The Promise in a Kiss (Cynster 0.50)

Although the theme is a constant, it never gets dull, because there are as many variations on the basic theme as there are characters and personalities in human nature. In An Unwilling Conquest, the hero mounts a desperate fight against his instinctive urge to pursue—and loses. On waking with the heroine in his arms, he naturally uses their compromising position as the reason for making the wedding arrangements. The heroine throws him out, literally—and he's not even fully dressed. In the most aptly titled Devil's Bride, Devil immediately casts Honoria as his duchess, having decided she'll fill the position nicely, and keep him amused in bed as well. But Honoria has no intention of bowing to the dictates of a tyrant—he's off to seek adventure in Africa—and says so. I've even, in Four in Hand, used the scenario of a heroine who thinks she's the pursuer, while the hero is actually pulling her strings—once she finds out, she demands retribution, in the form of his abject surrender.

I find “the hero as pursuer,” at least within the Regency, a great deal of fun to write—and I believe that translates to a great deal of fun to read. And that's my stated aim as an author: to leave my readers with a silly grin on their faces. And a twinkle in their eyes!

I imagine I'll be writing “the hero as pursuer” for many years yet.

—Stephanie Laurens