chapter Two, the glow of orgasm has faded, and they realize they have made a huge mistake. Like two mature adults, they immediately fight and vow never to see each other again. Then, for twenty-something more chapters, the two vacillate between their determination not see each other and their determination to have more sex, which is described in excruciating detail in alternating chapters. Fight a chapter, F– a chapter. (You get what I mean.)

On this solid and mature foundation for a marriage, Heroine winds up with a very large diamond on her finger, since Hero not only has that six-pack, but he is also great hubby material because he is good in bed and, more importantly, he has revealed he is not a simple ranch hand but the owner of most of Texas (or is a prince of a European state determined to restore its monarchy). Formula romances  close with a wedding or an epilogue showing a happily pregnant Heroine.

These books sell well to readers like Unhappy, so Clever Author multiplies this storyline like rabbits, varying the setting and the characters’ names, but never the plot. And if Author is even More Clever (or Diabolical, you decide) the original book will have a Heroine or Hero with ten brothers and sisters, each of whom will star in a subsequent formula romance. These books are easy to spot on the ebook promo sites because, in addition to male six-packs on the cover, they all have titles that include the word “Series” or “Chronicles.” “Book One of The Thornton Family Chronicles” Or “Book Three of the McLaren Brothers’ Brides Trilogy.” Or “Book Twenty-five of the Sisters of Seven Corners Series.” You’ve seen them. You know what I mean.

Not to be rude, but I run from these cookie-cutter books like the plague. They remind me of those clear plastic sleeves of chocolates that you can buy at Costco at Christmas. Year after year, the blue ones are milk chocolate with Kahlua centers, the pink ones are dark chocolate with an unidentified green cream inside, and the gold ones contain an unknown liqueur that might be brandy. Might. Many of these literary formula offerings have no ending, so that if a reader wants to know what happened to Hero and Heroine (does tragedy strike? does he lose that six-pack and therefore the girl? does he become King Travis the 25th of MoldyDisheveia), she has to buy “Books Two through Thirty of the Hot Brothers of MoldyDishevia Series.” And Extremely Clever Author laughs all the way to the bank. And gets featured as an Amazon Bestselling Extremely Clever Author in the Amazon Newsletter. (Read their newsletter if you don’t believe me.) Oh, and the piece de resistance, Author gets a lifetime guarantee of ads on the obnoxious Book Bub, which mainly features trashy formula romance with those hot-sex covers. But that is another blog post.

At any rate, I have come across a beautiful video that explains visually what Ride Your Heart ‘Til It Breaks is all about. I will explain in my next post and show you the video to see what you think. Is there room in the world for a woman writer to write a book that is not formula romance?   In the meantime,  my deepest thanks to my readers who did “get” it, and my undying gratitude to those who left reviews explaining exactly what they “got.”  I am forever in your debt and humbled by being allowed to entertain you in 100,000, I promise, well-chosen words.

And now, one last word to Unhappy. Despite your email statement to me making light of the loss of a child, losing a child is one of the most tragic events of anyone’s life. It is a tragedy that no one completely recovers from. The only thing offensive about you email, was your statement that “losing a child is no big deal.” Wrong, Unhappy. Very, very wrong, on that one. Formula romance books are fungible. Children are not.

Ride Your Heart ‘Til It Breaks is not a book for every reader. It is a book for anyone who wants to laugh and cry,  for anyone who is willing to be frustrated by characters that life has broken and healed and broken again,  and for anyone who is willing to look inside and love your own, beautiful and utterly unique soul. Ride is a challenge that not everyone will want to meet. But that’s just fine by me.

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A couple of weeks ago, I wrote about the experience of using Princess Diana as a minor, but important, character in my first novel, Dance For A Dead Princess. Some readers have understood that I wanted to preserve my own view of Diana in the book. She was a beautiful, naive, young woman, looking for love with an older man after an emotionally barren childhood. But instead of creating a family to nurture, as she wanted to do, she was badly used by her husband, who was chronically and openly unfaithful, and she was abused by the institution of monarchy which her marriage was designed to serve. For the trouble she took to produce two princes and two royal heirs, she was later unfairly labeled unfit and unstable by Charles and his supporters in divorce proceedings.

Some readers are put off by Diana’s presence in Dance For A Dead Princess. In their opinion, even mentioning her is somehow exploiting her memory. But that view is very short sighted because if we don’t mention her, we forget her. And forgetting her is exactly what institutional monarchy wants us to do. Charles, who never made a place for Diana in his life, has filled the place that should have been hers with the woman who destroyed Diana’s marriage. And now the party line is to forget about Diana altogether and to criticize anyone who mentions her favorably as exploitive.

I came across this type of criticism recently when I discovered the work of Peter Settelen, a British actor and voice coach. In 1992 and 1993, Diana hired Settelen to help her improve her public speaking. Tapes of her early speeches demonstrate she had little skill as a speaker at the beginning of her career in public life. But after working with Settelen, she improved dramatically.

When Settelen began to work with Diana, he told her she would have to find her own authentic voice if she wanted to excel at public speaking. To that end, he recorded a series of sessions with her in which she described the events of her life. They are charming and candid, and well worth watching. And they reveal the side of Diana that my fictional character, Nicholas Carey, knew and loved and desperately missed as the novel opens.

Settelen has been criticized, of course, for making the tapes public. He had to go to court and fight to get them back after they were found in Paul Burell’s attic. Earlier, Settelen had been told the tapes had been destroyed.

Settelen candidly admits they were meant to be private teaching tools. But, as he also says, Diana did not know she was going to die; and the opportunity to hear the story of her life in her own words is a powerful way preserve her memory. The tapes Diana made with Settelen are well worth a listen. And listening to them explains why my fictional character Nicholas was driven to preserve Diana’s memory at all costs out of loyalty to his greatest friend.

Here is the YouTube link, the Diana Tapes with Peter Settelen.   What do you think of the tapes?  Did Settelen do the right thing to publish them?

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The Grosvenor Hotel, London

The Grosvenor Hotel, London

Last week, I explained why I was drawn to use Diana, Princess of Wales as a fictional character in my first novel, Dance For A Dead Princess. Although I am ten years older than Diana, my life paralleled hers in certain ways in the early and mid-eighties. I had three children, just a little younger than Diana’s boys; and like Diana, I was enduring the heartbreak of a disastrous marriage and acrimonious public divorce during those years. As Diana had to learn to tread lightly through the legal thicket that surrounded her in order to keep her children, so I, too, had to learn how to thread the narrow path through the court proceedings that would allow me to raise my beloved children. For me, and I am sure for her, those were terrifying and desperate times.

Like Diana, I longed for a comforting male presence in my life, someone to take the sting out of being reviled in public by the father of my children. But that proved as impossible in my life as it did in Diana’s. The men who came into the princess’ life eventually departed, tired of the glare of the media and ever-present lens of the paparazzi. In my own case, no man was willing to risk more than ten years of constantly being threatened with character assassination in a courtroom at the blink of an ex-husband’s disgruntled eye. I could understand, of course. I wouldn’t have chosen to live that way, either. If I’d had a choice.

In Nicholas Carey I created for Diana the kind of male friend I had longed for. Attractive, intelligent, witty, and always on her side. Although Taylor Collins initially sees Nicholas as an arrogant womanizer, on the morning that Taylor has been dumped yet again by her former fiancé, Chris Hunter, she suddenly sees the Nicholas Carey that was Diana’s steadfast friend in every heartbreak. My favorite scene in Dance is the morning after Taylor has spent the night crying over Chris’ engagement. Nicholas shows up early and uninvited at her hotel to comfort her.

From Chapter Ten of Dance For A Dead Princess:

She awoke at nine thirty the next morning to a hangover and someone knocking on the door of her suite. Painfully she got out of bed, tied on her robe, and headed through her sitting room. When she opened it, Nicholas Carey was standing in the hall in his power overcoat with two cups of coffee in paper cups with lids and a brown bag.

“I thought you might need these.”

Without a word she stepped aside, and he entered. He walked over and put the food and drinks on the coffee table. Then he took off his overcoat and laid it over the ottoman. He was dressed for the office in a gray suit, white shirt, and dark blue tie.

“Come sit down and have some coffee. I guessed you were a nonfat latte fan. And the muffins are blueberry. Everyone likes those. I know it was a rough night, and you look like it.”

“My head is pounding.”

“Coffee, then. Drink up.”

Taylor felt as detached as if she were still dreaming. Something horrible had happened yesterday. Oh, yes. Chris. And Allison. A New Year’s Eve wedding. Her eyes suddenly teared up.

Nicholas held out a white handkerchief bearing the ducal arms. “Thought you might need this, too.”

Get a grip, she told herself, as she wiped her eyes. No more crying. Especially not in front of Nicholas Carey. She took the paper cup he offered and sat down on the sofa. The coffee was rich and strong. He was right. She needed it.

He opened the bag and offered her a gigantic muffin on a paper napkin. “You need some food, too.”

But she waived it away. “Can’t.”

“Just a few bites. My guess is you didn’t eat much for supper last night.”
“How did you know?”

He sat down next to her and sipped from the other cup. “I’ve had a lot of practice with The Morning After. The women in my life, particularly Diana, had a knack for getting their hearts broken. I’m the steady shoulder to cry on. Come on. You aren’t going to feel better unless you eat a little something.”

Taylor broke off a piece of muffin and nibbled at it as she sipped coffee. “Thank you. For the call last night and for coming this morning.”

“As I said, recognizing a woman about to be hurt is my speciality.”

“But aren’t you guilty of that, too?”

“I’d like to think I’m not. But I do have a substantial string of ex’s. I can honestly say they all saw the breakups coming because they were always over the same thing.”

“And that was?”

“Marriage. A woman gets restless after a couple of years if she doesn’t get an engagement ring. And I’ve no intention of ever getting married again. I gather whatever happened last night took you by surprise?”

The coffee was beginning to bring Taylor into focus. “It did.”

“Do you want to talk about it?”

She sighed. “No. But I guess talking about it makes it go away sooner. And I want this to go away.”

* * *

In Chapter Ten, I gave Nicholas  the opportunity to demonstrate he’s the perfect friend with lots of experience in comforting beautiful women with broken hearts. And he is disarmingly honest about his own breakups. For Taylor, as devastated as she is over losing Chris, her Morning After with Nicholas is the turning point in their relationship.

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