Reviews for Pride and Pleasure

The average rating for Pride and Pleasure based on 2 reviews is 4 stars.

Review # 1 was written on 2011-07-31 00:00:00 Ken Maxwell After studying the writing craft for over a decade now, I'd have to honestly say, I've been ruined…at least as an objective reader. I can no longer slide blithely through redundant description, dawdling action or blah characterization. I find myself constantly searching for more, silently challenging the author to give me a reason to keep the book open, to ignore the push of real life and remain lost in their fictional world. And while charming, shocking, seducing or even scaring a reader into maintaining interest has a place in commercial fiction, as a reading-writer, I expect more, and Sylvia Day's PRIDE AND PLEASURE delivered. ------------------------ WRITER'S REVIEW ------------------------ There are disadvantages to being an heiress, as Eliza Martin knows. Fortune hunters flock to her, and lately, someone is engineering "accidents" to propel her into the safety of marriage. But Eliza will not be bullied. She needs a man to infiltrate her assemblage of suitors and find the culprit. Thief-taker Jasper Bond is too handsome and too dangerous for such a task. Who would believe that an intellectual like Eliza would be seduced by a man of action? But Jasper cannot resist the challenge Eliza presents. Before all is said and done, he will prove that he is more than capable of satisfying all her needs… So many strong points, so little time. For this article, I decided to focus on skills that typically challenge other authors, but which Sylvia excels at: characterization, stakes, and efficiency of prose, or what I call pulling double duty. In PRIDE AND PLEASURE, the reader is exposed to the heroine, Eliza, and the hero, Jasper, through multiple techniques employed by the author: the characters' own narrative thoughts, their actions, their dialogue, the observations of others around them and a skillful use of limited, meaningful backstory. The result is rich, flawed, loveable, fabulous characters that transform into real people from the very first pages. From that point on, the reader is compelled to continue. What happens to these characters matters. The reader must know how each incident affects the character emotionally, intellectually, physically. How it will change their future, their hopes, their dreams. And this author never leaves the reader disappointed. Sylvia Day follows through with enchanting and descriptive ways showing just how each step of the story affects the characters, inside and out. As an example of typical characterization, consider this passage: Jasper would never presume to call himself a moral man, but he did function under the code of ethics Lynd had taught him'help those in actual need of it. He did not extort protection money as other thief-takers did. He did not steal goods with one hand in order to charge for their return with the other. He simply found what was lost and protected those who wanted security… From page 2, you know this man may engage in some illegal activities, but they are for the welfare of others. This has been a highly successful technique. Think of the famed Robin Hood. In more modern times, the recent television series, Leverage, comes to mind, in which a ragtag team takes on unjust cases to right wrongs, albeit by unconventional or even illegal means. Or consider the huge hit Dexter, a serial killer who kills serial killers. Simply brilliant. Here's another example of characterization, this one showing the reader Eliza's traits, but through Jasper's eyes. A very enticing tactic. As with her bookkeeping, the columns were neat and tidy, yet the way in which she formed her letters was different. Highly slanted as opposed to straight, elongated at the highs and lows, bleeding at the point of ink refill as if she was too hurried to shake off the excess properly. He mulled this over as he read'the care over numerals versus the carelessness over proper names was telling. This passage pulls characterization double duty. Not only does the reader see that at this point in the novel Eliza is more concerned with numbers than people, but also conveys Jasper as astute, intuitive, observant and intelligent. Sylvia's strong technique of blending backstory with the present shows us not only who a character is, but why he or she is that way. She uses this aspect skillfully, displaying keys to a character's personality and inner motivation. Her mother's life had forever been a series of crises and bursts of happiness interspersed with heated arguments and the depths of despair. Eliza had grown so weary of Georgina Tremaine Martin Chilcott's incessant drama that she'd taken great pains to moderate her own life. She preferred private dinners to lavish balls, and the comfort of laying on her boudoir chaise with a book over literary luncheons. Stakes It is difficult to adequately demonstrate how stakes rise throughout the story without giving away too much and thereby ruining the read, and I absolutely wouldn't want to take that enjoyment from you. So, I will outline the beginnings of the conflict and describe how it deepens to add intrigue and urgency to the story. The story's premise centers around Eliza's courting season. While she is participating in the season to please her Uncle, she is quite happily independent and sure she won't wed, despite the numerous suitors interested in her wealth. But strange and dangerous occurrences make Eliza suspect one of her fortune hunting suitors is trying to push her into choosing a husband for her own sense of security. One of the most agreeable suitors is a man named Montague. Montague also happens to be Jasper's long-standing enemy, unbeknownst to Eliza. Later we discover, this is also unbeknownst to Montague, which not only ups the conflict and stakes between characters, it adds a subtle intrigue to the story. For Jasper, the job of protecting Eliza and investigating the suspicious circumstances takes on double meaning. Immediately, the reader can foresee a conflict of interest, which ups the stakes - both professionally and personally -- when Jasper and Eliza's relationship deepens. The author masterfully continues to amp these stakes, divulging more and more information about Montague and his character, and as the story progresses, so does the rift between Montague and Jasper. As morsels of information are exposed, the reader is both surprised and delighted. These plot twists are not contrived, not purposely held back and then sprung when it's convenient for the author, but develop organically. The more we learn about Jasper and his background, the more light is shed on the part Montague has played in Jasper's struggles and, thus, motivations. And with each revelation, the reader is sucked deeper into Jasper's conflict, his ordeal, his dilemma. A subtle, masterful, powerful, delightful example of increasing stakes which develops naturally from character. Here are a few passages to show this dilemma as it progresses. Initially, Jasper wonders why his associate, Lund, would pass this assignment to him. …which begged the question of why Lynd was passing on this post. With such similar principles, either of them should have been as good as the other. Then, during the initial conversation with Eliza and her uncle, the first signs of an answer come. "Eliza, marry Montague and be done with this farce." [Her uncle said.] With the voicing of that one name, Jasper knew why he'd received the referral and how little chance Eliza Martin had of dismissing him. Beyond this point, mentions of and meetings with Montague pepper the story, building conflict, intrigue and Jasper's motivation. "So long as Montague fails to acquire the funds he needs to regain his marker from me, I can do whatever is required." It was a delectable twist that the best way to foil Montague's suit was to woo Eliza Martin himself. Page 19 The marker Jasper held was for a deed to a parcel of land in Essex that boasted only a modest home and was by far the smallest property Jasper laid claim to. Regardless, its value was priceless. It represented years of meticulous planning and the retribution due him. And in a mere six weeks it would be irrevocably his to destroy or flaunt at his whim. Page 19 [Jasper] kept his hours filled from the time he awoke until he couldn't fight sleep a moment longer. Such preoccupation afforded less time to ruminate on the thorn wedged in his side. Eliza both helped and hindered in that regard. When he was with her, he was so mindful of her there was no room for awareness of anything else. And that was a problem. He could not afford to lose his focus now. Not when he was so close to achieving his aims. Page 42 Beyond this, I can't divulge more without spoiling the wonderful storyline for you. But I think you can see from the few passages seeded on page two and growing methodically through page 42, that this is a pattern that will continue throughout the book. This foreshadowing shows how the issues will become a pitting point between Jasper and Eliza, until it all comes together at the very end of the book. When Jasper's complete story is finally revealed, his backstory and motivation cement his character. As a writer, I find increasing the stakes throughout a book to culminate in a truly sufficient black moment one of the most challenging aspects of writing a novel. As a reader, I find this element a key component of craft writers often fail to achieve, but one that is necessary to feel fully satisfied by the story. Sylvia Day did a superb job with this in PRIDE AND PLEASURE. Efficiency of prose: What I mean by this, is when an author twines several elements together, enabling a scene to perform multiple functions at the same time. Utilizing a passage for several purposes instead of one provides a richer read with an efficiency of words. Here are a couple examples of how Sylvia Day takes this technique to a micro-level, applying it to the paragraph structure, with powerfully efficient results. Jasper leaned back in his chair, considering. There was something about the way [Eliza] eyed him that set off a quiet alarm. He appreciated being paid for his services rendered'as anyone did'but he wondered if more than the balance of her accounts and a wish to absolve a debt was motivating her. He'd dealt with members of the peerage who felt the act of paying him put him in his place. Once he'd accepted money, he was no longer a businessman but a commodity they had rights and power over. In most instances, he cared not at all what clients told themselves to assuage their pride. In this case, he would not allow Eliza to think she could control him with her money. In a mere 125 words, the author has given us a glimpse inside the hero. She has shown us a hint of his backstory, a peek at his characterization, a glimmer of his internal motivation and foreshadowed future conflict between hero and heroine. Wow. All in 125 words? Yes, powerful. She looked at his hands, noting the whiteness of [Jasper's] knuckles as he gripped his biceps. She forced herself to look away and give Lord Westfield her full attention. Her fingers were linked so tightly, they hurt. Even lacking refinement in social graces, she knew what she was about to do was wrong in many ways, but she also knew Jasper needed to hear she wanted him as well. He required it said aloud, with a witness. As confident and aggressive as he could be when in his element, he was as lost as she was when it came to intimacy. Here, Sylvia has once again masters the multi-purpose paragraph. This short passage shows Eliza's internal conflict and how that develops her character. We see how Eliza's feelings for Jasper have grown. In the greater picture, this paragraph is also part of the author's artfully painted character arc for both the hero and the heroine. We can see Jasper's character through Eliza's eyes, the connection between hero and heroine and how their relationship has grown to include understanding one another without speaking. In 101 words. Amazing. I aspire. There are far too many wonderful elements of the writing craft utilized in PRIDE AND PLEASURE to outline in such a short article. I hope you'll explore and enjoy the novel for yourself.

Review # 2 was written on 2012-11-24 00:00:00 Michael Cassady *****3.5 Pleasurable Stars***** Eliza is an heiress in her sixth season. She has money, manages her own finances and affairs, and has never been denied anything. She has happily decided not to marry, but to live out the rest of her days quietly reading and spending time in the country. Marriage would only cost her her freedom to do as she pleases, and would allow her husband to take over her finances. And that is just unacceptable. Eliza has no concept of carnal lust until she lays eyes on Jasper. Jasper is a thief-taker, which is dangerous job. He is also the bastard son of the Earl of Montague. His only desire in life is to cause the destruction of the Montagues for the part they played in his mother's demise. He finds his resolve tested and his focus on revenge impeded by desire for his new employer; a headstrong, strawberry blond, blue eyed heiress that is wreaking havoc on his once peaceful existence. The love scenes between Jasper and Eliza were hot and no less than I have come to expect from Day. Her love scenes are HOT because both parties are not just expressing lust/desire for one another, but something stronger that runs much deeper. Day writes with so much passion, that it feels as if the characters need each other in order to survive. This book would have been a 4 or 5 star if more time had been spent with the main couple or if the secondary characters and plot had been more interesting. I usually love books by Sylvia Day, and find it a chore to put them down. I am a huge fan of her historical romances because of their intensity. This book however, read in such a slow manner. Every conversation that didn't involve the hero and heroine seamed to drag along at a snails pace. There were quite a few secondary characters, but none of them had enough depth to allow me to care about their welfare.