Across India’s forts and rivers, reincarnation stories echo through memory and legacy. The Vow Rewritten carries that tradition forward, weaving vows, karmic bonds, and soul echoes into a mythic journey. This book is more than a story—it is a living echo, reborn across lifetimes.
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This is a chilling psychological thriller that proves suspense doesn’t always need loud twists — sometimes, silence is far more terrifying.
At the heart of the novel is Jane Taylor, a woman living what appears to be a perfect suburban life. She’s a mother, a wife, and a successful children’s author. But beneath this calm exterior lies a devastating secret — Jane was involved in a hit-and-run accident that left her teenage neighbor dead. Instead of stopping, she drove away, choosing silence over truth.
For a year, Jane carries this guilt quietly, convincing herself that staying silent is the only way to protect her family. But when a true-crime podcast resurfaces the cold case, her carefully controlled world begins to crack. The tension deepens when her own teenage son becomes involved, prompting Jane to confront her past, which she has desperately tried to avoid.
What sets A Quiet Kind of Wrong apart from typical thrillers is its morally grey protagonist. Jane is neither entirely innocent nor deliberately cruel. Her fear feels real. Her guilt feels heavy. As readers, we’re forced to wrestle with uncomfortable questions: What would we do in her place? Is silence ever justified?
Mary Frances Hill excels at building slow-burning suspense. The suburban setting, filled with hidden secrets and fragile facades, adds a haunting realism to the story. The pacing is deliberate, allowing emotional tension to simmer until revelations hit with real impact.
Themes of guilt, motherhood, truth, and consequence are woven seamlessly into the narrative, making this book as emotionally gripping as it is suspenseful. Rather than relying on shock value, Hill crafts a psychological thriller that lingers in the mind long after the final page.
Final Verdict:
A Quiet Kind of Wrong is a compelling choice for readers who enjoy character-driven psychological thrillers with ethical complexity. It’s unsettling, thought-provoking, and quietly powerful — a reminder that the most dangerous secrets are often the ones we keep to ourselves.
Across the Sea, the second book in J. M. Hofer’s Islands in the Mist series, deepens the mythic foundations laid in the first novel and boldly expands the world beyond familiar shores. Where the opening book was rooted in mystery and awakening magic, this installment is about movement, consequence, and the cost of destiny.
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The story shifts its focus outward — geographically and emotionally. Journeys across treacherous waters introduce new lands, unfamiliar customs, and rising tensions that challenge everything the characters believe they understand. The sea itself becomes a powerful symbol, representing both escape and inevitability, freedom and loss.
Bran continues to evolve as a protagonist, no longer driven only by questions of the past but forced to confront the weight of his choices. The warrior’s strength is tested not just in battle, but in loyalty, leadership, and restraint. His internal struggle adds a compelling layer to the action-driven narrative, making his journey feel earned rather than heroic by default.
Lucia’s arc grows darker and more complex in this volume. Her connection to magic feels heavier now — less like a gift and more like a responsibility she cannot set aside. Hofer handles her transformation with care, allowing fear, doubt, and resolve to coexist rather than rushing her into certainty. This emotional grounding prevents the magical elements from ever feeling distant or decorative.
What stands out most in Across the Sea is its expansion of lore. New political dynamics, belief systems, and power struggles enrich the story, reinforcing the idea that magic does not exist in isolation — it reshapes societies, fuels conflict, and demands sacrifice. The mythological elements remain subtle but potent, reinforcing the series’ signature tone of ancient power simmering just beneath the surface.
The pacing in this installment is more deliberate, giving space for character growth, cultural discovery, and moral tension. Moments of quiet reflection are balanced with urgency and danger, making the narrative feel mature and purposeful. Hofer’s prose remains evocative, particularly in scenes involving the sea, rituals, and confrontations where words carry as much weight as weapons.
Across the Sea is a strong and thoughtful continuation of the Islands in the Mist series. It doesn’t simply raise the stakes — it widens the world, deepens character arcs, and reinforces the myth-driven identity of the saga. Readers who appreciate fantasy rooted in atmosphere, folklore, and emotional realism will find this installment both engaging and rewarding.
Reincarnation stories have always echoed through India’s forts, rivers, and legends. The Vow Rewritten carries that tradition forward, weaving a mythic journey of vows, janma (birth), and karmic bonds. From Panvel to Korlai Beach, from warrior spirit to modern youth, Meghraj—the shining black horse with a white patch—rides as the eternal companion across lifetimes.
This reel captures the transition: a Maratha‑inspired warrior dissolving into a modern youth, both riding Meghraj. It symbolizes reincarnation, legacy reborn, and the timeless Indian theme of vows carried across janmas.
The Vow Rewritten is not just a novel—it is a mythic fiction rooted in Indian forts, Marathi heritage, and soulful storytelling. It blends spiritual crossover fiction with emotional resonance, inviting readers to travel India by feeling, not by checklist.
✨ The Vow Rewritten is now available worldwide. Read it here → ✨ books2read.com/thevowrewritten
1)
If you could put yourself as a character in
your book, who would it be?
I hadn’t given this much
thought until I read the question. The first thing that came to mind was a beloved
great aunt of Izol’s on her mother’s side, who lives in a far-off realm,
possibly Niy, and visits Izol every so often during a festive season. Both
corresponded via mail and frequent phone calls. She would be the person Izol confides
in and most likely to heed her advice.
2)
Do you ever get writer’s
block? What helps you overcome it?
What works for me is to
not over think it. If I’m stuck, I let go of the thought or issue I am
struggling with and occupy myself with something else. Usually, reading
interesting articles on art or history eases my trouble mind. When I return to writing,
the issue or thought that caused my lapse somehow resolves itself without my fixation
on it.
The few times I am genuinely
stock in a rut, I skip the paragraph or section causing the dilemma and
continue writing until I have a clear idea of how to approach my stagnated
thoughts.
3)
What was the highlight
of writing this book?
The highlight for me was the
realization of the power of being present. Understanding that with everything,
there is a time and a season, and accepting our magical moment at whatever
stage of life it comes to us is how we find purpose and fulfillment in our
lives.
Could I have
written this story ten years ago? And if
so, would it have been this fantastical tale? I can say emphatically that it would
not have been anything remotely close to what I have written.
4)
What is your writing schedule?
Having an eight-hour job,
which on most days turns into ten hours, one can well imagine how tirelessly
busy my twenty-four hours are. I do the bulk of my writing during the early
morning hours between two and five, and review what I have written during the
evening, usually around eight, while I am having dinner at work.
On my days off, I would write until I reached the point of exhaustion,
my fingers cramping, my focus waning, and desperately needing sleep. At that
stage, I know it’s time to call it a day.
5)
Favorite spot to travel?
It’s hard to choose since I have
several favorite cities that I love to visit, but for weekend trips, Paris and
Rio De Janeiro are my go-to spots. In Paris, steak au poivre, my absolute favorite,
at Paul Bert’s bistro is my first stop. Sampling macaroons, which I’m obsessed
with, at Pierre Herme’s shop near the opera house is a most for me. Lastly, shopping
for eclectic items, such as street art on Rue Des Pyrenees is a glorious way to
spend the evening.
In Rio, I look forward to spending Saturday afternoons
at Leblon Beach, where relaxing and feeling the sun on my face is always a
welcome experience. Meandering the promenade Avenida Delfim Moreira as I walk back
from the beach, is always a treat, and dinner at Marius Degustare at sunset
makes for a beautiful end to the day.
Along the way, Bran’s path crosses with Lucia, a young widow haunted by unsettling visions she does not fully understand, and Gwion, a boy whose wisdom and insight seem far beyond his years. These characters are not merely companions but essential threads in a story shaped by prophecy, ancestral power, and ancient forces that refuse to stay buried.
What truly elevates Islands in the Mist is its world-building. Hofer draws heavily from Celtic and Welsh mythology, crafting a setting rich with druids, rituals, spirits, and gods that feel organically woven into everyday life. The magic here is subtle yet powerful — not flashy, but ancient, grounded, and deeply tied to the land and its people.
The writing style is lyrical and immersive, perfectly suited to the story’s mythic tone. Mist-filled forests, tribal settlements, sacred groves, and battlefields are described with vivid detail, making the setting feel alive and ever-watchful. The pacing balances introspective moments with tension and action, allowing both the characters and the lore to unfold naturally.
At its core, Islands in the Mist explores themes of legacy, belief, fate, and identity. Bran’s struggle is not just against external enemies but against doubt, tradition, and the weight of inherited expectations. Lucia’s arc adds emotional depth, highlighting the cost of hidden gifts and the fear of embracing one’s true nature.
Islands in the Mist is a compelling start to a fantasy series that will appeal to readers who love myth-driven storytelling, historical fantasy settings, and slow-burn magical intrigue. It doesn’t rush its magic or its characters, instead inviting readers to sink into a world where legends feel dangerously close to truth.
Where do you
get your inspiration? What prompted you to write your books?
All my novels
have roots in Celtic myth or folklore. I like having a structure or history to
wind my story around, rather than building a world completely out of ether.
I've always been drawn to the Iron Age and the Old Religions of the ancient
world. These are the wellsprings for my narratives. I can’t get enough. I
actually don’t read much fantasy, ironicall. Most of my reading diet consists
of folklore, mythology and historical research.
How do you
approach writing a novel?
All of my novels
have started with an idea that captures my imagination and just won’t let go.
From that spark, a particular scene might emerge, or a character—and then it’s
off! Everything grows out of planting that seed.
Do you
outline your novels before you write?
So far, in the
five I’ve written, I never have—not at first. I feel too much structure right
out of the gate suffocates my creativity. Instead, I follow my inspiration
(whatever scene or character is calling to me), write myself into it, and see
where it leads. Once the story gets too large or complex for me to hold it all
in my head, that’s when I start plotting and organizing.
How do you ‘follow
the inspiration’? What does that mean, exactly?
I quiet my mind
and start writing myself into whatever scene or character comes to me (I routinely
use 3rd person limited so that I can inhabit every major character’s
inner thought world). As I write down what my character is seeing or feeling,
the world inevitably comes alive around me, and things start happening. As I
write them down, the story gains momentum, each event or thought having a cause
and effect, as in life. Eventually, or sometimes immediately, other characters
show up and interact with the character I’m inhabiting. Sometimes they are
fully formed with strong personalities, and I’m simply taking dictation when
they start to speak. Other times, I have only the vaguest idea of who they are—and
need to get to know them through my chosen character as I would get to know
someone “in real life.”
Following the
inspiration means to let your intuition rule almost exclusively when writing,
and only letting your logical mind get involved when you’re in editing mode.
If you could
go back and give yourself some advice regarding the self-publishing journey,
what would it be?
Wait to publish
that first novel! Don’t hit publish until you’ve had it professionally edited, gotten
some ARCs and pre-orders lined up, have a website, and done some promotion for
the book. This was my biggest mistake. I didn’t have the money at the time and
just couldn’t wait to get that first book into the world. I was frankly shocked
I’d managed to finish it. I felt this uncontrollable urge to click that
“publish” button just to prove to myself it wasn’t just a dream.
What’s the
hardest aspect of being a self-published author?
The cold truth
is, no matter how good your book is, it won’t sell itself. If you want to be
successful as a self-published author, you have to embrace self-promotion. I
suppose this goes for any artist out there. Especially today, when the average
attention span has receded to a few seconds. Stay visible and relevant requires
daily attention, and most of it does NOT come easily for introverts (which,
unfortunately, most writers are). I’m only now, after ten years, settling into
this.
Have you ever
had writer’s block?
Yes. It stayed
with me for a horribly long time, too - 2021 until the summer of 2025, in fact.
The craziest thing is that I didn’t even know what the source of the writer’s
block was until recently. I knew my desire to write had disappeared, but I realized
I’d been telling myself all kinds of lies (that I truly believed) about why:
that my day job was too demanding, that I felt called to do visual art instead,
that writing was ‘just a hobby’ and I shouldn’t take it seriously, that I just
‘didn’t feel like it,’ and on and on. The truth was that something happened back
in 2021 that triggered a paralyzing sense of “imposter syndrome” in me. I
buried the pain of it so deeply that my conscious mind became unaware of
anything being wrong. I suspect the pain of giving up on it was slowly building
up, drop by drop, until I could no longer ignore it and the truth emerged. I’m
so glad it did, too. It wasn’t fun to deal with, but until I summoned the
courage to face it, I knew the well would remain dry. Now, the waters have
started flowing again.
From the very first chapter of The Devil’s Magus, I could feel myself stepping into a world where every shadow hides a secret and every encounter hints at something darker lurking underneath. Marius Creed builds his story with gripping tension, weaving occult elements with emotional stakes in a way that feels both cinematic and unsettling.
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The story follows Mark Benedict, a man who never expected the supernatural to walk so close to his life—until he receives a warning that his brother, James, is in danger. What begins as a simple attempt to reconnect with family spirals into a confrontation with a hidden society obsessed with forbidden magic. The moment Mark joins forces with Sam, James’s estranged wife, the narrative deepens into a mix of mystery, danger, and unexpected alliances.
For me, the highlight of the book was the balance between supernatural horror and the human emotions running underneath. Whether it’s loyalty, love, regret, or redemption, these themes anchor the darker plotlines and make the story feel grounded even when demonic forces begin to close in.
The pacing is sharp, the atmosphere is chilling, and the antagonist — the sinister Sir Giles Worsley — brings a menacing charm that pushes the story forward. I also enjoyed the supporting cast, especially the psychic medium and the mercenary whose skepticism adds a nice tonal contrast to the eerie tension.
If you enjoy occult thrillers, dark magic, secret societies, and stories with nonstop momentum, this book delivers. It’s atmospheric, action-packed, and filled with that delicious sense of dread that keeps you turning the pages long after you planned to stop.
S
Boy with Wings by Mark Mustian is one of those rare stories that balances quiet emotion with a touch of the surreal, making you pause and think long after you've turned the final page. Told with a gentle, poetic voice, the novel follows Johnny Cruel, as he is called by his mother, a boy born with wings — not as a fantasy spectacle, but as a symbol of difference, longing, and the silent battles we all carry.
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What makes this book stand out is the way Mustian blends reality with subtle magic. Johnny Cruel's wings aren’t treated with drama; instead, they become a lens through which we see his isolation, his yearning to belong, and the weight of being “different” in a world that fears the unusual. Every chapter moves with soft introspection, weaving childhood innocence with the harshness of society’s expectations.
The author’s writing is beautifully restrained — atmospheric, thoughtful, and filled with emotional undercurrents. Themes of identity, acceptance, and growing up are explored with empathy. And despite being a slim novel, it leaves a lingering impact as the boy quietly grows, falters, and discovers his own voice.
For readers who enjoy literary realism with a magical touch, this book offers a deeply felt journey that speaks to anyone who has ever felt out of place. It’s tender, reflective, and surprisingly profound — a story that stays with you.
How do you write?
I
write whenever I can, but mostly in the mornings. It’s a product of when I
first started trying to write a novel; my kids were small then, and the only
time I could do it was early each morning, when I would rise before everyone
else. I discovered that I liked doing this—that it was time to myself, time I
could be creative before the remainder of the day slipped into chaos. I still
do it this way today.
How do you approach it each day?
The
hardest thing for me to do is to get the initial words on the page. Once
they’re there, I can edit them, and that’s easier and more fun, at least for
me. But to get them down sometimes is a struggle. I’ll tell myself: “Just write a paragraph.
Okay, just one more.” Each time I write, I’ll go back over what I did the day
before. I saw somewhere that this is one of Hemingway’s writing rules. It
seems to work for me.
Do you know the ending when you begin?
Generally,
I do. I’ve talked to other authors who say they don’t, that they just let the
characters go where they will, but I can’t do that. I think the ending of a
novel is so important, and novels that don’t “stick” the ending are so
underwhelming, that I spend lots of time thinking about it before I start. I’ve
had endings shift a little as I’ve written several of my books, but mostly they
stay in the same general way I planned them in the beginning.
How and when do you do research?
I
start by researching the topic, then research it more as I go. I know some
authors spend years researching a topic before they begin to write, but I find
that the writing process helps bring up additional questions and research
avenues that I need to explore. I’ve found, too, that I have to be into what I’m
researching, or I’m wasting my time and need to pick another topic.
How do you approach editing?
Editing
separates the wheat from the chaff among writers, in my view. I end up reading
my finished novels through countless times—maybe twenty? 25? I don’t keep count.
I feel like it’s so important, particularly with respect to the prose, but also
with regard to consistency of tone and voice. Having a good copy editor at the
end is, of course, very important, as it’s amazing what they can see that I
can’t no matter how many times I’ve been through it. I want to feel like it’s
done, though, before I send it to them.
How do you know when you’re done?
When
I can’t stand to look at it anymore.
Do you listen to music when you write?
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