ANALYSIS:  From the outset readers get the impression that this blissfully romantic relationship is not so picturesque + that the connotations of romantic getaways held by Antigua are about to be superimposed by new memories + possibly heartbreak with a definite sense of foreboding sprinkled at the beginning of this romance novel when the protagonist already appears happily in love (certainly a recipe for disaster in a romance novel). Her clichéd relationship with Mark is just asking to be torn apart by the authorities of literary fate that be. Simply the description of their relationship as steady gives an indication of the romantic turbulence awaiting her. However, the cracks in their relationship are steadily revealed as their lives are shown to be markedly disjointed; Mark being the rich, busy one whilst she is made to feel more like a side piece than a commitment. The samey orthodox and monotony of their relationship leaves it vulnerable to being outshined and the regularity and compulsive tradition leaving room for dissatisfaction. 'Over + over + over' - trapped in this calcifying relationship yet she is cognisant of its downfalls.

MARK AND JANEY'S RELATIONSHIP:

Their relationship is an accumulation of weekends which in turn represent a time of liberty and freedom away from the mundane, professionalism of the work week but if they are bereft of these mundane weekdays + their homely experiences - they have no foundation to their relationship and only experience each other at leisure (presumably another reason why Mark was unable to be fidelitous for mere days after Janey's disappearance as their relationship had never faced any tribulations).

It grants an intriguing insight into a well established relationship dynamic with Mark inexplicably pedestalised as reiterated by Janey's repeated remarks on the prestige of his career + his amazingly Adonis-like good-looks as she defers to him + belittles herself + perhaps continues the relationship out of a lack of awareness of her own self-worth.

Marks erroneous impression of Janey's character as vulnerable and dependent is utterly subverted as her true personality unfurls on the island showing that perhaps Mark is merely projecting his own antipathy towards adventure and change onto her thus trapping her within the monotone of their relationship thus perhaps explaining the longevity of their relationship. 

Initially upon her disappearance Mark's seemingly genuine concern for her is appreciated as it strays from the expected reaction of impassivity or even indifference as would be expected however he steadily morphs into the solidified antagonist. Their relationship is rife with discordance. Mark's ideals entail a fiancee utterly devoted to him regardless of work commitments.

Janey's deliberately infuriating characterisation as a helpless princess undergoes some much appreciated development throughout the book and add dimension to an otherwise flat character.

CONTRIVANCE:

The number of miraculous moments make for undermined sincerity:

The situation on the island (until the addition of the pirates) seems almost heavenly what with Captain Travis' survival experience, selection of spices, ability to hand catch fish and even his previous history as a chef making this invariably difficult situation implausibly bearable. Travis is a human swiss army knife equipped with a walking clock and all the means to have a 1st class experience on a deserted island which coincidentally, just happens to naturally have all the ingredients for gunpowder. All of his knight in shining armour abilities make the experience overly romanticised and strips away any chance for the characters to bond over tribulations and the contrivance simply isn't palatable.

The fact that Honey + mark miraculously bond days after their partner's disappearances is a little too-perfect as well and gives room via quid pro quo for Janey to have a relationship with Travis.

CREDIBILITY
Had the situation been a bit more dire or desperate it may have made the castaway plot slightly more emotive and convincing, but having shelter and sufficient provisions seems too good to be true and leaves no room to provide the emotional rawness / crudeness engendered by facing a crisis with another human thus the characters seem a little too flat and their relationship buds almost out of nothing. 

FEAR:

When tension builds in the novel as turn after turn the characters face difficulties and abductions the relativity of fear is revealed - someone's perception of their maximum / peak threshold for fear in mundane life can suddenly shift dramatically when we experience extraordinary moments of unadulterated danger or fear. The greater the danger the greater the thrill.