About this item
Sometimes it feels so damn good to be bad Photographer Wyatt Royce?s career is on the verge of exploding. All he needs is one perfect model to be the centerpiece of his sexy, controversial show. Find her, and Wyatt is sure to have a winner. Then Kelsey Draper walks in. Stunning. Vibrant. And far too fragile for a project like this. Wyatt should know?after all, he remembers only too well how their relationship ended all those years ago. Desperate for cash and frustrated with her good girl persona, Kelsey sets her sights on Wyatt?s show. But only the show. Because she knows too well that Wyatt Royce is a danger to her heart. But when Wyatt agrees to give her the job only if he has complete control?on camera and in his bed?Kelsey can?t help but wonder if she?s in too deep. Because how can a good girl like her ever be enough for a man like Wyatt? All Wicked novels stand alone.
About the Author
When Julie was knee-high to a grasshopper (an expression that she would like it known she has never, ever used in real life) she informed her parents that she was going to be a novelist, and proceeded to write Kitty Claws, a bestselling book about a cat as Santa. (The book sold out its entire print-run of one, so lets not split hairs about that "best-selling" thing, okay? )
After that stellar start, Julie continued to dabble in the literary arts, writing short stories on yellow pads that she forced her mother to type, scribbling poems on ruled notebook paper that she forced her mother to type, making up skits and songs that she forced her mother to watch and listen to, and diving head-first into high school journalism, at which point, mom finally got a break.
In college, she continued with the journalism thing, picking that as her major and working at The Daily Texan, the student newspaper for the University of Texas. The idea that she could actually write novels and, oh, buy food too, completely eluded her.
The journalism thing cranked along nicely for about one semester. Then Julie got a job as a production assistant on a movie originally called Splatter, but which was released as Future Kill (and can still be found in Blockbuster and through Netflix) , with really great Giger poster art. Julie worked her tail off, appeared as an extra, had a great time, and promptly switched her major to film.
Graduating at the ripe old age of 19, Julie chickened out and didn't move to Los Angeles to become the next Steven Spielberg. Instead, she stayed in Austin and worked as a media assistant until she decided that perhaps law school was the better way to go because, hey, a degree in film slides so seamlessly into law. (Or, more likely, grad school was inevitable and the LSAT seemed doable.) Not one to waste time, Julie took the LSAT in December, and was admitted to Baylor Law School on a full scholarship the following February. Law school and Julie got along great, and after graduation, Julie went to work as a law clerk on the Fifth Circuit Court of Appeals, where she had a fabulous time drafting legal opinions, preparing the judge for court, and taking regular trips to New Orleans on a government per diem. During her two year stint as a clerk, the writing bug bit again, and Julie wrote a stage play that will never, ever see the light of day. Really. So don't even ask.
After her clerkship, Julie decided she could handle moving to the Big City, and she took a job with Skadden, Arps in L.A., where she worked on a variety of cases with some very smart lawyers. After a year, she moved on to smaller and smaller firms (and had a short stint as a production exec at a small film company, thus justifying all those credit hours in college) . She continued to work with very smart lawyers, one of whom introduced Julie to Julie Garwood (her books, not the woman herself) , and the writing bu
