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.

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. 



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.

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.

Cover Reveal – The Unfinished Song: Blood (Book 6)

The Unfinished Song: Blood, Book 6 is coming soon!

Here’s a peek at the cover and an except.

Remember to sign up for the newsletter to be alerted on the Super Secret Release date!

Back Cover

Dindi and Umbral have an uneasy truce, forced to work together to defeat a greater enemy: the Bone Whistler. The Bone Whistler’s scheme to sacrifice humanity and resurrect the Aelfae will culminate during an eclipse on the spring equinox…in three days.

Their fragile alliance may not withstand the terrors they face. Dindi hides as a clown, but even disguised, her dancing draws the eye of the Bone Whistler himself. She will have to defy him alone, for Umbral has  his own troubles.

Finnadro, who has hunted Umbral for a year, finally catches up with him… determined to punish Umbral for all his black deeds.

Life and death, spring and autumn, human and faery, are all reeling out of balance, and the next three days will determine the fate of all Faearth.

Excerpt

Umbral

Aelfae!

Umbral’s nerves hissed danger.  At the same time, so much power, so close, tempted him almost impossibly. Fighting the urge to rush forward, start drinking in all that power, was like trying to brace himself against an avalanche. He had to pull away and physically anchor himself on a stalagmite—literally wrap his hands around the cone of rock—to stop himself from revealing himself as Deathsworn by trying to steal the Aelfae’s light.

A groan rose deep in his chest and he muffled it against the rock. He let himself siphon just a little of the Aelfae’s power, just a trickle, just enough to dull his hunger and allow him to suppress his need for more. Even that tiny amount felt like a huge cascade of power. The Obsidian Mask felt heavier than it usually did, but his Penumbra throbbed with strength, and he bore the extra weight easily.

Would the Obsidian Mask deceive the Aelfae? If it did not and he showed himself to them, they would fall upon him and slay him where he stood. He didn’t delude himself that he could defeat six Aelfae warriors at the height of their power, flush with new life from their resurrection.

Waiting for them to discover him was no better. He must know if he would need to flight or flee or if he could trick them. Only when he was sure he could control himself did he look again at the Aelfae. He stepped out from behind the stalagmite.

Dindi glowed just like one of them. Seemed to merge with them almost.

What had he expected? She was one of them—as close to Aelfae as still lived in Faearth.

What if she allied herself with them against him? What would it avail him for the Obsidian Mask to deceive the Aelfae if Dindi denounced him?

No one had noticed him. If he fled the cave now, though they would surely chase him, he might still have a chance of escaping. He would warn Obsidian Mountain. They would have time to prepare for this new threat. But in the meantime, the Aelfae would meet up with their old comrade, the Bone Whistler, and their power would only grow. Umbral had no idea how the Bone Whistler planned to destroy humanity or how close he was to achieving his goal.

Dindi fell to the floor, gasping. She wasn’t melding with the Aelfae at all. They were smothering her.
Umbral stepped forward, prepared to fight all six immortals, if he had to. If those fae muckers planned to hurt Dindi, they’d have to go through him first.

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