Spoiler Alert – I totally give away the plot, the conflict and the conclusion of two books.
I recently read two books (actually, I’m struggling to finish the second). Both had the same trope – mistaken identity. But in both cases, it was one person knowing the other didn’t know who they were. Not the mistaken identity of one looking remarkably like the real culprit thing, or the twin thing, or the wrong place/wrong time thing in which part of the book is about the one trying to convince the other of their identity. This was “I know you think I’m one thing but I’m this other thing and I’m just not going to tell you” which leads to the dark moment being about NOT HAVING THE **** CONVERSATION (if I were Chuck Wendig that would be an expletive). I hate that. But here’s the thing – I could tolerate it in the one and in fact purposefully sought out the book for a second read and am still struggling to finish the other (I just can’t not finish a book but I did have to skip the end when they finally HAD THE **** CONVERSATION and then go back to the middle).
The book I sought out for a second read was Nora Robert’s First Impressions. The first line of the book blurb is: Escaping the rat race and the lure of gold-digging women, wealthy businessman Vance Banning moves to a small, rural retreat, telling the townsfolk that he’s an out-of-work carpenter. When he first meets the heroine, he is attracted but fights it and continues to do so through part of the story. I don’t usually like this plot line either but in his case, he has a good reason. His first wife was a conniving, cheating, biatch who ends up getting killed by an obsessive lover. Yeah, that could make you doubt your judgement of the opposite sex. When he and the heroine first hook up, he decides that just for that night, he wants it to be fab and not insert his baggage in their first night together. I can buy that, especially when he tells her he loves her and that he has some stuff she needs to know but not right now and can she take him as he is and she says yes. The next morning, the world goes to hell for the heroine and he doesn’t want to dump on her, which I can also buy. So the annoying “you lied” dark moment is annoying, but short and I was able to overlook it.
The other story is Eloisa James’ Seven Minutes in Heaven. I would normally not name a book I’m about to bash, but I don’t want to spoil it for anyone who intends to read it by masking the story (because as soon as you start reading, you’ll know) and I usually love Eloisa James’ stories which is why I rushed to get this one. A woman runs a governess placement business. She is the daughter of marquis and the widow of the son of a viscount. She’s ridiculously wealthy. He rightfully, by societal mores of the time, believes that she is a former governess of respectable birth, likely a vicar’s daughter. She knows that’s what he thinks. He makes references to it numerous times. She knows her father knows his father (he is a bastard, by the way, but his father is a duke and he was raised in the duke’s household). And she NEVER HAS THE CONVERSATION. “My father knows your father.” “No, that’s actually not why I’m in this business.” “My dead husband, that WE ARE CURRENTLY DISCUSSING was the So-and-So, the son of Viscount So-and-So.”
Do you find that you can tolerate some authors tropes and hate the same interpreted a different way?