Join us for Words and Wine with author Ray Rhamey, 6-8 pm

Using three very different novels, Ray will illustrate the effect voice has in creating the mood and reality of a story.  He will read from: 
Hiding Magic.  When is magic not magic? It is when the Hidden Clans control living energy to do things that appear magical to us—cure disease, slow aging, and heal a heart from the inside—or incinerate an enemy’s as it beats.  And those abilities have deadly consequences for the Clans.
The Vampire Kitty-cat Chronicles.  Patch is a contented calico tomcat on his way to hook up with a seductive Siamese when a starving vampire turns him into breakfast--and a vampire kitty-cat. He can’t go back to living (as it were) with his associate Amy because suddenly she smells delicious, and sinking his fangs into her is just wrong. He's plunged into the vampire underground of Bloomsburg, Illinois.

The Summer Boy, a coming-of-age mystery set in 1958 Texas.The air was as still as it was hot—only the whir of a grasshopper’s flight troubled the quiet. Jesse felt like an overcooked chicken, his meat darn near ready to fall off his bones. Mouth so dry he didn’t have enough spit left to swallow, Jesse croaked, “That guy tryin’ to kill us?”

Ray Rhamey is an author, freelance editor, and book designer. He has edited book-length fiction for 12 years, and is the book designer for Indie authors and Ashland’s Fuze Publishing. Writers around the world know him through his “litblog,” Flogging the Quill,where he critiques opening pages of fiction submitted by writers.
Ray is the author of Mastering the Craft of Compelling Storytelling. Bestselling author Tess Gerritsen says, “It's a must-have for any novelist, and one of the most readable, entertaining books on writing out there.” He teaches workshops at writers conferences from Massachusetts to Mexico.
On the fiction side, he has published 3 novels in 3 genres: satire, mystery, and science fiction.
Ray worked in advertising for 25 years as a writer and a creative director. He has been an editor at two universities, and was a story editor for Filmation (animation screenplays). His screen credits include an adaptation of The Little Engine that Could and 20 half-hour screenplays for animated series.

Check out Ray's work at