'That was the day that I vowed that I would kill the bastard who did this to them. That was also the day, Rose, the most feared female assassin today, was born.'

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If your cup of tea is a suspense story of revenge, with a dash of romance, and a hint of mystery, this is definitely the book for you.

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Sienna Steele has been driven by revenge since she was 18. Living two identities- the American Mafia Princess by the day, and Rose, the most feared female assassin in the world by the night, she won't stop until she has killed the person who caused this pain to her.

Vincenzo Russo, the firstborn son of the former Italian King has carried around a lot of baggage. Rejected to inherit the throne just because he was half Italian and double crossed by his own half brother, he won't stop until he has destroyed the mafia throne altogether.

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The only thing these two have in common is their need to get revenge.

So what happens when Vincenzo and Sienna work together? Will they be able to accomplish what they set out to do or just end up killing each other first?

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I can see the relevance/representation the cover has to your story. The font/title placement is creatively taking up the space in your cover, and the mood of the image used hints at the mood/atmosphere of the story. I don't exactly see how it portrays your genre—romance, but this seems to be mainly a mystery/thriller story, so I suggest having the romance become a subplot.

It's a catchy, impressive title. However, try looking up the title of your story. You'll find hundreds of different stories within similar genres to yours with the exact same title. It's generic and overused. If you believe it fully represents your story, then by all means, keep it the way it is. But keep in mind that you'll have to strive to excel in the actual plot and writing to make your story stand out from all the other 'Guns and Roses.'

I appreciated how your blurb was informative in summarizing the plot. By reading it, I was able to get a good gist of the direction this plot will take the reader, and overall, your writing was clean of grammatical errors. I will point out, however, at the length of your blurb. It is leaning towards the longer side. Keep in mind that a blurb is only a small excerpt of your synopsis. You can keep the synopsis in the actual story, but to entice your potential readers, try making the blurb one/two sentence(s) that reveal the plot in an interesting way (also known as a logline). Making a logline can be hard, especially since it's hard to fit your plot in one/two sentence(s), but the point is to only give your readers a glimpse of the plot. The sentence(s) on its own should be interesting (and vague) enough to draw in readers. You could have fun by including metaphors/similes and sensory detail. This is optional, of course. If you choose not to do this, you could shorten your blurb by removing the second paragraph, "If your cup of tea..." as it's unnecessary. You shouldn't have to invite the readers in as an author—the blurb itself should be doing that. I suggest writing out numbers (eighteen instead of 18) to not break the flow of the blurb. You should also have commas here and there, as well as a hyphen in "half brother." You can also go to the grammar section of this review and apply my suggestions to your blurb.

I appreciated that you dove right into the story, but you rushed in providing background information for your audience. You should ease them in before giving them the details. You start off with her waiting to kill Roberto Russo, then immediately start talking about how she joined Black Hand. Instead, spend some time describing her surroundings. Is it humid where she's waiting, or cold? How long has she been waiting there, and where exactly is she? Day or night? Even if you describe the action later, there's no use diving straight into the action in the beginning if you're going to step out of it right away. Strengthen and expand on your first sentence, then you can begin to provide background information for your audience.

You struggled with your punctuation and capitalization with dialogues. If your dialogue is accompanied with a dialogue tag (he said, she yelled, they shouted, describing the way someone says something), the dialogue tag is a continuation of the dialogue sentence. For example, it doesn't make sense for the clause, "She said," to be a sentence by itself. Therefore, it's part of the dialogue sentence. The dialogue should end in a comma to indicate that the sentence isn't complete, and the start of a dialogue tag is not capitalized, as it's not the start of a new sentence. The opposite goes for action tags. If your dialogue is accompanied by an action tag (she grinned/he sighed/they walked away, basically an action), the action should not be part of the dialogue sentence. The dialogue doesn't help the action tag make sense; the action tag should be a sentence by itself. Therefore, the dialogue should end in a period to signify the end of the sentence, and the start of the action tag should always be capitalized, as it's the start of a new sentence. Of course, the punctuation may vary. Exclamation marks and question marks can end a dialogue regardless of the tag accompanying it, as long as if it's a dialogue tag, the dialogue never ends in a period, and for an action tag, it never ends in a comma.

Example of dialogue + dialogue tag: "'I'm okay,' she said." OR "She said, 'I'm okay.'"

Example of dialogue + action tag: "'I'm okay.' She forced a smile." OR "She forced a smile. 'I'm okay.'"

You had a lot of comma mistakes. Keep in mind that commas are used to separate different clauses within a sentence, whether they're independent or dependent. An independent clause has a subject (who/what is doing the action) and a predicate (the action being done by the subject). Oftentimes, a sentence has two independent clauses, joined together with a conjunction. In the sentence, "I cried then Billy ran away," there are two independent clauses here. One is, "I cried," and the other is, "Billy ran away." Both have a subject and a predicate, and they're joined together by the conjunction, "then." Because of this, the two clauses still need to be separated with a comma, the correction being: "I cried, then Billy ran away."

Dependent clauses are just like independent clauses: they also have a subject and a predicate. However, dependent clauses are exactly like what they sound like; they're dependent on another clause. They don't make sense by themselves. For example, the clause, "I decided not to," has both a subject and a predicate, but it needs more context to make sense. There should be another clause attached or a sentence before it that it depends on making sense. When joined to another clause with a conjunction, the dependent clause should still be separated with a comma as well.

Commas are also used to separate an introductory phrase or word before the main clause. In the sentence, "Today I went to work," the independent clause is "I went to work," where the subject is "I," and the predicate/action is "went to work." The word "today" is not included in the clause, and therefore should be separated with a comma. The correction would be: "Today, I went to work." This is a lot of information to take in, but try to keep these rules in mind for the next time you're writing.

I noticed the amount of comma splices used as well. A comma splice is joining two different independent clauses together, and separating them with a comma, but not a conjunction. An example of this is: "I went to work, I drove in my car." These are two different independent clauses, "I went to work" and "I drove in my car." They both have predicates and subjects, and are separated with a comma. However, you must separate them with a conjunction as well. Without a conjunction, this turns into a comma splice. You have two options in this case. You can either replace the comma with a period and turn it into two different sentences, or add in a conjunction. In this case, the correction can be, "I went to work, and I drove in my car," or "I went to work. I drove in my car." You have many cases of comma splices in your writing, which I've pointed out for you. There were many that I haven't pointed out, so make sure to do that.

You often slipped up in your tense. Whether your story is set in past or present tense, you need to pick one and stay in it. If you're in past tense, you should use words such as "didn't" and "wanted." If you're writing in present tense, you should use, "don't" and "want." I've shown a few examples where you slipped up your tense below, so keep this rule in mind for future writing.

You had a few spelling errors (which I've pointed out), but there could be some that I missed or didn't point out. Make sure to thoroughly edit and proof-read before you publish a chapter. That way, you can easily find silly mistakes and the quality of your writing overall will improve. You also tend to use weak verbs or use passive voice when writing, so I suggest strengthening your vocabulary and use of diction.

The overall building of your plot was consistent in terms of pacing and characters. I noticed that the concept itself is a common one in Wattpad, so if you choose to stick with it, make sure to include elements that aren't cliché and include unique aspects/elements to keep your audience reading your story. You also went through each scene rather quickly, so I suggest building and strengthening your descriptions. Rather than telling your audience of something, show them.

Your overall descriptions of each character were strong and easy to visualize. I suggest focusing on portraying the emotions of your characters. Instead of writing that someone cries, write how they are crying, why, and find an interesting way to describe it. Avoid using cliché descriptions for a character such as "smirking" for a male character. Find more interesting diction to incorporate into the story and avoid repetition with descriptions. Don't ever use a description more than once (as I've noticed you've done a few times) and you could also do more reflecting on the character. Have them sit down more often and contemplate their actions/opinions. That way, the reader can connect with them more and understand them.

As I've mentioned earlier, you struggled with descriptions in each scene. You focused on the technical aspect of storytelling and described each scene as though to just get it over with. I suggest slowing down, analyzing your scene, and plan the best way to portray it. Then, dive into it and don't be afraid to reach new depths with your descriptions. You don't want to half-heartedly describe something, as I've seen you do several times in your chapter.

Because you didn't go into depth with your scenes, your transitions also felt a bit hurried. I suggest reading other books and seeing how other authors transition from scene to scene. Do they categorize each scene by a new day, or simply by a new situation? How do they transition? By doing this, you can find what you like most about transitioning, and apply that to your own writing, as well as finding your own style to use in the future.

"'Yeah?' he posed it more as a question rather than a statement." (p.2). These should be two sentences. The action tag is a separate sentence, and the beginning of it should be capitalized, as it's the start of a new sentence. "'Yeah?' He posed it more as a question rather than a statement."

"When I first came here, I wanted to come off as intimidating and someone he would not dare to fuck with, but now all I probably looked like someone who wanted to fuck him." (p.3). This sentence is poorly constructed. It is disorganized, and the readability is muddy. I suggest clearing it up and tightening it. Correction: "When I first came here, I wanted to come off as intimidating and someone he wouldn't dare fuck with, but now, all I probably looked like was someone who wanted to fuck him." Notice the commas I added as well.

"That's the only place he could have recognized me from." (p.9). You have a tense slip-up here. "That's" is a contraction for "that is" which is in the present tense form. Correction: "That was the only place he could have recognized me from."

"I could not just reveal that I live as two identities..." (p.10). You have tense slip-ups here. You should stay consistent with past tense. Correction: "I couldn't just reveal that I lived as two identities..." Notice how I contracted "could not" into "couldn't" to make the readability clearer and the sentence tighter.

"'Well shit,' he drawled 'So I'm holding the gun of the deadliest female assassin in my hand?'" (p.16). You need punctuation here, as well as a comma. Correction: "'Well, shit,' he drawled. 'So I'm holding the gun of the deadliest female assassin in my hand?'"

"We made our way to a table for two, it faced a huge window with a view to the road outside and a few houses since we were sitting on the ground floor." (p.18). You have a comma splice here. A comma splice is joining two clauses together without a proper conjunction. You can correct this by adding a conjunction, or replacing the comma with a period. In this case, I suggest the latter. Correction: "We made our way to a table for two. It faced a huge window with a view to the road outside and a few houses since we were sitting on the ground floor." Additionally, the description is unnecessary. It doesn't paint an image in my mind of the scene. Unless you plan to really describe it with figurative language and sensory detail to make the reading experience more vivid for the reader, I advise against adding this to your writing.

"I started laughing, 'Really?...'" (p.22). "I started laughing" is an action tag, and shouldn't be part of the sentence (and the punctuation should reflect that). Correction: "I started laughing. 'Really?...'"

"I took his iPhone in front of me and pressed play, barely able to contain myself, 'Hello? Yes this is Benito Russo, it's urgent,' it sounded like Benito was on the phone with someone, 'You have to get that fucking girl, Rose off my trail.'" (p.27). Notice how you combined all these clauses to form one long sentence. These should be separated into several sentences, as action tags are not part of dialogue sentences. You're missing some commas as well. Correction: "I took his iPhone in front of me and pressed play, barely able to contain myself. 'Hello? Yes, this is Benito Russo, it's urgent.' It sounded like Benito was on the phone with someone. 'You have to get that fucking girl, Rose, off my trail.'" You have these kinds of mistakes often with your dialogue throughout the chapter, so make sure to correct them all.

"I was starting to feel dizzy under Enzo's worried gaze." (p.32). This is telling, not showing. I, as the reader, couldn't paint an image of this in my head. Did her heartbeat quicken, or did her pulse roar in her ears? Where is the description that helps me, as the reader, deduce that she was dizzy? You shouldn't have to tell your readers that she's dizzy.

"He nodded, 'I'm Vincenzo Russo, the former heir to the Italian mafia throne,' his voice sounded grim." (p.41). "He nodded" and "his voice sounded grim" are not dialogue tags, they are action tags. They aren't part of the dialogue sentences, and the punctuation should reflect that. Correction: "He nodded. 'I'm Vincenzo Russo, the former heir to the Italian mafia throne.' His voice sounded grim." Additionally, show, don't tell. Don't tell your readers that his voice sounded grim. Show them.

"I scoffed, 'It is cocky of you to assume that I'm going to be doing this with your help.'" (p.52). "I scoffed" is an action tag, and shouldn't be part of the sentence, as it isn't a dialogue tag (it doesn't describe how something is said). Correction: "I scoffed. 'It is cocky of you to assume that I'm going to be doing this with your help."

I didn't feel the impact of learning a gunshot went off near the end of the chapter. Even if your protagonist is experienced in dangerous situations and such, you should add some kind of reaction for your readers. She could be alarmed, or even annoyed. I only read how they immediately reacted, but not how they felt, making the impact of the scene feel weak.

"He suddenly groaned, 'Don't look at me like that,' he threw a single glance my way, biting his lip." (p.2). Again, action tags shouldn't be included in the dialogue sentences. Correction: "He suddenly groaned, 'Don't look at me like that.' He threw a single glance my way, biting his lip." Also, why is there suddenly sexual tension between two people while they're in danger? Experienced assassins or people in this kind of situation would react quickly and swiftly without getting distracted, and it feels like you threw in the sudden chemistry for no other purpose than to heat things up, which could also be done later in the story.

"I removed my seat belt and opened the door just enough to lean outside and shot at their tire." (p.8). "Shot" should be "shoot."

You have a misspelling in paragraph 13, with the word "adrenaline." Make sure to thoroughly edit chapters before uploading to avoid simple mistakes such as these. This particular spelling mistake is also repetitive, so if you're unsure of how to spell something, make sure to look it up instead of guessing.

"Alright then, go wait in the car, I'll call Aiden and Luca." (p.27). You have a comma splice here. As a reminder, a comma splice is joining two clauses together with a comma, but without a conjunction. To correct it, you can add a conjunction or replace the comma with a period. I suggest the latter in this case. Correction: "Alright then, go wait in the car. I'll call Aiden and Luca."

"... he said dropping him on the ground." (p.35). You should have a comma here, as these are separate clauses. Correction: "... he said, dropping him on the ground."