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Set in the dynamic worlds of professional basketball and entertainment, two of Kennedy Ryan’s most critically-acclaimed series—HOOPs and Hollywood Renaissance—collide in this tale of forbidden romance. I met Nazareth Armstrong when I was eighteen years old. From the beginning, my brother warned me to stay away from him. Told Naz to stay away from me. Our hearts didn’t listen. I shared one magical night under the stars with my brother’s rival, thinking it was the start of a once-in-a-lifetime something. But one awful moment ended it all. Years later when we meet again, we’ve both pursued our dreams, lived a little, found success…but never found love. What began as a tiny flame when we were young now threatens to consume us. I’m more drawn to Naz than ever, but his complicated history with my brother makes whatever this could be…nearly impossible. But Naz accepts impossible as a dare. Through his clever maneuvering and dogged determination, I find myself on a yacht with him and his friends cruising through the Mediterranean. It’s a whirlwind set ablaze. Away from reality, surrendering to the tender heat of his touch, I forget that everything could burn.
You never forget your first love. Isn’t that what they say? Verity Hill knows this truth intimately. She didn’t simply miss Wright “Monk” Bellamy when they parted ways in college. She’s haunted by his touch. Every kiss, any lover since—it’s a shadow of what they had. Time heals all wounds. Isn’t that what they say? Monk doesn’t believe that for a second. He wasn’t simply betrayed when he and Verity split. He was devastated, with parts of him left behind in the ruins of all that was destroyed. More than a decade after their disastrous breakup, Verity and Monk must work together on the set of an epic Harlem Renaissance biopic. With Monk, now a world-class musician, creating the score, and Verity, an award-winning screenwriter, penning the script, there’s Oscar buzz before shooting even begins. This once-in-a-lifetime project could catapult them both to new heights, but can they can put the past behind them for the sake of the film … for the sake of something more?