About the Book by L. S. O’Dea
In a world where class distinction means the difference between imprisonment and freedom and even life and death, being chosen to stay in the encampment and breed is the only way to guarantee survival for a teenage Producer.
Every year after harvest, the finest examples of teenage Producers are assigned mates; the rest are loaded onto carts and hauled away, never to be seen or heard from again. Trinity, a sixteen-year-old Producer, knows that she has no chance of being chosen to stay. She isn’t even full-blooded Producer. Her father is a House Servant and she’s spent her entire life hiding her differences, especially her claws and fangs.
She has one week to sneak into the forest and discover what happens to those who are taken. Her plan is simple, but she doesn’t count on being hunted and captured by predators long believed to be extinct. Can she elude her captors to uncover the fate of her kind and return to camp before her escape is discovered?
Enter the contest below and follow the tour for excerpts from the book
L. S. O’Dea shares with us about ideas and storytelling…
For me there are two types of ideas. There are ideas that create stories and ideas that move stories along.
For the first type, I get the ideas from everywhere. I question everything. I have for as long as I can remember. It doesn’t matter if this is the way that life has always been done. I question why it is that way and what if it wasn’t. For example: Just because we as Americans have always eaten meat (I’m a vegetarian by the way), doesn’t mean that we should. I don’t even have a real problem with the ethics of eating meat as much as how the farmed animals are treated. What goes through the animals’ minds as they stand trapped in overcrowded cages day in and day out? Do they accept that as the way that things are? They don’t know anything else but somewhere in their genetics do they yearn to feel the earth under their feet instead of concrete? Do they dream of sunshine soaking into their skin as a cool breeze whispers across their faces instead of stagnant air filled with the odor of feces and the false electric light. These questions and others like them become stories in my mind.
The ideas that move the story along come from seeking the motivations of the characters. I have a plan. The characters need to move from point A to point B. Sometimes, it is pretty straight forward, but other times the characters lead me down a dark hallway, a shortcut to their destination (or if not a shortcut an interesting detour). Another important thing to consider when a character is showing you a detour is that the actions of the characters must stay true to the character. I may want someone to end up hanging in the woods from a tree, but what is the logical reason for that to happen to this particular character. It has to be logical (probably my software engineer background). I hate stories that are not logical. I’ll use a giant alligator story as an example. Why do the people keep going back to the water? If you know that there is a huge reptile there waiting to eat you–stay away. All the author has to do is make it logical. Jaws is a good example of that. They went on the boat to capture the shark.
About the Author
L. S. O’Dea grew up the youngest of seven. She always wanted to do what her older siblings were doing, especially reading stories.
Ill at a young age, she immersed herself in books. Her life changed when she read a short story written by her older brother and realized that normal (somewhat anyway, since her brother was a bit weird in her opinion) people created these amazing stories. From that day forward, she wanted to write.
However, as with all good stories, obstacles rose in her path (mostly self-created obstacles) and it took her many years to put finger to keyboard and type her first book.