Juliette wants the freedom promised by 1967 San Francisco, but the first pages of her rebellion reveal how differently freedom can look from either side of a family divide. In It’s All About Love, Cynthia Hilston places a twenty-year-old determined to choose her own future against parents whose objections are rooted in experiences their daughter does not fully understand. Her engagement to David becomes more than an argument over a boyfriend when she leaves home for Haight-Ashbury, forcing Juliette, Lorna, and Tristan to confront the difference between protecting someone you love and allowing that person to make choices of her own.

Women's Fiction / Historical Fiction / Romance

Date Published: 11-10-2026

༺ ABOUT THE BOOK ༻

 

San Francisco, 1967. The Summer of Love promises radical freedom—but for twenty-year-old Juliette, it becomes a dangerous trap.

 

 

Desperate to escape her conventional family, Juliette shocks her parents by announcing her engagement to David, a long-haired free spirit. When her father, Tristan—a famous novelist harboring a tragic past—vehemently forbids the union, Juliette acts on impulse. In the dead of night, she climbs out her window and flees with David to the counterculture epicenter of Haight-Ashbury.

 

 

But beneath the cloud of incense and rock 'n' roll, independence carries a steep price. As David drifts into a haze of drugs and broken promises, Juliette’s bohemian dream shatters. Back home, her flight reopens old wounds. Her fiercely protective mother, Lorna, must help Tristan confront the shadows of his past as they desperately try to pull their daughter back from the edge before it's too late.

 

 

It’s All About Love is a poignant coming-of-age story about the fragile line between rebellion and destruction and the enduring, messy grace of family.

 

༺ WHY READ THIS BOOK ༻

 

The conflict in It’s All About Love works on two timelines at once: Juliette is trying to claim a future for herself while Tristan’s response is shaped by a past he cannot simply leave behind. That gives the family’s disagreement more weight than a straightforward generational clash. The 1967 Summer of Love and Haight-Ashbury provide a setting built around promises of personal freedom, while Juliette’s experience asks what can happen when independence, impulse, and trust collide. Lorna’s position between a daughter demanding autonomy and a husband recognizing echoes of his own mistakes adds another perspective to a story in which love does not always produce agreement about what is best for someone.

  

༺ read an excerpt ༻

 

“I’m getting married!” Juliette burst through the door, holding her ring finger up for the world to see. Well, for my dear husband of twenty-two years and me to see.
            Said dear husband rose from his chair with such gusto that the poor chair clattered to the floor, victim of his temper. “What?!”
            The humid June air clung to the back of my neck as I stood. Pushing my graying hair out of my eyes, I took a step toward my husband and placed a hand on his upper arm. I recognized the fear that flashed beneath his anger. I’d seen that look far too many times lately as she missed her curfew night after night all summer long.  “Tristan, dear, just...calm down, okay?” I cast a pleading glance between him and our daughter. I could see the words on the edge of his tongue. Don’t follow in my footsteps. His own impulsive marriage led to a tragedy that impacted both our lives. I knew the thought of Juliette repeating his mistakes kept him awake at night.
            “Calm down?” Tristan tossed his hands up; then his arms flopped to his thin torso’s sides.
            “Your heart,” I said, stepping in front of him. “Please.”
            He released a sound somewhere between a growl and a groan, then righted his chair and sat. “So, who’s the lucky guy?” he shot at Juliette. “Don’t tell me it’s that long-haired hippie.”
It wasn’t just the hair. David's casual attitude toward drugs reminded Tristan too much of his own dance with addiction, though he'd never admit that to her.
            Juliette stood just inside the open door. Only the screen separated her from darting outside and the darkness swallowing her for another late night. Another night without a curfew. Another night we hoped we could trust her judgment. Another night our little girl proved she wasn’t so little anymore.
            She crossed her arms over her chest and sent her dad a glare worthy of one of his own. Her blue eyes held the same spark that challenged, much like Tristan’s eyes. “Seriously, Dad? Like you should talk.” She gestured toward his messy, longish hair.
            “That’s not the point,” Tristan said, teeth clenched. “You can’t just go running off with the first guy who puts a ring on your finger. If he had any decency, he’d have asked us first.”
            Juliette closed the door and scoffed. “It’s 1967, Daddio.” She popped her gum as she leaned against the table. “I don’t need your permission.”
            “Like hell you don’t.” Tristan stood, the menacing tone creeping back into his voice.
            I came between them. “Okay, both of you… Can’t we talk about this?”
            Juliette shifted her gaze to me. “Mom, please. Can’t you make Dad see reason?”
            I held back a sigh and lifted my hand. About to place it on her shoulder, I resisted and let my arm drop. “Juliette, this isn’t a good idea. David isn’t—”
            “Isn’t what, Mom?” A tremor ran through her voice. She blinked rapidly, then stepped away. She headed for the door to the dining and living rooms, stopping before she exited. “Why can’t you just be happy for me for once?” Her footsteps banged through the house and up the stairs. A slam of her bedroom door and I knew it would be unwise to knock anytime the rest of the night. 

 

༺ WHO WILL LOVE IT ༻

 

This one should speak to readers who like historical fiction to stay close to the emotional consequences of a changing era. Juliette’s pursuit of the freedom associated with 1967 San Francisco is balanced against Lorna and Tristan’s fear of watching their daughter repeat painful mistakes, making the family relationship as important as the romance. Readers interested in mother-daughter dynamics, complicated marriages, coming-of-age stories, and fiction about the distance between one generation’s experience and the next will find several points of connection here. The Haight-Ashbury setting also gives readers interested in the counterculture years a recognizable historical backdrop for a very personal family crisis.

 

༺ ABOUT THE AUTHOR ༻

Bestselling and award-winning author of the Lorna & Tristan Series, Cynthia Hilston is a stay-at-home mom of three young kids, happily married, and lives in the Cleveland, Ohio, area. Writing has always been like another child to her. After twenty years of waltzing in the world of fan fiction, she has stepped away to do her debut dance with original works of fiction, although she still dabbles in fan fiction.

In her spare time–what spare time?–she devours books, pets her kitties, looks at the stars, drinks wine or coffee with good friends, and dreams of what other stories she wishes to tell.

 

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༺ LAST WORD ༻

 

The opening confrontation makes the emotional problem in It’s All About Love clear without making it simple. Juliette sees an engagement and a new life; Tristan sees the possibility of history repeating itself; and Lorna understands enough of both perspectives to know that neither anger nor reassurance will easily close the distance between them. Moving Juliette from that family argument into the promises and dangers of Haight-Ashbury gives her rebellion consequences beyond shocking her parents. At the same time, the wounds her departure exposes at home suggest that this is not solely Juliette’s coming-of-age story. The family she leaves behind has its own unfinished history to confront.

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Loren has no illusions about what she is or what her touch can do. As an angel of death, she moves between assignments with black wings, a battered Mustang, and a talent for antagonizing Beelzebub whenever the opportunity presents itself. Michel presents a problem that does not fit neatly into that routine: he is a vampire who wants death but cannot seem to achieve it. In Taken by the Angel of Death, Megan Slayer puts those opposing relationships with mortality at the center of a romance where getting close to someone may be considerably more complicated than either character expects.

(Taken 14)

Fantasy Romance

Date Published: October 2, 2026

Publisher: ChangelingPress

༺ ABOUT THE BOOK ༻

 

One touch sends her victims to hell. But he’s already been there.
Would not recommend. 0 stars.

 

Loren knows her job. She’s an angel of death. When she allows herself to be seen, there are no survivors. She drives too fast, has no filter, and bows to no man. Then she sees a vampire crumpled on the ground. It’s not his time. She can’t leave him to die, but she won’t get involved with him. Too bad he’s cute. 

 

Michel never wanted to be turned. Never wanted to offer his services. Terminal illness? You’re going to perish anyway? Want to do it on your terms? Then he can help. It’s part of his death wish. But he can’t die. When he finds himself in the presence of the most beautiful, moodiest woman he’s ever seen, he can’t forget her. But she won’t touch him. He makes it his mission to get to know and melt her defenses so they can both have their heart’s delight. 

 

If nothing else, he’ll die trying.

 

She kills. He can’t die. They shouldn’t work, but what if they did and the results are fire?

 

༺ WHY READ THIS BOOK ༻

 

The collision between Loren’s work and Michel’s existence gives Taken by the Angel of Death an intriguing contradiction at its center. Loren’s touch is tied to death, while Michel is a vampire who cannot die despite wanting exactly that. The excerpt also establishes a world with a decidedly irreverent personality: Beelzebub is “Bubsy Baby” to Loren, vampires run the bar at Just One More, and an angel of death travels between assignments in a worn ’80 Mustang. That mixture of mortality, supernatural bureaucracy, sarcasm, and dangerous attraction gives the romance its own distinctive set of obstacles.

  

༺ WHO WILL LOVE IT ༻

 

Loren’s attitude makes this a particularly good match for readers who like their paranormal heroines sarcastic, independent, and a little abrasive. The supernatural setup should also appeal to those who enjoy angels, vampires, demons, and fictional worlds where the machinery of death has rules of its own. Michel’s inability to die creates an unusual counterpoint to Loren’s lethal touch, while her reluctance to let anyone close gives the romance another obstacle beyond the supernatural one. Readers drawn to dark humor alongside dangerous attraction will find both firmly established in the excerpt.

 

༺ ABOUT THE AUTHOR ༻

Megan Slayer, aka Wendi Zwaduk, is a multi-published, award-winning author of more than one-hundred short stories and novels. She’s been writing since 2008 and published since 2009. Her stories range from the contemporary and paranormal to LGBTQ and white hot themes. No matter what the length, her works are always hot, but with a lot of heart. She enjoys giving her characters a second chance at love, no matter what the form. She’s been nominated at the LRC for Best Author, Best Contemporary, Best Ménage, Best BDSM and Best Anthology. Her books have made it to the bestseller lists on various e-tailer sites.

 

When she’s not writing, Megan spends time with her husband and son as well as three dogs and three cats. She enjoys art, music and racing, but football is her sport of choice. She’s an active member of the Friends of the Keystone-LaGrange Public library. 

 

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༺ LAST WORD ༻

 

Loren’s first assignment in the excerpt reveals more than the mechanics of her work. She can carry out a death sentence without hesitation, yet the suffering surrounding that work still affects her, and she steps into danger when she encounters a man who is not on her list. That tension between what Loren is required to do and the choices she makes on her own gives Michel’s arrival an interesting opening. A vampire who cannot die is already an anomaly in her world; becoming emotionally involved with him threatens to make him something far more complicated than another supernatural curiosity. Taken by the Angel of Death begins with death as Loren’s routine, then places someone in her path who may force her to reconsider exactly how much of herself she is willing to keep separate from the living.

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Power in The Vote: A Story of Political Peril is measured in more than elections. David Swanson builds his political thriller around the constitutional amendment process itself, following wealthy conspirators, political operatives, and emerging candidates whose ambitions converge on control of state legislatures and Congress. That focus gives the novel an unsettling point of tension: the people threatening the system are not necessarily trying to operate outside it. They understand its machinery well enough to make it part of their plan.

A Story of Political Peril

Fiction

Date Published: 09-10-2026

Publisher: Mission Point Press

The Vote is a political thriller built around a conspiracy among powerful political actors, billionaires, and party operatives who seek to manipulate the constitutional amendment process in order to permanently reshape the structure of American government. The mechanics of American politics, particularly the Article V constitutional amendment process, is the framework that informs the central premise of the novel. The current political landscape of the country lends credibility to the story and gives the narrative an interesting and timely foundation. 

The manuscript opens with a series of interconnected storylines involving political figures, wealthy conspirators, and emerging state-level candidates. These threads gradually reveal a coordinated effort to gain control of state legislatures and Congress as part of a broader plan to fundamentally alter the country’s political system. The concept itself is ambitious and grounded in recognizable political realities.

The premise of The Vote depends on a part of American government that political fiction does not often place at center stage: the Article V constitutional amendment process. Swanson uses that framework to make legislative control itself consequential, connecting state-level campaigns and congressional power to a plan designed to alter the structure of government rather than simply determine who occupies an office. 

The conspiracy also brings together people whose wealth and influence do not make them natural allies. The excerpt’s confrontation between Rudolph Conover and Aldon Powers introduces a world where status, intimidation, access, and ego matter alongside political strategy. That combination gives the story two overlapping contests for power—one being played through American institutions and another among the people attempting to control them.

Rudolph Conover fumed as the jet he’d sent to convey Aldon Powers to the Conover compound in Southern Illinois sat idling somewhere in Texas. No sign of Powers. No explanation. No apology. The plane should have left hours ago. 

For Conover, meetings such as today’s were a carefully choreographed dance, designed to shape an opponent’s mental disposition and ultimately their amenability to whatever it was he wanted from them. Everyone was an opponent in Conover’s world and everything was meant to intimidate, from the jet’s amenities to the obsessive focus on secrecy to the quirkiness of his compound. When dealing with men like Powers, it was his way of reminding them of his preeminence in the hierarchy of billionaires. On rare occasions when someone dared to play by their own rules, he did not take it well. Today was one of those occasions. 

Conover’s wife, Marcia, slipped into the war room where he sat. The meeting was scheduled to begin shortly. “Any communication from Powers?” he asked, irritated. 

She shook her head.

“How can he be so disrespectful?”

She put her hand on his shoulder, “You have every right to be upset. I’ll go see if there is any news.” 

Conover knew Powers was difficult and unpredictable but it was impossible not to respect him. A modern-day Edison, he was a daring visionary and the most technologically disruptive man in a century. His companies had mastered space, the Earth’s outer crust, and the ocean’s depths. The man had become so indispensable that some feared him as a veritable government unto himself, unfettered by borders and the normal rules of behavior. Everybody needed something from him that only he could give. Conover wanted to be a warlord. Powers wanted to be God.

The Vote is a strong match for readers who prefer political thrillers that pay attention to how government actually functions. The emphasis on Article V, state legislatures, Congress, and coordinated political strategy gives the conspiracy a procedural dimension that should appeal to those interested in the machinery behind political power rather than campaign drama alone. 

It should also interest readers drawn to stories about billionaires whose influence rivals that of institutions. Conover and Powers are introduced through a contest of dominance before the larger scheme has fully unfolded, suggesting that the personalities behind the conspiracy may be every bit as volatile as the plan itself. Anyone who enjoys interconnected political storylines, competing power brokers, and threats that develop through calculated institutional maneuvering should find the premise especially intriguing.

In 1981, he founded Daavlin, a medical technology company that eventually grew into a prominent player in the field of dermatology. As part of his career, he stepped foot on every continent and dipped his toes in every ocean on earth. Reading, writing, traveling, acting, and directing live theater are his favored pastimes. 

He’s also a lifetime political junkie. As this book goes to press, Swanson is a candidate for the Ohio House of Representatives.

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The most provocative element of The Vote is not simply that powerful people want to reshape the country; it is the possibility that they might pursue that goal through the very procedures designed to govern constitutional change. Swanson pairs that institutional threat with characters accustomed to using wealth, intimidation, and influence as extensions of personal power, making the struggle as much about who controls the conspirators as what the conspiracy hopes to accomplish. 

With its focus on Article V and the strategic importance of state legislatures and Congress, this is political suspense built around more than an election-night outcome. The danger lies in understanding the rules, gathering enough leverage, and deciding what those rules can be made to do.

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A forced handfasting, a friendship complicated by a fated-mate bond, and an escape that creates more danger than it solves give The Duke’s Runaway Omega a particularly tangled starting point. Autumn Montague sets that conflict against an alternate Regency society where alpha and omega dynamics shape inheritance, marriage, and personal freedom. Phillip’s decision to run is not simply an attempt to avoid an unwanted match; it becomes a struggle to determine how much of his future will be dictated by family expectations, biology, and the people pursuing him. With Everett searching London and another alpha closing in for reasons of his own, romance and suspense are already tightly intertwined before Phillip discovers the complication he believed was impossible.

The Duke’s Runaway Omega
Author: Autumn Montague
Series: Fated Mates #1
Genre: LGBTQ+ Historical Romance, MPreg, Mystery & Suspense
Date Published: August 14, 2026
Publisher: Changeling Press

Phillip’s on the run, with not just one but two alphas on his trail.

Raised as an alpha, Phillip’s unexpected manifestation as an omega turns his life upside down. His father demands a handfasting, insisting Phillip be mated to whichever alpha wins the day with their pheromones. But when the triumphant alpha turns out to be his school friend Everett, Phillip realizes they are fated mates. However, as a diminished omega, his chances of bearing Ev’s children are slim. Heartbroken, Phillip flees to London. 

Everett never expected to be Duke of Harriford. His title brings a slew of distasteful marriage and handfasting offers. The latest invitation for his old friend Phillip shocks Ev into accepting. Phillip is everything he remembers and more, and Ev soon finds himself responding to the potent scent of Phillip’s pheromones. When his mate runs, Ev questions whether their feelings are true, or merely the bond of alpha and omega. Despite his fears, he’s determined to find Phillip and bring him home. 

As Ev searches London, Phillip questions the wisdom of his choices. His plans have begun to unravel rather spectacularly. To start with, he’s pregnant, the one thing he thought he’d never be. Worse, there’s an alpha hunting him -- and it’s not Ev.

Phillip’s predicament gives the familiar Regency marriage market a striking Omegaverse complication: the question is not merely whom he will marry, but whether he will be allowed meaningful control over the bond at all. His apparently weak omega manifestation also matters to the plot in more than one direction, affecting his father’s treatment of him, his assumptions about having children, and ultimately the reason his flight to London becomes even more complicated. 

Everett adds a second uncertainty because being fated mates does not automatically answer the emotional question between them. He has to consider whether what he feels for Phillip belongs to their longstanding connection or to the alpha-omega bond itself. Add the unidentified alpha pursuing Phillip, and the book has a suspense thread running alongside the romance rather than leaving the central conflict entirely in the ballroom.

This one is especially suited to readers who like Regency settings reshaped by speculative social rules rather than reproduced as conventional historical romance. The alpha/omega hierarchy directly affects inheritance, family authority, courtship, and Phillip’s ability to choose his own future, while the fated-mates element is treated as a complication that Everett himself questions rather than an instant solution. Readers who also want danger beyond the central relationship have the mystery of the second pursuing alpha to follow, and the MPreg storyline overturns one of Phillip’s most painful assumptions about himself.

Autumn grew up loving history, mythology, and all things Japanese, not necessarily in that order. This eclectic love affair has bled over into her writing, and her stories are always well spiced with the taste of Japan, strange mythological beasties, or the lords and ladies of the ton. Sometimes all three, leading to dark desires and forbidden loves. 

And after all, dangerous passions should lead to uninhibited love.

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Phillip begins the story preparing to escape a ceremony designed to decide his future for him, but London does not offer the clean break he expects. His pregnancy, Everett’s pursuit, and the presence of another alpha turn that act of defiance into a much larger question about choice and attachment. What makes The Duke’s Runaway Omega especially intriguing is that the fated bond itself is not treated as sufficient proof of love; both Phillip and Everett have reasons to question what biology is telling them. That tension, paired with the threat following Phillip through London, gives the romance room for both emotional uncertainty and genuine danger.

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