Left at the Altar. Left at the Altar, Pregnant, and Bound to a Ruthless Billionaire

The best man handed Isolde Northridge a folded note instead of a groom. Two lines, no signature she needed, because she knew Kolbein's hand. He had traded up on the way to the church and left her standing at the altar in a dress she had not finished paying for, with a studio note about to come due and, though she did not know it yet, his child already growing under the beadwork. Isolde builds stained glass, cutting broken color and setting it in lead so the light comes through the pieces instead of past them.
It is the only thing that has ever made sense of a mess, and it is exactly what her life is not: her mother's last window sits in a box in a hundred shards, her savings are gone, and the town has decided her ruin is the best story it has had in years. Then Theodore Woldcombe, who is rich the way winter is cold and just as warm, offers her a way out that is really a trade. He needs a wife by his birthday to keep his company.
She needs a name, a roof, and a wall between a ruthless world and her baby. She marks up his contract line by line and signs it as an equal, and the paper marriage becomes real only on the days and in the ways she says so. What neither of them planned on was wanting it. What neither of them planned on was Kolbein coming back the moment she looked like a woman worth having again, with a lawyer and a number and a claim on the child. To keep the family that grew out of an arrangement, the most ruthless man in three counties has to give up the one thing the marriage was built to protect, hand over the leverage, and stand with nothing but the truth in front of the woman he was never supposed to love.
Told in three voices, this is the story of a jilted bride who was never actually the broken one, and the panel of light she builds out of everything that shattered.