About the Book
Two-time award-winning book in the classes of E-book from NGIBA and Science Fiction from IAN
A girl who feels nothing; a boy who sees shadows and hears what others cannot; a baby without license to be born; a deaf teenager and scientific savant; offensive people; a general who passed a law to hunt, imprison and kill them all.
Where do they hide when the sub-nations of the United States draw their own lines in the ground that dictate which people get to be oppressed and who gets to be offended?
The Salvo Cartel built the tunnels to help them escape, to aid those with mental ailments, those who question, those who refuse to conform, gays, Christians, artists, people with scruples, and other deviants. Do they flee to Salvo’s underground cities, with eyes set on a grander safe place? Where do they go when Lady Liberty douses her light? Perhaps the same place she’s been pointing her torch towards ever since she stepped atop her pedestal and realized at once that one day she too would be told to shut up.
About the Author
David Fairchild teaches writing at Utah Valley University. His work examines issues, conversations, boundaries and consequences taking place within society today and puts them into a realm where it’s not always easy to see where reality ends and fantasy begins.
His work is an entertaining statement and story on today’s prominent, societal behaviors, and a frightening slap in the face of their dangers.
His stories are only enhanced by his observations from his history working in the field of entertainment, from amusement parks and haunted houses to performing on stage.
Qn 1: Can you tell us more about your book What is it about?
The Exodus tells the story of Ernest, Kola, Shauna and Riley as they turn to an underground railroad that is hidden beneath American soil, crafted by the drug cartel, to help people with mental and physical disabilities and other characteristics escape an offence-seeking America and its sub-nations. Here, they unify to seek a new home, to flee America, just as its first immigrants on the Mayflower had done to escape England. Only now, there’s nowhere left on Earth that will take them.
Qn 2: Who do you think would be interested in this book, is it directed at any particular market?
This is for people who want an edge-of-your-seat read, who want action. It’s for people who like twists, turns and blindsides. It’s a thought-provoking, dystopian fantasy that reflects so much reality of the road America faces going down today.
Anyone who has ever found themself frustrated with the way that conversation about American society is going would enjoy this book. Anyone who wonders about the consequences of seeking offense, anyone who has ever been offended or anyone who is tired of hearing how people get offended will find intriguing characters and sometimes personal introspection.
Qn 3: Out of all the books in the world, and all the authors, which are your favourite and why?
Mary Shelley — Her writing is straight-up beautiful, frightening and thought-provoking. In today’s modern world where it’s easy to question if people even have ethics anymore, she opens eyes to what it means to have them.
Homer — Again, poetic. Homer’s works are the heartbeat and example of the majority of stories told today. The Iliad and Odyssey are as vibrant and electric of stories today as they were millennia ago.
Roald Dahl — He’s just awesome. He wasn’t afraid to tell stories that broke moulds with twisted humanity and environments. They’re still strong today.
Edgar Allan Poe — Another example of an author who presents literature of sheer beauty and turns around and does something dark and disturbing. If it weren’t for Poe’s Dupin, we’d never have Sherlock Holmes, which still holds some of the best detective storytelling of all time, even if it is a rip off of Dupin.
Andy Weir — One of the few Sci-fi authors who can explain science without bogging the story down with a mountain of “blah” and then continue to keep the action and suspense going.
Steven Brust — Master of the perfect blend of political fantasy, and magical fantasy.
William Peter Blatty — Good luck putting his work down.
Richard Adams — I don’t know if anyone has ever given better voices to animals anywhere in the history of literature.
There’s not enough time in the world to name all my favorite authors. There are just so many: Dr Seuss, Emily Dickinson, Hesiod, Thomas Pain, William Blake, Shakespeare, Faulkner, Stephen King, Kathryn Stockett, Margaret Atwood, George Orwell, Ray Bradbury–all amazing, amazing writers that any writer could feel good emulating.
Qn 4: What guidance would you offer to someone new, or trying to enhance their writing?
Practice anywhere and everywhere you can get it, and ignore anyone who tells you otherwise. Writing is all about practice, and not just alone. Take classes (university included). Read books. Get involved in workshops (even at libraries). Most importantly, and I restate it because it’s so important, ignore anyone who gives the advice not to do this. Writing is all about practice. Nothing kills writing like turning your back on practice. Classes put you with peers who have similar goals and a desire to help you succeed. Good luck finding a better place to get that kind of support system. Books offer a variety of writing perspectives. Teachers offer a means to practice writing for audiences and are a font of knowledge of how to actually get published since they have already done it themselves. A lot of people who claim to be writers will often discourage people from university classes because of how a teacher might grade, but it’s the perfect practice for learning to write for an audience. Audiences buy books. If you can’t learn to write for an audience of one (whether you like your audience or not), how can a writer expect to write for an audience of ten, or a hundred, or a million? If you get upset and angry over one teacher giving you honest feedback about your work, how do you possibly expect to deal with editors and publishers who are not going to be as friendly to you? It’s the perfect practice arena. Don’t listen to the people who couldn’t keep up the practice because one teacher made them mad. Listen to the people who keep going back for more to improve their capacity.
Surround yourself with practice. Use it to hear new perspectives, test new approaches, push yourself out of your comfort zone alongside people trying to do the same. Don’t write alone, let others see your work (no one’s trying to steal it). Look at how others have developed their voices and style and tap into discovering your own. You can’t do this without practicing.
Writing is all about practice and anyone who suggests otherwise does not understand the very foundation of the craft.
Qn 5: Where can our readers find out more about you, do you have a website, or a way to be contacted?