Rurik stopped and stared in awe. The runner was glorious, her breath unfurling though she hardly panted. Wavy red hair, as long as her waist, fluttered around her like a tattered cape, glittering with snow. The color was and radiant against the tundra. She was almost on top of him, but hadn’t spotted him yet,… Continue reading Teaser from “Gingerbread and the Fox”
His scent was primal and rich, thick in the back of her throat like molasses. He was her mate.
When the heroine has scars—indicative of a brutal backstory—which she considers disfiguring and the hero assures her are a testament of her strength.
When a writer creates a hero that's too many things, she has to fill the reader's expectations for that hero, plot-wise and romance-wise. Juggling too many and fitting them all in one book is difficult—though not impossible—and makes the story and the hero seem over the top.
Reversing or confounding mental invasion in vampire romances indicates significant change to the archetype. In monster theory, one of the vampire's greatest weapons is the ability to penetrate personal sanctums/the mind.
Bless their hearts, whatever they were thinking, including all the guys with the next "Great American Novel," they didn't laugh. And damn it, the number of people who read the genre gives the concept validity. Explaining the concepts to those unfamiliar with the genre, standing up for them, has made me take a harder look at the common core of paranormal romance.