The Hush left one man alive in every hundred. Under the Accords, a fertile man belongs to the state, and a woman who hides one is breaking federal law.

High above Evergreen, in the mountain counties that never quite got round to enforcing the Accords, one man keeps a lamp burning in his window. One by one, the women who see it climb the hill.

Will the lamp bring them in — and once it has, can the house keep them?

The first book of The Lamp in the Window: a slow-burning, frankly adult romance of a found family, for readers 18+.

The house on the mountain has become a household. Now it must reach beyond the hill — into a world of registries, shortages and quiet foreign power — and come home with what it went for.

Can the household hold together when the world below starts paying attention?

Book Two of The Lamp in the Window: frankly adult romance for readers 18+.

Winter has closed over the household on the mountain. Below the hill the Accords have drawn closer — checkpoints, lists, a grid that cannot be trusted — and someone has already come to test the house.

Now it must leave the hill again — farther this time, into a city holding its breath, for something that will not keep if they wait.

Can the household hold through the dark, and come home to the lamp?

Book Three of The Lamp in the Window: frankly adult romance for readers 18+.

Spring has come to the household on the mountain. The lamp still burns, and the man who lit it has quietly begun to give each woman in the house the adventure she had stopped letting herself imagine — a stage, a road, a quest, a night she thought the Hush had cancelled.

But joy is a dangerous gift in a watched world. Not everything the house hopes for will keep, and below the hill someone has started writing down the cars.

Can the household hold on to its joy — and to one another — through what it cannot keep?

Book Four of The Lamp in the Window: frankly adult romance for readers 18+.

Winter has come back to the household on the mountain, and with it a date that no one wants to count. On Christmas Eve each woman in the house ties a wish to the great stair on a green ribbon — and this year, the house means to grant them.

But the world below the hill keeps files of its own. In a stolen catalogue lies the trail of a collector who has never been named, and the counties have started making lists.

Can the household make its wishes come true — and still protect itself?

Book Five of The Lamp in the Window: frankly adult romance for readers 18+.

Snow lies on the mountain, and in it, by the mailbox at the foot of the drive, someone has left the footprints of a man who stood a long time and watched the house.

It is the year the household has waited for: a child is coming, and every week of it is counted. But the world below the hill has learned where the lamp burns, and it is no longer content to look.

When hiding has stopped working, can a house that was built to be hidden choose to be seen?

Book Six of The Lamp in the Window: frankly adult romance for readers 18+.

A boy is born at dawn in the house above Evergreen, and in a world with almost no men left, a living son is worth more than anyone can safely say.

Then a letter comes from the far north, from a yard at the end of the world where a ship has waited through the silent years. The house’s engineer is called to finish her, and the only road home is the old sea road.

Can the household bring its ship through the storm, and come home to the lamp?

Book Seven of The Lamp in the Window: frankly adult romance for readers 18+.

Winter has settled on the household on the mountain, and a road that has been waiting for years is finally taken. The lamp still burns in the east window. The house sends its own out into a wide, emptied country, and keeps the fire for their return.

But the world below the hill does not sleep. A winter storm takes the lines down, and what the house has been quietly keeping has to be kept alive without them.

Can the household hold the road, and the house, and still come home to the lamp?

Book 8 of The Lamp in the Window: frankly adult romance for readers 18+.

The Lady Odile went down eleven miles off Grand Isle on a calm March night with her captain still aboard. The insurance company called it an accident. Salvage diver Sol Vane, who dives wrecks for a living and trusts nothing she can’t put her hands on, finds the deck log sealed in a freezer bag and one line in the dead captain’s hand: HM cleared.

By morning a man she has never met is standing on her boat.

Wade Callister lost his ship and his license to a finding that never added up, and he knows that entry. He navigates by compass and stopwatch, drinks one bourbon a night and never finishes it, and he is the last partner Sol wants. But a charter boss named Russ Lusk wants the Odile to stay on the bottom, Leon’s daughter is about to lose the family house to the man who held his note, and somebody keeps telling Lusk exactly where Sol is going to dive.

To prove the trawler was sunk on purpose, Sol has to go back down alone, sixty-four feet into the dark, with Wade holding the other end of her line. Neither of them planned on the storm, or what happens between them while it blows. Neither of them planned on staying.

A slow-burning romantic suspense set on the Gulf Coast, full of salvage, shrimpers, bad weather and a dock bar with a neon sign missing its last letter. Contains open-door love scenes between two consenting adults.

Five weeks ago a millionaire’s yacht ran up onto a shoal in the Marquesas Keys in the middle of the night, and his wife drowned below. That is the story. Her husband’s lawyers like it, the captain swears to it, and the insurer would very much like it to be true.

Salvage diver Sol Vane is hired to prove it, with Wade Callister, the master mariner who lost his ship and his license, on her boat and on her side of every argument about the weather. The water off Key West is clear as glass, which is the problem: everyone can see what you find, including a charming man from Grand Isle who ought to be dead.

Then there is Teague Albury, who taught Sol to dive clear water and once asked her to sell her father’s boat. And there is a small gray dive computer lying in the sand that remembers exactly when the dead woman stopped breathing.

With a tropical squall line walking in from the east and a hose running from Gray Lady’s deck down into the wreck, Sol has one morning to bring the truth up, and Wade has to hold the boat on the worst anchorage a captain can choose: a lee shore.

A slow-burning romantic suspense set in the Florida Keys, full of salvage, insurance men, hard weather and two stubborn people learning to hold the same line. Contains open-door love scenes between two consenting adults.

He has guarded presidents. He has never guarded a voice.

Jack Dalby spent twenty years in a tactical unit, standing other people in doorways so they could walk through them alive. Retired, and short of money for his daughter’s April wedding, he takes one private job: six months minding the Norwegian soprano Solveig Aas, starting tonight at La Scala.

Somebody is sending her pages torn from the score of Tosca, the opera in which the soprano dies at the end. Her own dates are written in the margins in a careful schoolroom hand. Tonight is one of them.

Solveig is imperious on stage and lonely off it, and she has had quite enough of men who confuse proximity with permission. Jack has one rule: he does not touch the principal. He does not know a cavatina from a carburetor. He learns.

From the back corridors of Milan to the snow on the roof of the Vienna State Opera, past a falling sandbag, a fire alarm at twenty to three and a conductor with too many reasons to want her gone, the dates keep coming. The last one is opening night.

A romantic thriller from the opera world, and the first book in the Encore series. Contains open-door love scenes.

Corin Hale lost his commission for refusing to burn one book: the logbook of a lost ship that proved there was land beyond the fog at the edge of the world.

Now he wants three things. He wants his grandmother’s ship back from the navy impound. He needs a navigator who can read a sea no chart has ever shown. And he needs a quartermaster who can fight. He gets the ship by stealing her at midnight. He gets the fighter, Saoirse Quill, a laughing, sword-scarred deserter, out of a tavern brawl. And he gets the navigator by cutting her down from a gallows. She is Isolde Maren, a proud, sharp-tongued tide-witch who pays for every spell with a memory she will never get back.

Behind them comes the commodore who broke Corin, and he never stops. Ahead lies the Pale Line, forty leagues of fog that no ship has crossed and returned from. On the far side the stars are wrong, the reefs move, and the sea itself is listening.

Somewhere between the fog and the first unknown island, Corin will have to decide what he is sailing toward. Isolde will have to decide what she can bear to lose.

A sword-and-sorcery voyage with a found-family crew, a cantankerous cook, a ship’s worth of hens and a love story written in the margins of a chart.

Contains open-door love scenes.

Paris, October 1934. The Simplon-Orient-Express is about to leave the Gare de Lyon, and the Wagons-Lits office has sold the two berths of compartment seven to a woman and a man who have never met.

Solène Marchetti, a milliner from Lyon, is carrying a fortune in the hem of her gray coat: forty-one stones belonging to an old friend in Vienna, bound for her son Felix and his little family in Istanbul. She cannot afford to be noticed. She certainly cannot afford a stranger in the upper berth.

Owen Rhys, a Welsh bridge engineer bound for the Golden Horn, has not touched a woman since he buried his wife. He knows exactly what holds and what gives way. He has never been less sure of anything than the woman on the other side of the curtain.

Four nights. Eight frontiers. One coat. A countess in compartment eight with a gold thimble and a square key, a polite man from Vienna who wants what is in the hem, and a conductor who sees everything and says very little.

Between Paris and the Bosphorus, two careful grown-ups discover that everybody lies on trains, except about what they want.

An elegant, slow-burning historical romance with explicit, consensual love scenes for adult readers, a happy ending, and five “Try It at Home” cards for couples.

Masked, they are lovers.

Venice, the last week of Carnevale. In the fog on a palazzo’s water steps, a woman in a gold lace mask and a man in plain black leather make three rules: no names, no faces, no questions about the day.

She is the thief the insurers call the Returner, and she has come for a necklace of pearls sold in 1944 from the looted home of a couple who never came back. He is the quiet Welshman a London insurer has sent to make sure those pearls do not disappear at the Contessa Sanfermo’s ball.

Neither has seen the other’s face. By Saturday night, both of them suspect. By Monday, after a game of find-the-token by the light of fifty tealights, they both know, and neither will say it.

A palazzo with a steel strongroom. A blackout at two minutes to midnight. A Murano glassmaker who signs his work where no one would think to look. And two days left to decide what a man who will not lie is going to write in his report.

A masked love story with a hopeful ending and two “Try It at Home” cards for couples.

Contains open-door love scenes.

Naxos, one summer. Theo Marin has come home from eighteen years as a ship’s cook to relight his late father’s grill, and he has sixty-one nights to save the family taverna from a September auction.

Then a famous London chef ties up a restaurant on a boat fifty meters from his kitchen. Marlow Hale’s SALT seats fourteen at a hundred and eighty euros a head, and every evening at twenty to eight the smoke from Theo’s grill rolls straight across her deck.

He thinks she is a tourist with tweezers. She thinks he is a sulk with a match. They draw up a treaty on a paper napkin, and break most of it by August.

Somewhere on the quay sits a critic nobody has spotted. Out in the bay sits a yacht that belongs to Marlow’s backer, a man who wants a building on that harbor. And on a hot night in her shuttered deckhouse, one napkin tied over the eyes, there is a game of six bites each, and a forfeit.

Two kitchens. One grill. A grandmother at the pass who counts every euro and forgives almost nothing.

A warm, slow-burning romance with explicit, consensual love scenes for adult readers, a happy ending, and four “Try It at Home” cards for couples.

One summer. One house. Their rules.

Nate Calder builds things that stay up. He met his uncle Leo exactly once, at twelve, so the letter from a notary in Amalfi comes out of nowhere: Leo has left him a pink villa above the Amalfi Coast, a vineyard on stone terraces, and one condition. Live at the villa through the summer, or lose it.

It comes with three women who do not need him, and who have already talked it over. Their decision, when they give it to him together, is simple: they will share him, openly, on their own terms. They have even written it down.

Mila skippers the boat, says exactly what she wants, and asks first. Céline is restoring the old chapel stone by stone, has opinions about his engineering, and takes her time. Serafina runs the vineyard, knows every row on the mountain, and makes him wait. And the women want each other too.

The house has a card of rules on the kitchen wall, in three hands. Swim before breakfast. Fix what you break. Wine on the terrace, arguments too. Nobody sleeps alone in a storm.

But a developer wants the view, a stone wall in the vineyard is failing above a public path, and the will has a clock on it. To keep the house, Nate will have to carry stones, learn to swim, and finally let someone hold him up, one hot summer night at a time.

A big-hearted romance with open-door love scenes between consenting adults: one man, three women, a lot of wine, and a house full of rules worth keeping.

Over crest. Flat. Trust me.

Esme Calloway is thirty, fast, prickly and one bad season from losing her seat at Red Sky Rallying, the little team her grandfather built in a barn in mid-Wales. Then, two rounds from the end of the championship, the woman who has called her notes for seven seasons tells her she is stopping.

The only co-driver the team can find is Rafe Lindqvist: a Swedish engineer who writes pace notes the way other men write scripture, and who once summed Esme up in a stage report in three words she has never forgiven. Talented and uncoachable.

In the car they speak a private language, called close to the ear at a hundred miles an hour through gravel and pine, and every word of it is a matter of trust. Out of the car they can barely stand each other.

Across the jumps of Finland and the granite of Sardinia, through a long night in a service tent and a liaison road at dawn, with a championship that comes down to the final power stage, the notes stop being only notes. She has to learn to be led through a corner. He has to learn that the driver, not the notes, decides.

Red Sky Rally is a grown-up, frank and tender enemies-to-lovers romance with a real engine under it and the dust of three countries on its tyres.

A consensual love story for adult readers, with a happy ending and five couples’ cards for the next quiet evening.

The bar is under. The power is out.

Gillian Tolland looks after the lighthouse on a nine-acre island off the coast of Maine, joined to the mainland by a bar of gravel that the sea gives back for a few hours each tide. She has just blown the last of twelve glass floats for a hospital, and it needs forty-six hours of power to cool, with the lid shut.

Then the gale comes in early. A delivery captain moving another man’s yawl picks up the island’s mooring, waits for a bar that never uncovers, and knocks on her kitchen door.

Cal Brannock has spent eight years taking other people’s boats to other people’s harbors and leaving before anybody could ask him to stay. Gillian has spent four years answering to no one. She gives him the couch, the kitchen door and a list of terms. The power goes out at twenty to seven.

Two nights. One generator. A box of candles, a bath filled one kettle at a time, and her mother’s game for the dark: name one thing you want, and say it true.

Out on the water, a fishing boat is calling for help. In the studio, the glass is cooling. And the bar will uncover on Wednesday afternoon, whether either of them is ready to walk it or not.

A love story with a happy ending, and two “Try It at Home” cards for couples, for the next night the lights go out. Contains open-door love scenes.

Liza Kellam has spent fifteen years saving other people’s boats, and she keeps one rule: she never sails what she builds.

Then she drives across a causeway onto Hollins Island, on Maryland’s Tangier Sound, and sees Evangeline up on the railway. She is a 1904 skipjack, one of the last boats on the Chesapeake still dredging oysters under sail, with a sag in her sheer and a backbone gone soft under the mast. Her insurer wants a clean survey by Halloween. A museum wants to haul her ashore forever. And her captain, Linwood Ward, a quiet waterman who brings a boat in without seeming to steer, means to race her past the mark where his brother went over the rail fourteen years ago.

Liza has seven and a half weeks, a carved half-model on an old woman’s mantel, and a stick of heart pine nobody has touched in a hundred years. She can give Evangeline back her true lines. What she can’t do is stand on the bank forever.

A slow-burn romance among the watermen of the Chesapeake, with a heroine who wins her own fight and a happy ending. Contains open-door love scenes between two consenting adults.

Mira Ellison can arrange a country house on the page down to the last fork. What she cannot do is ask for what she wants.

When her publisher pairs her with Bennett Crowe, the collaborator who has been handing her rooms for years, they are given one charge: write something braver. They begin a novel about a formal dinner at an English estate, course by course. And they act out every scene they are still afraid to say aloud.

In Brooklyn, over a legal pad and a second cup of coffee, Mira and Bennett talk with their eyes and try not to let a bow, a pin, or a too-small table undo them. In the book they are writing, Lydia and Edmund sit a long table in 1913, while a maid and a butler do their best to keep the china in order.

The dinner will not stay on the page. Neither will the collaboration. By the time the manuscript is finished, a publishing house will read it aloud, one blue-rimmed plate will still be missing, and two people who have always known how to look at each other will have to say the rest out loud.

A romantic comedy about work, manners, and the courage of asking, with a happy ending.

Contains open-door love scenes.