Once upon a time, there was a prince who took his job very seriously indeed. Beachfront Castle was extremely leaky and Bernard knew that he ought to marry a rich princess. But what about True Love? What about living Happily Ever After? Then Bernard went swimming and met an enchanting mermaid and that's when his troubles really began. How can a landlubber prince and a beautiful mermaid have a happy ending? Luckily, love always finds a way, and in a hilarious turn of events, Prince Bernard and his mermaid can be together at last.

Age range 7+ A little mermaid must say goodbye to her ocean home if she is to be with her prince. Teachers' notes available here

A little mermaid must say goodbye to her sea legs if she is to be with her prince.Owen Swan's ethereal illustrations recreate the life and beauty under the ocean.

A theme park princess must put her life back together after her happily ever after falls apart in this contemporary YA romance from the author of How to Keep Rolling After a Fall.

From the author of Lost Boy comes a beautiful historical fairy tale about a mermaid who leaves the sea, only to become the star attraction of history's greatest showman. Once there was a mermaid called Amelia who could never be content in the sea, a mermaid who longed to know all the world and all its wonders, and so she came to live on land. Once there was a man called P. T. Barnum, a man who longed to make his fortune by selling the wondrous and miraculous, and there is nothing more miraculous than a real mermaid. Amelia agrees to play the mermaid for Barnum and walk among men in their world, believing she can leave anytime she likes. But Barnum has never given up a money-making scheme in his life, and he's determined to hold on to his mermaid.

All mermaids long for the magic of a human soul. Briony won't drown sailors to get it. She makes potions instead, earning a reputation as a witch and becoming a social outcast. When a little mermaid asks for a potion that can reunite her with the human she loves, Briony reluctantly agrees. But there is more to the mermaid's plan than a quest for love. The more Briony interacts with the human prince the mermaid wants to claim, the more she suspects that he never loved the little mermaid at all. Discover a retelling of The Little Mermaid that turns the classic fairytale inside out and upside down. Where mermaids lure men to their deaths with siren songs and the sea witch will be the hero if she survives the final battle. The Prince and the Sea Witch is one of twelve short novels in A VILLAIN'S EVER AFTER, a collection of standalone stories featuring villainous twists on some of your favorite classic fairytales. Read the series in any order for magical adventures . . . and fall in love with villains as you've never seen them before. Who said villains can't have happily-ever-afters?

The Prince and the mermaid's happy marriage is threatened when a wicked witch casts an evil spell.

The latest edition to our storybook collection series is a follow-up to the best-selling Disney's Princess Collection: Love & Friendship Stories. Join everyone's favorite Disney Princesses, including Belle, Ariel, Snow White, and Cinderella, as they embark on royal adventures and live happily ever after. This beautifully illustrated storybook collection will keep little princesses entertained for hours.

A memoir about writing a novel about searching for love. Is romance dead? Is that why there are so many vampires in today's romance novels? When Avi Steinberg's love life took a grim turn, he did what he always does: He consulted his old books, the usual cast of Great (Very Serious, Usually Male) Authors. And he immediately realized that these books were part of the problem. Instead, he began to read romances, the books he--like so many of us--have been conditioned to dismiss as "trashy." What he discovered was a genre that was tremendously diverse and daring, along with a vast network of innovative writers who were keeping the novel as alive as ever. His own relationship problems, he realized, came down to a failure of his imagination. And so he set out on a quest to write and publish a romance novel and to find real-life love. A hybrid of memoir, travelogue, and critical essay, The Happily Ever After chronicles an adventure in a brave new world of literature. Steinberg offers a report from the trenches of romance, moving between major industry conferences and writing groups at the local bar as he works and reworks his romance novel idea. He reveals the inside scoop from a major romance publishing house, crisscrosses the country meeting mysterious ghostwriters and Fabio's great unsung rival, and offers a running take on the fascinating history of romance writing, the genre that invented, and continues to reinvent, the modern novel. Along the way he meets many readers, each of whom sheds light on why we are so fascinated by--and phobic of--romance fiction and what the vitality and fractiousness of our biggest genre says about us. With quirky wit and disarming honesty, Steinberg captures an often misunderstood literary culture and learns, from its devoted practitioners, how to take the Happily Ever After seriously in his own life.

Disney films reflect the current values and beliefs of society and have the power to influence their audiences in the perception of what is beautiful, and whether appearance does or does not matter. This book gives an overview of beauty ideals, body images, and appearances in Disney’s feature films. Seven main films are chosen for this analysis to allow for a comparison across time: Snow White and the Seven Dwarves (1937), Cinderella (1950), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), The Hunchback of Notre Dame (1996), and Frozen (2013). The survey determines to what extent Disney films make use of the beauty-goodness stereotype – the equation of appearance and personality. The characters are analyzed as to which bodily features they exhibit, and how these features are in tune with dominant beauty discourses during the times the films were made. Furthermore, the narratives are examined to find out how they topics ‘beauty’ and ‘appearance’ are rendered within them, demonstrating that earlier films frequently rely on traditional and stereotypical depictions and notions of beauty, whereas more recent productions represent more ambiguity and diversity.