School headmistress Grace Stephens neverthought her private fantasies could becomepublic. But millionaire businessmanAdam Bowen was used to getting whathe wanted, when he wanted. And hewanted Grace to act out every word of thepreviously secret, suddenly missing steamylove story she'd written all about them. Adam held her future—and every part ofher body—in his hands. Leaving Grace nochoice but to go from his make-believemistress to his very real one.

Her new client was devilishly handsome, superbly charming…and absolutely hiding something. Why else would a man as rich and powerful as Cristo Verón have any interest in the cleaning services of lowly Isabelle Browne? Her suspicions were confirmed when she discovered his real reason for hiring her. And suddenly, she was agreeing to a preposterous proposition…. Cristo would protect his family at any cost—and keeping Isabelle close was key to his plan. Having her pose as his make-believe mistress was step one. But he hadn't counted on wanting to make the pretense a reality.

A seductive, passionate trilogy by Katherine Garbera Make-Believe Mistress

Cinderella found her prince, but will Isabelle Browne? The life of a housemaid can have its perks, but being called away from vacation because Cristian "Cristo" Ver?n requested her by name isn’t one of them. Cristo has a mission: find out if Isabelle is the housekeeper that his friend accidentally got pregnant. Is Isabelle on maternity leave, or is she not the woman Cristo’s looking for…just the one he needs?

Shakespeare’s plays abound with kings and leaders who crave a public stage and seize every opportunity to make their lives a performance: Antony, Cleopatra, Richard III, Othello, and many others. Such self-dramatizing characters appear in the work of other playwrights of the era as well, Marlowe’s Edward II and Tamburlaine among them. But Elizabethan playwrights were not alone in realizing that a sense of theater was essential to the exercise of power. Real rulers knew it, too, and none better than Queen Elizabeth. In this fascinating study of political stagecraft in the Elizabethan era, Garry Wills explores a period of vast cultural and political change during which the power of make-believe to make power real was not just a theory but an essential truth. Wills examines English culture as Catholic Christianity’s rituals were being overturned and a Protestant queen took the throne. New iconographies of power were necessary for the new Renaissance liturgy to displace the medieval church-state. The author illuminates the extensive imaginative constructions that went into Elizabeth’s reign and the explosion of great Tudor and Stuart drama that provided the imaginative power to support her long and successful rule.

"With his rakish reputation and reluctance to wed, Lord Luke Clarendon is now in need of a make-believe wife. And he's charming enough to convince the beautiful runaway actress Roxanne to play his leading lady. Roxanne's head cautions her against becoming involved with Luke, but it's an offer she can't refust. As well as offering her financial security, Luke promises to help Roxanne's quest to discover her true identity."--Page 4 of cover.