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The House of Atreus is cursed. A bloodline tainted by a generational cycle of violence and vengeance. This is the story of three women, their fates inextricably tied to this curse, and the fickle nature of men and gods.

Clytemnestra
The sister of Helen, wife of Agamemnon – her hopes of averting the curse are dashed when her sister is taken to Troy by the feckless Paris. Her husband raises a great army against them and determines to win, whatever the cost.

Cassandra
Princess of Troy, and cursed by Apollo to see the future but never to be believed when she speaks of it. She is powerless in her knowledge that the city will fall.

Elektra
The youngest daughter of Clytemnestra and Agamemnon, Elektra is horrified by the bloodletting of her kin. But can she escape the curse, or is her own destiny also bound by violence?

When Eva Mercy, a single mother and bestselling erotica writer, and the enigmatic, award-winning novelist Shane Hall meet at a literary event in New York, sparks fly. But what no one knows is that fifteen years earlier, teenage Eva and Shane spent one week together, madly in love. While they may pretend to be strangers, they can’t deny their chemistry.

Over the next seven days, amidst a steamy Brooklyn summer, Eva and Shane reconnect. But Eva is wary of the man who broke her heart and wants Shane out of the city so her life can return to normal. Before he disappears, though, she needs a few questions answered . . .

With its keen observations of creative life in America today, as well as the joys and complications of being a mother and a daughter, Seven Days in June is a hilarious, romantic, and sexy-as-hell story of two writers discovering their second chance at love.

Finlay Donovan, single mum and floundering crime writer, is having a hard time. Her ex-husband went behind her back to fire the nanny, and this morning she sent her four-year-old to school with hair duct-taped to her head after an unfortunate incident with scissors.

Making it to lunch with her literary agent is a minor victory but, as she’s discussing the plot of her latest crime novel, the conversation is misinterpreted by a woman sitting nearby as that of a hit-woman offering her services to dispose of a ‘problem’ husband.

And when the woman slips Finlay a name and a promise of a large sum of cash, Finlay finds herself plotting something much bigger than her novel.

And, after all, they do always say: write what you know. . .

Finlay Donovan really is killing it . . .