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The heart-stopping third installment in the New York Times bestselling Shatter Me series, which Ransom Riggs, author of Miss Peregrine's Home for Peculiar Children and Hollow City, called "a thrilling, high-stakes saga of self-discovery and forbidden love." With Omega Point destroyed, Juliette doesn't know if the rebels, her friends, or even Adam are alive. But that won't keep her from trying to take down The Reestablishment once and for all. Now she must rely on Warner, the handsome commander of Sector 45. The one person she never thought she could trust. The same person who saved her life. He promises to help Juliette master her powers and save their dying world . . . but that's not all he wants with her. The Shatter Me series is perfect for fans who crave action-packed young adult novels with tantalizing romance like Red Queen by Victoria Aveyard, The Hunger Games by Suzanne Collins, and Legend by Marie Lu. Tahereh Mafi has created a captivating and original story that combines the best of dystopian and paranormal and was praised by Publishers Weekly as "a gripping read from an author who's not afraid to take risks." This bestselling series from powerhouse author Tahereh Mafi showcases relentlessly thrilling action, heart-stopping romance, and a war-torn world in which rebellion is the only path to freedom. And don't miss Watch Me, the first book in a new series in the Shatter Me universe set ten years after the fall of The Reestablishment, on sale in April 2025!
Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.
What makes a romance novel a romance? How do you write a kissing book?Writing a well-structured romance isn't the same as writing any other genre-something the popular novel and screenwriting guides don't address. The romance arc is made up of its own story beats, and the external plot and theme need to be braided to the romance arc-not the other way around.Told in conversational (and often irreverent) prose, Romancing the Beat can be read like you are sitting down to coffee with romance editor and author Gwen Hayes while she explains story structure. The way she does with her clients. Some of whom are regular inhabitants of the New York Times and USA Today bestseller lists.Romancing the Beat is a recipe, not a rigid system. The beats don't care if you plot or outline before you write, or if you pants your way through the drafts and do a "beat check" when you're revising. Pantsers and plotters are both welcome. So sit down, grab a cuppa, and let's talk about kissing books.
Acclaimed author Emery Lord pens another gorgeous story of best friends, new love, and second chances. * "Will inspire readers." --SLJ, starred review It's been a year since it happened--when Paige Hancock's first boyfriend died in an accident. After shutting out the world for two years, Paige is finally ready for a second chance at high school . . . and she has a plan. First: Get her old crush, Ryan Chase, to date her--the perfect way to convince everyone she's back to normal. Next: Join a club--simple, it's high school after all. But when Ryan's sweet, nerdy cousin, Max, moves to town and recruits Paige for the Quiz Bowl team (of all things!) her perfect plan is thrown for a serious loop. Will Paige be able to face her fears and finally open herself up to the life she was meant to live? Acclaim for The Start of Me and You A Huffington Post Top YA Books of 2015 One of PopSugar's Best YA Books of 2015
In this book, Marijane Osborn translates into modern English nine lively medieval verse romances, in a form that both reflects the original and makes the romances inviting to a modern audience. All nine tales contain elements of magic: shapeshifters, powerful fairies, trees that are portals to another world, and enchanted clothing and armor. Many of the tales also feature powerful women characters, while others include representations of “Saracens.” The tales address issues of enduring interest and concern, and also address sexuality, agency, and identity formation in unexpected ways.
Maidservant Yue-ying is not one of those beauties. Street-smart and practical, she’s content to live in the shadow of her infamous mistress—until she meets the aristocratic playboy Bai Huang.
A married couple yearns to rediscover lost love in this novel about forgiveness, reconciliation, and emotional growth. It's always been complicated between Libby Lawson and Greyson Chapman--and married life isn't any simpler. But when Libby gets pregnant, she at last sees a bright future ahead. There's just one problem: Greyson says he's sterile. Furious, Greyson abandons the young family. Equally furious and deeply hurt, Libby cuts all ties with him. After all these years, it seems their relationship has finally expired. But love is resilient and endures even when you don't want it to. Greyson still longs for Libby, and though Libby's heartbroken by Greyson's lack of trust, she holds out hope for a complete, happy family. And so they embark on the journey back to each other, wary of all the obstacles between them. It's been a long road already--one strewed with fear, doubt, and misunderstandings. Will they keep looking to the past, or will they look to each other and walk hand in hand toward a broad new horizon?
The first in a spicy and unforgettable rom-com duology from #1 New York Times bestseller and tik tok favorite Tessa Bailey, in which a Hollywood “It Girl” is cut off from her wealthy family and exiled to a small Pacific Northwest beach town... where she butts heads with a surly, sexy local who thinks she doesn’t belong. Piper Bellinger is fashionable, influential, and her reputation as a wild child means the paparazzi are constantly on her heels. When too much champagne and an out-of-control rooftop party lands Piper in the slammer, her stepfather decides enough is enough. So he cuts her off, and sends Piper and her sister to learn some responsibility running their late father’s dive bar... in Washington. Piper hasn’t even been in Westport for five minutes when she meets big, bearded sea captain Brendan, who thinks she won’t last a week outside of Beverly Hills. So what if Piper can’t do math, and the idea of sleeping in a shabby apartment with bunk beds gives her hives. How bad could it really be? She’s determined to show her stepfather—and the hot, grumpy local—that she’s more than a pretty face. Except it’s a small town and everywhere she turns, she bumps into Brendan. The fun-loving socialite and the gruff fisherman are polar opposites, but there’s an undeniable attraction simmering between them. Piper doesn’t want any distractions, especially feelings for a man who sails off into the sunset for weeks at a time. Yet as she reconnects with her past and begins to feel at home in Westport, Piper starts to wonder if the cold, glamorous life she knew is what she truly wants. LA is calling her name, but Brendan—and this town full of memories—may have already caught her heart. As seen on E!Online, PopSugar, CNN, EliteDaily, Vulture, Buzzfeed, Bustle, the Nerd Daily, PARADE, LA Magazine, Country Living, USA Today, and more!
Delicate, titian-haired Theresa Noble has met her father's associates in the past, but the gorgeous, Italian-born Sandro De Lucci leaves her speechless. Eighteen months into their marriage, however, Sandro has turned to ice. Desperate to escape a relationship that has proven to be as stubbornly passionate as it is cold and hateful, Theresa summons up the courage to ask for a divorce. But before he'll grant her request, Sandro demands something from Theresa: a son. The stalemate sickens her. Never mind that Sandro has yet to introduce Theresa to the large family that means so much to him. Or that Theresa overhears her husband on the phone with a mystery woman. Most damning is that Theresa senses, in Sandro's treatment of her, the behind-the-scenes machinations of Jackson Noble, her cruel father. From the depths of her anxiety, Theresa must seek an empowering truth about the husband who calls her, with such cold affection, his cara, his beloved.