Hazel transmigrated to nineteenth-century London.
London was prosperous, but she lived in the slums.
She had also lost her family and was dependent on others.
In winter, she was forced to wash clothes in icy water until a layer of skin rubbed off her hands.
She ate boiled potatoes every meal and had never seen white bread.
Hazel had no choice but to become a flower girl.
Flower girls earned little, worked hard, and had a terrible job.
But Hazel, who had owned a flower shop in her previous life, was delighted:
This is my old line of work. Wonderful!
She would use modern floral design and marketing to crush the competition in the nineteenth century!
Tulips picked in spring, purple water lilies gathered in summer,
African daisies in autumn, Christmas trees for sale in winter.
With each bouquet, she would earn white bread, roasted sausages, cream cheese lava rolls, and a prosperous, happy life for her whole family.
●◆●◆●◆●
Theme: Build a better life through hard work
The heroine didn't even appear in this chapter. To be honest, I didn't want to pay to read the supporting character's story. [Covering face, laughing and crying] This chapter is completely over the top. From these two chapters, the plot goes so outrageously that it makes people want to quit. (On the contrary, I paid to read the entire book from the time it was updated. I spent money to read the book, not in vain. As a consumer, I have the right to evaluate it.
There are always such nasty things, and I'm starting to hate this article.
I also think it's better to return to the main line of selling flowers.
I sincerely suggest that this book is called Pygmalion, not a collection of medieval stories. The author can focus on the main plot, writing about the protagonist's flower selling, and some problems that may be encountered in the middle, and gradually escalate. These sub-line main characters cannot be called, and they are not throughout the whole text. There is no need to describe too much.
Why write so many stories about scumbag men that have nothing to do with the main plot?
And it felt too deliberate to me. Michael's family must have lived much longer than the heroine. If he hadn't discovered it earlier, he wouldn't have discovered it later. It was too deliberate to have the heroine come to find out the ordeal, and it was just a scar. I decided that his children didn't feel weird at all when they get along. I think there should be a little bit of affection between blood relatives. For example, many separated brothers and sisters may eventually become husband and wife, just because of their favorability. That kind of innate closeness will exist as long as there is no big hatred.
Like Juliet, after she kills her husband and has no contact with the lady, there is no need to describe her ending. Her ending can be left to the imagination of the audience. There is no need to explain the ending of each character, and this has nothing to do with the main plot. It is recommended to indicate it.
If you want to write about a woman who gives herself a baby boy, no matter what her abilities or conduct, she will become unlucky. Can it be smoothly integrated into the story? It's so abrupt every time. Every time I buy a new chapter, I want to see the heroine's development, but after buying it, I get an interesting story that has nothing to do with the heroine's career. It's a waste of time.
I feel like each of the supporting characters is more miserable than the last [question mark] [question mark] [question mark] Even the neighbor who thought he was married to the heroine who hooked up with that young lady had successfully established a foothold in the family by relying on this, but later it was suddenly written that his husband was with his lover, and it became miserable! Met a landlord who got off to a good start and then got married?
It makes me a little sick