Published: December 1st, 2014
Freedom means making brutal choices.
Rebel lovers Naya and Ric have survived one year in hiding, raising Naya’s twins from infants to toddlers in the shadow of the brutal Auberge dictatorship. They’re alive, and they’re together, but the city is crumbling around them and the haunting memory of Naya’s dark days on The Line have never fully left them. Living in isolation won’t be an option forever.
When a mysterious revolutionary seeks their help to infiltrate Auberge’s electronic heart and shut it down, it’s an opportunity—it’s risky, yes, but if it works they’ll get out of the city and taste freedom for the first time. Naya needs this. They need this.
Beyond the broken walls of Auberge, Naya and Ric find the paradise they’ve always longed for. But with anarchy reigning and Naya’s children lost amidst the chaos, they’ll need to forfeit their post-apocalyptic Eden…or commit an unspeakable act.
Book two of two.
The Challenge of Writing Dystopia
You would think that the main challenge of writing Dystopia would be imagining the world after a major apocalyptic event, but sadly, or luckily (?) for me, that part was easy.
Take my greatest fears: totalitarian oppressive governments, super corrupt massive corporations, sex trafficking, and disgusting, deplorable conditions, and wrap them up into one sorted non-descript area of North America, and BINGO – you have Auberge.
Sadly, that was a cinch.
In full disclosure, the challenge for me about writing Dystopia, and the main obstacle facing other writers of this genre, has been the marketplace.
There are major publishing houses that won’t even read Dystopia submissions. While attending writer’s conferences, guest speakers and workshop presenters have outright said that Dystopia and Paranormal are dead in the marketplace, and readers are burned out.
“If you’re working on a Dystopia, don’t.”
While simultaneously telling writers to not chase the market, publishing experts will also tell you what not to write. As if their massive influx of Hunger Games wanna-be submissions was matched by the reader’s burnout for these titles. And in my ever so humble opinion, it’s not.
Dystopia may have been a hot ticket item in Young Adult in the early 2000s, but it’s not dead. Not yet. It’s just not the hot ticket item anymore, which doesn’t mean that outstanding Dystopia is not being published at all. It is! There are publishing houses (including mine) that still produce one to two Dystopia titles a year.
But you have to dig to find them.
Lovers of Dystopia have to go on expeditions in book stores and on-line retail sites in search of their beloved post apocalyptic stories, and many are doing really, really well.
But publishers are not necessarily dumping massive marketing budgets into these titles, and on-line retailers aren’t pushing them because of this, and kind of like a self-fulfilling prophecy, on the whole, Dystopia has suffered for it.
It’s only natural.
The marketplace is cyclical. What was hot before is yesterday’s news tomorrow, so if I had to pinpoint the main challenge of writing Dystopia, I would not say that world-building, believability, originality, and character development are the hardest parts – although they are without a doubt very, very important.
The hardest part of writing Dystopia these days, is getting noticed.
About the author:
Anne Tibbets is an SCBWI award-winning and Smashwords.com Best Selling author. After writing for Children’s television, Anne found her way to young/new adult fiction by following what she loves: books, strong female characters, twisted family dynamics, magic, sword fights, quick moving plots, and ferocious and cuddly animals.
Along with CARRIER, Anne is also the author of the young adult fantasy novella, THE BEAST CALL and the young adult contemporary, SHUT UP.
Anne divides her time between writing, her family, and three furry creatures that she secretly believes are plotting her assassination.
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