The Music Mage (Fairy Tale, Epic Fantasy, Fantasy Romance, Doorstopper Fantasy)

The Ravanmark Saga

Book 1
Onda Mountain Books
104
Free sample

A romantic fairy tale...with teeth

When newly-unemployed music teacher Alannys Gale lands in Ravanmark, it seems to be the answer to her prayers. Ravanmark is a fantasy world where music is magic, the gods are the Greek Muses, an ancient sword of fabled power awaits a legendary hero...and the man of her dreams awaits her. It's like a beautiful fairy tale.

But it keeps trying to kill her.

The Music Mage is the first book in Sandra Miller's Ravanmark Saga, a vast fantasy romance series. If you like magic, adventure, fairy tales, and royal intrigue, then you'll love this epic series with its unique magic system, detailed world, and compelling characters. Fall in love with Ravanmark today!

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About the author

I'm an author. I've been reading since I memorized the Foot Book when I was three, and writing nearly as long. I write fantasy, romantic suspense, and whatever else looks interesting.

I'm also a violinist. I've been playing and teaching music for thirty years. That's enough chatter about me!

You can email me at sandra@sandra-miller.com

Looking for me on the web? Check

  • www.sandra-miller.com -- my main website
  • www.alexis-brooks.com -- the official site for the Alexis Brooks Series
  • www.ravanmark.com -- the official site for the Ravanmark Saga
  • www.facebook.com/writersandra -- my Facebook page

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Reviews

4.4
104 total
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Additional Information

Publisher
Onda Mountain Books
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Published on
Oct 29, 2012
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Pages
480
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Language
English
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Genres
Fiction / Fairy Tales, Folk Tales, Legends & Mythology
Fiction / Fantasy / General
Fiction / Romance / Fantasy
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Content Protection
This content is DRM free.
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Read Aloud
Available on Android devices
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Reading information

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Sandra Miller
Seminar paper from the year 2003 in the subject Communications - Movies and Television, grade: High Distinction, James Cook University (James Cook University), course: Communication, Information & Society, language: English, abstract: Alfred Hitchcock used non-verbal communication extensively in his filmmaking to convey meaning and to create suspension for the audience. His critical and disparaging opinion of dialogue in film shows clearly that he did not consider language to be a privileged cinematic medium for communication - quite the opposite and he remarks that language “should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms” (Hitchcock in Truffaut 272). The possibilities of the camera for conveying meaning was paramount to Hitchcock’s storytelling. As a film-maker, he is widely acknowledged for his use of point-of-view shots, tracking shots, and other techniques that reinforce the power of looking or the role of the gaze in cinema. A well-known example of his use of camera movement is Rear Window (1954), a film that evokes a viewing experience for the spectator in the form of “a mental process, done by the use of the visual” (Spoto 224). As director, Hitchcock makes intensive use of his prerogative to manipulate points of view thereby controlling the viewer’s gaze with narrative frames. The directing of the gaze is both an exercise of power and an imposition on those whom it captures. Theatrical and cinematic effects dominate in his work with the use of proxemics, stance and gestures of actors. Other visual clues are clothes and accessories worn by actresses. In Rear Window, most of the female’s protagonist’s dresses are mirrored in the dresses worn by other women. By coding dresses in such a way and juxtaposing them in different frames, they signify different states of mind and intentions; they act as emotional referents that connect the women through their visual appearance.
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