I was underwhelmed.
The Valerie Bowman is a Parent Trap retelling. It's fun and fluffy, but it's also slight, and I'm not sure it adds anything to the original story.
The Tiffany Clare is... baffling. I'm going to proceed to spoil the plot as I explain why, so if you don't want to be spoiled, skip the rest of this paragraph. Essentially, an impoverished gentlewoman is at her wicked stepmother's mercy (it's unclear how this is the case). Stepmother is trying to catch the Duke for token wicked stepmother. Heroine attends Duke's masquerade ball with a cousin/old friend/I can't remember for one last hurrah, intending just to see the place. She and the Duke are apparently childhood friends. She dances with the Duke. There are all the feelings. She leaves the ball. Now, I assumed that it was at this point that the stepmother/stepsister drama would surface as they scheme to prevent the marriage. Spoiler: this does not happen. Instead, the Duke basically follows her home and proposes marriage. She objects, because her stepmother will object. My mental reaction: Um, Dude's a DUKE. I'm no expert on this, but if he says he wants to marry you, and you agree (heroine is referenced as being older, so she's certainly got to be mid-twenties), what exactly is your stepmother going to be able to do at this point (and as per my earlier point, why does your stepmother have any say?)? Short story shorter, the Duke agrees with me and runs to get a special license. Post-marriage, stepmother and stepsister express their displeasure to the happy couple. My mental reaction: Um, even if you're upset, surely you'd at least pretend to be happy to suck up to your stepdaughter/sister who has just MARRIED A DUKE. For self-interest reasons if nothing else. Instead the Duke and Duchess are the ones smoothing things over. For no good reason that I can see. This is one of those rare instances where I think a book needed a more dramatic plot. Or maybe the dramatic plot just needed to make a bit more sense. As it is, it reads as two old friends meeting, dancing, realizing they want to be together, and getting married. It's lovely, but not exactly amazing storytelling.
The Vivienne Lorret has it's moments and is probably my favourite. There's a Regency equivalent of couple-gets-stuck-in-an-elevator, and when the couple actually get to speak to each other, their banter is charming. The problem with this is that it's one of those romance novels where the couple in question are hyper-aware of each other every damn time they're in the same room together, even before they meet. To the extent that either they 1) can barely pay attention to a basic conversation/speak at all, 2) say the first ridiculous thing that pops into their head, 3) cannot stop staring at the other person, and/or 4) are basically overcome by the slightest touch. I'm all for a bit of physical attraction getting things moving, but I find it tedious when it's taken to the extreme where the characters can barely function on a basic cognitive level in each other's presence. When the author allows them basic cognitive functioning, this is fun. I also like the heroine's cousin. The heroine is a bit of an original, and comes up with crazy schemes and is a bit outspoken (parenthetically, this is an example of this trope being done reasonably well in that the heroine is only slightly outspoken so she feels like a real person, which is refreshing in a trope that is so rarely executed in moderation - it's a shame the author didn't use slightly more moderation in the other major trope). The cousin is much shier, but will support/go along with her cousin out of loyalty. There's a particular moment in the last chapter that is amazing. It's a nice female friendship of opposing personalities is all I'm saying.
The Ashlyn Macnamara is perfectly fine. But I know I will not remember any of it. It made very little impression on me in any way.