Shark River

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Dindi is kidnapped to be the bride of a shark... To escape she must untangle a terrible curse caused by a love and magic gone wrong.

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This stand-alone novella is set in Faearth, the world of The Unfinished Song. Available here ONLY.

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The Unfinished Song - This Young Adult Epic Fantasy series has sold over  70,000 copies and has 1,072 Five Star Ratings on Goodreads.

Tara Maya

Author Archives: Tara Maya

December 25, 2012

the country breathed a timeless life

“The low, undulating Danish landscape was silent and serene, mysteriously wide-awake in the hour before sunrise. There was not a cloud in the pale sky, not a shadow along the dim, pearly fields, hills and woods. The mist was lifting from the valleys and hollows, the air was cool, the grass and the foliage dripping wet with morning dew. Unwatched by the eyes of man, undisturbed by his activity, the country breathed a timeless life, to which language was inadequate.

All the same, a human race had lived on this land for a thousand years, had been formed by its soil and weather, and had marked it with its thoughts, so that now no one could tell where the existence of the one ceased and the other began. The thin gray line of road, winding across the plain and up and down the hills, was the fixed materialization of human longing, and of the notion that it is better to be in one place than another.”

— Isak Dinesen, Winter’s Tales

December 24, 2012

Guest Post: Danger in the Dark

Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), Six Historical Tales Vol 1, Six Scary Tales Vol 1, 2 and 3 (mild horror stories), Six Historical Tales (short stories), Six Quirky Tales (humorous fantasy stories), Writing Fight Scenes and Writing Scary Scenes (instructions for authors).

She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic and more. 

Her short online classes for writers intense with plenty of personal feedback. Writing Fight Scenes, Writing Scary Scenes, Writing about Magic and Magicians, The Word Loss Diet and more. 

For more information about Rayne Hall go to her website

Does your story have a scene of danger or horror? Is it scary enough? Do you want your readers to fear for your main character’s safety? Here’s a simple technique on how to make a scene seriously frightening:

Turn the lights off.

Darkness makes people nervous, and everything is much more frightening in the dark. Can you change the time or location of your scene so it happens in darkness? The darker, the better. Absolute darkness is the scariest, when the protagonist sees nothing at all and has to grope their way. However, partial darkness can be spooky, too, especially with flickering lights and shadows.

Some ideas: 

A windowless room

Night time

Drawn curtains

A power-cut

Fuel shortage

Energy conservation

Candles burn out

Wind blows candle

Lantern falls into abyss

Bullet shatters light-bulb

Canopy of trees blocks out the sun

New moon

Clouds veil the moon

Solar eclipse

Thick smoke

Sandstorm

Lights turned off for love-making

Deep cave

Hiding in a dark closet

Flash-light battery dies

If the storyline permits, let the darkness increase gradually:

Dusk gives way to night

The camp-fire burns down

Clouds thicken

In the dark, humans are deprived of the sense on which they rely most: seeing. Other senses sharpen, especially hearing. Your point-of-view character suddenly hears a lot more noises. These sounds add to the scary effect. In the next lesson, we’ll explore how to make the most of sounds.

If the darkness is absolute, the point-of-view character relies on her sense of touch as she gropes her way around. Describe how the walls, the furniture, the trees feel to her fingers, and how the ground feels underfoot. Smells also become more noticeable in the dark, and you can give the reader an intense experience by mentioning a smell or two.

Darkness often brings low temperatures. Chills can increase the scare factor, so mention the cool breeze brushing your heroine’s arms, the cellar’s icy stone walls, the cold water dripping from the ceiling of the cave, the chill creeping through the thin soles of her shoes.

This technique suits almost any story, whether you want to send mild shivers across the skin of the paranormal romance reader,  chill the thriller reader’s bones, or make the horror fan’s heart thump.

Does your work-in-progress contain a frightening scene? Could you make it scarier by darkening the setting?  If you want feedback for an idea or have questions, leave a comment and I’ll reply. I’ll be around for a week and I enjoy answering questions.

December 23, 2012

Guest Post: When Magicians Make Mistakes

Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), Six Historical Tales Vol 1, Six Scary Tales Vol 1, 2 and 3 (mild horror stories), Six Historical Tales (short stories), Six Quirky Tales (humorous fantasy stories), Writing Fight Scenes and Writing Scary Scenes (instructions for authors).

She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic and more. 

Her short online classes for writers intense with plenty of personal feedback. Writing Fight Scenes, Writing Scary Scenes, Writing about Magic and Magicians, The Word Loss Diet and more. 

For more information about Rayne Hall go to her website

 

You can create exciting plot complications if the magician who casts a spell gets it wrong.

Here are some ideas you can use in your fiction. Although I’ve used the female pronoun, everything applies to magicians of either gender.

* The magician summons a spirit (e.g. a demon) to do her bidding – but that spirit is malevolent and more powerful than she expected, and she is unable to keep it under control.

* The magician creates a protective circle around herself which shields her from the summoned spirits and from evil – but then she accidentally steps out of the circle.

* The magician recites a complicated spell … but she misremembers a word or mispronounces a syllable, and the outcome is not what she intended. (This happens only with forms of magic which rely on the precise wording, for example, ancient Egyptian magic. It doesn’t happen with forms of magic where the intent is more important than the word, such as Wiccan witchcraft.)

* The magician wants something intensely, and doesn’t mean to cast a spell … but she has unwittingly raised magical energy by dancing or drumming, and her intense desire turns into a spell… one which she comes to regret bitterly.

* The magician, roused to righteous anger, casts a harmful spell (a hex or a curse) on someone… but the harm returns to her, and she suffers the same fate. (In some forms of magic, it is said that the harm returns threefold, or hundredfold.)

* The magician casts a benevolent spell to help someone… but by helping one person, she is harming another (e.g. by helping a friend succeed at a job interview, she robs someone else of the chance), and the harm returns to her.

* The magician casts a spell on the spur of the moment, which at the time seems the right thing to do… but afterwards, she realises that what she has done is unethical, or has unwanted consequences.

* The magician summons a god into the circle …. but gods don’t take kindly to humans who boss them about. Although they may lend a helping hand to the magician who invites them, they may punish the presumptuous ones.

* The magician raises magical energy to fuel a spell (for example, by dancing, drumming or chanting)… but she raises more than she intended, and the spell magnifies out of proportion. She may intend to light a candle, and instead set the house on fire. She may intend to bring an afternoon’s sunshine, and instead bring ten years of desperate drought.

* The magician may desperately try to concentrate on the spell, because magic works through the mind… but in a situation of acute danger, she can’t concentrate. The more urgently she needs to concentrate, the less she is able to. Perhaps the gun-armed killers are already breaking down the door, or the sadistic villain is torturing her lover in the same room, and the distraction means she can’t summon the concentration she needs to work magic.

* The magician casts a spell for what she wants to happen… but she forgets to specify how. For example, if she’s desperate for cash, she may cast a spell for a hundred thousand dollars, and a week later she learns that her beloved sister has died and in her will left her that amount.

* The magician casts a spell for what she wants to happen… but she forgets to specify when. The results come years later, when she has long forgotten about the spell, and when the results are no longer desirable.

Magical mistakes can seldom be undone. Trying to undo a spell may even mess things up further. A sensible, experienced magician will always think carefully before she works magic, considering the necessary preparations, the ethic implications, and the possible consequences – but the magician in your novel may not always be careful and sensible.

The fiction potential of magical misjudgements and screw-ups endless. I hope this article has inspired your creativity.

If you have questions about magical mistakes, or want feedback for an idea, or if you need help with a magical mistake scenario in your work-in-progress, please ask. I’ll be around for a week and will answer questions.

December 22, 2012

Guest Blog: The Myth of the Perfect Price

Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), Six Historical Tales Vol 1, Six Scary Tales Vol 1, 2 and 3 (mild horror stories), Six Historical Tales (short stories), Six Quirky Tales (humorous fantasy stories), Writing Fight Scenes and Writing Scary Scenes (instructions for authors).


She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic and more. 

Her short online classes for writers intense with plenty of personal feedback. Writing Fight Scenes, Writing Scary Scenes, Writing about Magic and Magicians, The Word Loss Diet and more. 

For more information about Rayne Hall go to her website

Here’s sadly common conversation from an indie forum, quoted from memory.

Newbie Writer 1:  “My book has been published on Amazon for three months, and nobody is buying it. What is Amazon doing wrong?”

Newbie Writer 2: “You have to lower the price. It’s all about price.”

Newbie Writer 1:  “Is $15.99 too much? But I put in all this work! I deserve the money.”

Newbie Writer 2: “The authors who sell books for $0.99 rake in tons of money. I’ve read an article about it. They’re all millionaires.”

A glance at the book in question reveals that it’s something I wouldn’t download even if it were free.


Sadly, many indie authors are fixated on price, convinced that there’s nothing wrong with the quality of their book and that they’ll rake in riches if only they can hit the magical formula for the perfect price. 



December 21, 2012

Guest Post: Using the Senses

Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), Six Historical Tales Vol 1, Six Scary Tales Vol 1, 2 and 3 (mild horror stories), Six Historical Tales (short stories), Six Quirky Tales (humorous fantasy stories), Writing Fight Scenes and Writing Scary Scenes (instructions for authors).

She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic and more. 

Her short online classes for writers intense with plenty of personal feedback. Writing Fight Scenes, Writing Scary Scenes, Writing about Magic and Magicians, The Word Loss Diet and more. 

For more information about Rayne Hall go to her website

The five main senses are seeing, hearing, smelling, tasting and touching.

Seeing

This sense is the easiest to use, but it can be boring if used a lot. Choose details which characterise the place and show only what the point-of-view character would notice. To create atmosphere, describe the source and quality of the light. Examples: Blossoming dittany spilled over the slope. Black clouds smeared the sky. Punchbags hung like giant misshapen sausages from the wall. Tiny lizards darted across the broken floor tiles, tongues flicking. Golden sunlight dappled the lawn. Sundown bloodied the horizon.

Hearing

Sounds make a story exciting. Use this sense a lot when writing a ghost or horror story or a scary scene and whenever you want to increase the suspense. Include the sounds of footsteps, of furniture, of doors opening and closing, and of background noises. Can be used anywhere in the story, especially during suspenseful moments. Examples: The door squealed open. Her high heels clacked on the pavement. In the distance, a motor howled. The receptionist’s keyboard clicked, the water dispenser gurgled, and from next door came the hollow whine of the dentist’s drill.


Smelling

This sense is a powerful tool in the writer’s hand, because a single sentence about smells creates more atmosphere than a whole page of seeing. This is perfect if you want to keep your descriptions short but effective. Mention smells at the beginning of a scene, and whenever the point-of-view character arrives at a new place. You can also use it to describe a person. Consider mentioning two or more smells in one sentence. Examples: The air smelled of hairspray and bubblegum. The air smelled of boiled cabbage and disinfectant. The air was thick with charcoal smoke and diesel fumes. She smelled as if she had sprayed on all the samples from the perfumery counter.

Tasting

Use this only if it suits your story, for example, if the PoV is eating or drinking something. Examples: The curry was just as he liked it: hot and spicy, with a strong coriander flavour. The soup singed her gums with its sour taste. The coffee had that sharp-bitter taste of a too-often reheated brew. I savoured the iced coffee on my tongue, with its blissful blend of cold and creamy, bitter and sweet.

Touching

This includes what the PoV touches with her/his hands, and also how the ground feels underfoot, how garments feel on the body, how wind or rain feels in the face. In the widest sense, it can encompass temperature, balance, hunger, thirst and pain. Examples: Needles of hail pricked her cheeks as if she had dipped her face into a pincushion. Hot sweat soaked into her shirt, her knickers, her bra. The doorknob felt icy in her hand. She groped her way through the darkness, her fingers sliding across sharp-edged stones and damp sticky walls.

To make your writing vivid, I recommend using at least three of these senses in every scene.

December 21, 2012

Not Another Romance Blog: Caught in a Snowstorm…with Valerie Bowman (+Give…

Not Another Romance Blog: Caught in a Snowstorm…with Valerie Bowman (+Give…: Caught in a Snowstorm   on Christmas Eve  by  Valerie Bowman

Caught in a Snowstorm on Christmas Eve
by Valerie Bowman

The music room was on the first floor at the end of a long hallway. James made his way toward it, each step making him more sure that he didn’t know what he would say once he saw her. But Kate was here. Kate. Surely, he’d think of something—the right thing—when he came face-to-face with her.
He stopped several paces from the door. The strains of Moonlight Sonata floated out of the room. She was playing the pianoforte again. She loved that piece.
Taking a deep breath, James opened the door without knocking. He stepped inside the darkened room. The music stopped. Only a single candelabra burned on top of the instrument.
Kate glanced up at him, her blue eyes wide.
“James.”
He expelled his breath. He’d thought it might be a dream, her being here, some cruel joke Lily had played on him. But there Kate was, sitting on the piano stool, across from the French doors, wearing a ruby red gown that made him shudder. She looked like a dream come to life. He squinted. The firelight bounced off her silken hair. He longed to run his fingers through it.
“Kate,” he breathed.
December 20, 2012

Excerpt – A Vampire Carol, Part 2

FREE right now on Amazon and Kobo.

A Vampire Carol

The last thing Alex wanted was to become a vampire for Christmas…

Excerpt:

Alex stayed in the dumpster until nightfall. He crept out and stood in the alley, trying to understand, trying to believe, and failing. He recognized the back of his office building.
His car was still parked in the parking garage, on the fifth floor. The keys were in his jacket pocket. Dazed, he opened the car, but for a long while, he sat in the driver’s seat, with his key in the ignition and his foot on the pedal, without turning on the engine. His mind refused to work.
He knew he should go home because Lynn would be worried, alone with baby Bradley. Lynn would have questions though and a long list of ways this was his fault. He couldn’t fight with her right now. He needed support. He needed a friend.
Justin lived with his brother, two years younger, who attended school part-time and worked part time, in a pale blue house at the end of a cul-de-sac. Justin had his degree and was a sys admin, like Alex, at a different company. Alex and Justin had been buddies since college, although since Alex married and had a baby, and Justin stayed single, they had found themselves divided by the secret segregation that keeps Married Couples apart from Single Guys.
Alex knocked at the door. No answer. He pounded.
Gary, Justin’s brother answered the door.
“Hey, Alex.” Gary took a swig of a beer. “Justin’s out.”
He was the first person Alex had seen since waking up in the dumpster. Gary looked…strange. A faint but hot mist steamed from his skin, creating a ruddy glow around his body. The aroma was savory.
Gary turned and padded down the hall, leaving the door opened. Alex tried to follow, but when he tried to cross the threshold, it was as if he were trying to walk through invisible taffy. It wasn’t like walking into a wall, but it repelled him all the same. He couldn’t follow Gary.
And he wanted to, very, very badly.
Gary looked back at him. “You okay?”
“I….” Alex licked his lips. He clenched and unclenched his hands. His stomach hurt, and his throat felt as though he had swallowed broken glass.
“I’m thirsty,” he whispered hoarsely.
“Come on in,” said Gary.
The invisible taffy dissolved so abruptly that Alex, who had been leaning into the force, stumbled forward. He caught himself against the wall, panting. His vision narrowed to a tunnel, focused on the red mist around Gary. Alex could hear Gary’s heart beating, and the gurgle of his blood pumping in and out. The delicious smell, the throbbing sound as loud as music at a rave, the hot, red mist…
Gary rummaged around in the fridge and pulled out another beer, which he held out to Alex.
“Would you like a drink?”


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