Kate Watson

When sixteen-year-old cupid-in-training Kali sticks herself with an arrow and falls for her own target, there'll be Hades to pay. To reclaim her heart and destiny, Kali will have to disobey the Gods, defy the Fates, and hope she doesn't lose her best friend in the process.

Lovestruck

Fifteen-year-old Finley Pricehas perfected two things: how to direct a world-class production, and how to fly way, way under the radar. The only person who ever seems to notice Finley is herbest friend, the Bertram's son Oliver. If she could just take Oliver's constant encouragement to heart and step out of the shadows, she'd finally chase her dream of joining the prestigiousMansfieldTheater. But when teen movie stars Emma and Harlan Crawford move across the street from the Bertram's, they immediately set their sights onOliver and his vapid sister, Juliette, shaking up Finley and Oliver's stable friendship. As Emmaand Oliver grow closer, Harlan finds his attention shifting from Juliette to the quiet, enigmatic, and thoroughly unimpressed Finley. Out of boredom, Harlan decides to make her fall in love with him.Problem is, the harder heseeksto win her, the harder he falls for her. But Finley doesn't want to be won, and she doesn't want to see Oliver with anyone else.To claim Oliver's heart and keep her own she'll have to find the courage to do what she fears most: step into the spotlight."

Seeking Mansfield

In this contemporary retelling of Jane Austen's Emma, nineteen-year-old starlet Emma Crawford's favorite role is playing career matchmaker to her friends, but after reuniting with Liam Price and coming into contact with the darker side of Hollywood, she starts to question the glamorous world she has always known.

Off Script

Shoot the Moon is a young adult retelling of Charles Dickens’ Great Expectations and companion novel to Seeking Mansfield featuring Tate Bertram, a nineteen-year-old gambling addict who, despite almost losing his life over his vice, is not ready to admit he has a problem.

Shoot the Moon

"She's the desperate CEO hired to rebrand a sleepy Southern orchard. He's the stubborn heir determined to see her fail. All's fair in love and farming. As CEO of my marketing firm, my friends' careers rest on my shoulders. And my shoulders -- and company -- are failing. Rebranding a famous farm is my final chance to fix what I've broken, and nothing can get in my way. But flirting with a gorgeous farm worker can't hurt. Right? We have an instant -- and hot -- connection... until he tries to sabotage my every move. Turns out, this hunky local is actually Tag Carville III, the wealthy new heir to Sugar Maple Farms. When he finds out why I'm really visiting his sleepy Southern town, he goes from ally to enemy so fast, it takes my breath away. My new nemesis clearly has his own agenda, and it's in direct opposition to mine. I will save this farm and my company, even if he seems determined to stop me. Even if our fighting feels more and more like flirting. Even if I'm starting to fall. But in the battle over heart and home, only one of us will win."--

Strawberry Fields for Never

(Un retelling contemporaneo de Mansfield Park de Jane Austen)

AL ENCUENTRO DE MANSFIELD

"Sixteen-year-old Finley Price knows how to do two things really well: direct and go unnoticed. The only person who seems to realize that she exists is Oliver Bertram, the son of her parents' best friends. If only she could believe she was as good as he says. If she were, she could study at the prestigious Mansfield Theater. Their friendship changes when new neighbors move in across the street. Emma and Harlan Crawford are two young stars that immediately notice Oliver and his sister Juliette. As Oliver and Emma get closer, Harlan drops Juliette and becomes interested in Finley. He thinks it would be a fun game, but the more he gets to know her, the more he realizes he is falling in love with her. Finley will have to overcome her fears if she doesn't want to lose Oliver forever. She'll have to step into the spotlight."

Al Encuentro de Mansfield

Katharine Cox

Examining representations of the tattoo and tattooing in literature, television, and film from two periods of tattoo renaissance (1851-1914, and 1955 to present), this study makes an original contribution to understandings of crime and detective genre and the ways in which tattoos act as a mimetic device that marks and remarks these narratives in complex ways.

Marking and remarking

Tattoos in crime and detective narratives

Arthur Conan Doyle has long been considered the greatest writer of crime fiction, and the gender bias of the genre has foregrounded William Godwin, Edgar Allan Poe, Wilkie Collins, Émile Gaboriau and Fergus Hume. But earlier and significant contributions were being made by women in Britain, the United States and Australia between 1860 and 1880, a period that was central to the development of the genre. This work focuses on women writers of this genre and these years, including Catherine Crowe, Caroline Clive, Elizabeth Cleghorn Gaskell, Mary Elizabeth Braddon, Mrs. Henry (Ellen) Wood, Harriet Prescott Spofford, Louisa May Alcott, Metta Victoria Fuller Victor, Anna Katharine Green, Céleste de Chabrillan, “Oliné Keese” (Caroline Woolmer Leakey), Eliza Winstanley, Ellen Davitt, and Mary Helena Fortune—innovators who set a high standard for women writers to follow.

Kate Watson

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