A storm and a scandal bring a widowed blacksmith and an immigrant woman together on the American frontier in this inspirational historical romance. Rebecca Gunderson’s fresh start in High Plains, Kansas, is destroyed when a deadly tornado wrecks the immigrant’s new home—and her reputation. Everyone knows Rebecca rode out the storm with the town’s blacksmith, and no one believes her time with Pete Benjamin was totally innocent. To protect her, Pete offers Rebecca his hand in marriage . . . but the grieving widower can’t give her his heart. Is Rebecca trusting her happiness to a man trapped in the past? Or will faith and trust finally bring them through the storm to a brighter future?

Come home to America's heartland in a collection of contemporary romance. Will two women give the men in their lives a second chance for love?

Rebecca Gunderson's fresh start in High Plains, Kansas, is destroyed when a deadly tornado wrecks the immigrant's new home–and her reputation. Everyone knows Rebecca rode out the storm with the town's blacksmith, and no one believes her time with Pete Benjamin was totally innocent. To protect her, Pete offers Rebecca his hand in marriage...

It’s murder before marriage in book five of the Someday Quilts series Nell’s future is on her mind, and it looks as though the pieces are coming together like a perfectly made quilt. Her relationship with police chief Jesse Dewalt is heating up, she’s thinking of starting her own business, and Grandma Eleanor, is about to get hitched. But just the future seems sewn up, Jesse’s former NYPD partner turns up—dead. Nell has to scramble to keep the wedding on track, her relationship from falling apart, and herself from being the target of a stranger with a secret. The Double Wedding Ring has romance, murder and a modern cozy feel… everything fans of the Someday Quilts series have come to love.

A hot, new romance by USA Today bestselling author Elizabeth Lynx about a fake engagement that turned into something not so fake. What happens when a hockey player and a wedding planner kiss pretending to be in love and that kiss turns into something neither expected? I thought it was a good idea to pretend to be engaged to my sister’s best friend. Before you judge, hear me out. I needed the money. Okay, that sounded really bad, but Harper needed something too, a job. We were both benefiting from the fake engagement. The only problem was as we tried to keep it a secret from our friends and family, the more word got out. That’s the problem with being a famous hockey player and living in a small town. Word spreads fast. I guess I didn’t think that one through. I didn’t think a lot of things through. But I was desperate for the money I could get by pretending to be Harper’s fiancé. My ex-wife took everything I had and trying to raise my son in a tiny one-bedroom apartment wasn’t easy. I may not be proud of the lie I told, but I’d do anything for my little boy. Even pretend to not be in love with my fake-fiancé.

Winner of the 2009 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award The Midwest of popular imagination is a "Heartland" characterized by traditional cultural values and mass market dispositions. Whether cast positively —; as authentic, pastoral, populist, hardworking, and all-American—or negatively—as backward, narrow–minded, unsophisticated, conservative, and out-of-touch—the myth of the Heartland endures. Heartland TV examines the centrality of this myth to television's promotion and development, programming and marketing appeals, and public debates over the medium's and its audience's cultural worth. Victoria E. Johnson investigates how the "square" image of the heartland has been ritually recuperated on prime time television, from The Lawrence Welk Show in the 1950s, to documentary specials in the 1960s, to The Mary Tyler Moore Show in the 1970s, to Ellen in the 1990s. She also examines news specials on the Oklahoma City bombing to reveal how that city has been inscribed as the epitome of a timeless, pastoral heartland, and concludes with an analysis of network branding practices and appeals to an imagined "red state" audience. Johnson argues that non-white, queer, and urban culture is consistently erased from depictions of the Midwest in order to reinforce its "reassuring" image as white and straight. Through analyses of policy, industry discourse, and case studies of specific shows, Heartland TV exposes the cultural function of the Midwest as a site of national transference and disavowal with regard to race, sexuality, and citizenship ideals.