検索キーワード： ナレーター "Lucy Paterson" すべてのカテゴリー

The Battle of Galen’s Vale is over, but the war for the Empire’s future has just begun. Concerned by rumors that the Magistratum’s authority is waning, Sir Konrad Vonvalt returns to Sova to find the capital city gripped by intrigue and whispers of rebellion. In the Senate, patricians speak openly against the Emperor, while fanatics preach holy vengeance on the streets. Yet facing down these threats to the throne will have to wait, for the Emperor’s grandson has been kidnapped—and Vonvalt is charged with rescuing the missing prince.

London in 1919 was a city of ghosts and absences, haunted by the men who marched away but never came back from 'the war to end all wars.' Grace Armstrong believes that she has come to terms with her own loss, the death of her fiancé, the brilliant and dazzling best friend of her brother. He was declared Missing in Action during the Battle of the Somme, but he starts to reappear both in her waking life and dreams. Grace is appalled when a body, dragged from the Thames, is identified as Catherine Smith, who has lodged with Grace and her family before suddenly disappearing.

Esther is nearing thirty, with a great job and a flat she shares with her two best friends, Bibi and Louise. But her life is missing that special someone. Tired of being single and sick of bad date after bad date, she thinks she’s found the answer to her romance problem in an old women's magazine. According to the magazine’s dating column, there are seven archetypes a woman will date before finding Mr. Right.

Esther is out with her two friends, bemoaning her lack of relationship, when she finds a magazine from the noughties. Seeking comfort – and a laugh – she turns to the dating advice only to find an article that feels a little too close to home. According to the journalist, there are seven people a woman will date before finding the one: The First Love, The Work Mistake, The Friend with Benefits, The Overlap, The Missed Chance, The Bastard and The Serious One. Her friends laugh but Esther realises each of her exes fits these roles perfectly.

Mary has raised a family in this house. Watched her children play and laugh and bicker in this house. Today she is getting married in this house, with all her family in attendance. The wedding celebrations have brought fractured family together for the first time in years: there's Phoebe and her husband Michael, children in tow. The young and sensitive Rosie, with her new partner. Irene, Mary's ex-mother-in-law. Even Emma, Mary's eldest, is back for the wedding - despite being at odds with everyone else.

Ashes and Stones is a moving and personal journey, along rugged coasts and through remote villages and modern cities, in search of the traces of those accused of witchcraft in seventeenth-century Scotland. We visit modern memorials, roadside shrines and standing stones, and roam among forests and hedge mazes, folk lore and political fantasies. From fairy hills to forgotten caves, we explore a spellbound landscape.

It seemed, at times, an act of profound selfishness, to have a child so that I might become a parent; but selfish, too, to have a child and stay the same, or not to have one - unless the only honest choice would have been to try to become this kinder version of myself without the need to bring another into it.

"I don’t exactly know how to tell you this, but you're not the only one who is single again." Single together for the first time, 34-year-old Meg and her warm-hearted mother Sally decide to cancel Christmas, and run away to a tiny cottage on the Cornish coast. For Meg, it is the perfect place to heal, while for her mother it has a special, and secret, place in her heart. Meg and Sally find that they’re not only getting to know themselves, but also each other. However, unable to resist getting involved in the village Christmas celebrations.

For years, Aidan Cullen has dreamed of becoming a successful crime writer. When his hard work finally pays off and his first book is published, what should have been a night of celebration unravels into an evening of horror. Left for dead after a brutal attack, trauma leaves him paranoid and reclusive, and he retreats to the remote countryside with only his dog Nanook for company. With the world kept at arm’s length, he begins to feel safe. That is, until a woman is murdered at the end of his road.

Phoebe, an eight-year-old girl, lies comatose following a car accident. She is a body without a spirit, a stolen child. Ceres, her mother, can only sit by her bedside and read aloud to Phoebe the fairy stories she loves in the hope they might summon her back to this world. But it is hard to keep faith, so very hard. Now an old house on the hospital grounds, a property connected to a book written by a vanished author, is calling to Ceres. Something wants her to enter, and to journey - to a land coloured by the memories of Ceres's childhood, and the folklore beloved of her father.

In today's connection economy, the most successful leaders inspire their people with purpose and meaning. Powerful corporate storytelling can mobilise people around an organisational objective in a way that a focus on market share never will. Be it a digital transformation or a diversity and inclusion initiative, corporate change needs the support of the people in that organisation in order to stick. Yet, while all stories can move people to take action, storytelling isn't a one size fits all.