I didn't feel the love in this one.
Actress and Director date and move in together with the understanding that marriage is not in the cards, the two of them are way too ambitious in their respective careers.
Actress is diagnosed by her doctor as gradually losing her sense of hearing. She panicks, retires from acting, and leaves the hero like a thief in the night, with a vague Dear John note on the mantle, and no forwarding address.
Actress starts learning sign language at a school for the hearing-impaired, dabbles into theater there, and even falls in like with one of her teachers.
Then, when she is starting to accept her disability and realizes the pity party needs to stop as her life is far from over and she has a new life full of a support network of friends, acquaintances, colleagues and teachers, her doctor performs a miraculous surgery that restores her hearing.
At no point does the heroine contact the hero to at least explain why she ran and even inquire how he is doing and how he feels about it all. She has written him off. Instead, she embarks on a new career as a theatrical producer, to great success.
Four years later, she bumps into Director at a dinner party, where he cuts her dead and promptly leaves as if he cannot bear the sight of her. For one year, she hears nothing from him.
Then, one year after their accidental meeting, they are reunited despite themselves to respectively direct and produce a play about a hearing-impaired girl who falls in love with a hearing man. The play is written by heroine's boyfriend, the same sign language teacher who befriended her five years ago and who seems to be her somewhat lukewarm but steady date these days.
Director is similarly dating a buxom woman's magazine editor (he makes no qualms that he has been having a fully satisfying dating life for the past five years) even as he gives punishing kisses to the heroine on the sly and tries to convince her to dump her sign language teacher boyfriend. The director is torn between his desire for her and some righteous anger at the callous way she dumped him five years ago, imagining it must have been another man. Heroine once again does NOTHING to dispel his erroneous impression that could have cleared up, if not their romantic relationship, at least their working relationship.
Things come to a head when two days before the premiere of the play, both the main actress and her stand-in get into a car accident, not major enough to have incapacitated them for life, but damaging enough that they won't be able to star in the play two days away. This conveniently leaves the door open for the heroine to finally return to the stage and simultaneously reveal her big secret that she was temporarily hearing-impaired and that was what caused her to walk out on the Director.
The Director doesn't seem to hold a grudge and they reunite predictably for their ILY scene combined with theatrical triumph.
I liked the fact that the author gave her heroine a disability because God knows how boring all these perfect Harlequin Mary Sues can get. I just don't think she pushed it far enough. I didn't like the miraculous surgery plot device, it is one of the lamest, most overused tropes in HPlandia. It would have been a more interesting book if the characters both had to deal with this situation and given a chance to work through it. Probably the fictional play of the book (which sounds suspiciously similar to the Marlee Matlin vehicle Children of a Lesser God) would have been the better story to tell.
I will remember this one for heroine's arachnophobia which was the catalyst of her initial chance meeting with the hero, as well as instrumental in their reconciliation. They had each respectively and unbeknownst to each other paid the hero's 8 year old nephew to dig up a hairy eight-legged creepy crawly and dump it in heroine's washbasin so as to provide a good pretext for some nighttime damsel in distress and knight in shining armour activities. Turns out the nephew pocketed the money from both and dumped two spiders in the sink :)