Kindred (The Akasha Series #2) by Indie Gantz

Kindred (The Akasha Series #2)

by Indie Gantz
Genre: YA Scifi Fantasy
Release Date: February 2019


In Kindred we find the Damuzi twins settling into their new home with Kori Lark’s family. Desperate to keep the dangerous truth of their identity a secret, Charlie and Tirigan educate themselves on everything that was kept from them, while delving deeper into their mother’s past.

In the future, Tirigan is dealing with the complicated emotions that overwhelm him after the events of Passage. In an attempt to control the situation, Tirigan turns inward and cuts himself off from those who need him most.

By the time Charlie and Tirigan’s timeline’s merge, a burning mystery is solved, and more than one relationship begins to unravel.

Friendship. Trust. Dependency. Lies.

The Damuzi twin’s story continues.

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Building a World for Your Characters to Play In
When it comes to Science-Fiction and Fantasy, readers expect a certain level of world-building. When we open the pages of some epic adventure that promises sword fights, magic, or alien expeditions, we expect the world the characters interact in to reflect those plotlines. Writers need to write a world their characters can truly live in, but they also need to create new aspects of their character’s world that will intrigue readers.
An author can make big differences, like changing the laws of nature, setting the story on another planet or dimension, or altering our world history so that certain events never took place. When doing so, they need to make sure that when they pull that thread, whatever it is, they follow it all the way through so it is recognized as different and unique to our current world. For example, in Man in the High Castle by Philip K Dick, The Axis powers won the second world war, and the changes to America were stark as a result. The writer pulled this historical  thread, and took care to think about each individual change pulling that thread would make.
Writers can also make small changes, things that throw readers off just because they’ve never realized that particular aspect of our world affected them so much. For example, I chose to have my protagonists call their parents by their first names. It made sense in the world I built, but I got more questions and curious comments regarding that small change than my choice to have the protagonists be alien hybrids with magical powers. Even a small change can surprise a reader, and its little surprises like that, the kind that challenges them, that keeps your audience reading.
It’s tempting to want to change everything, but I’d discourage creation for creation’s sake. (I just channeled Umbridge there, didn’t I?) What I mean, is that if you’re going to be changing the species, the world, the mechanisms of physics, languages, and cultures- you need to be sure readers can still find something they can relate to in your story. Creating new worlds is as much about highlighting their difference to ours, as it is about making readers feel like they’re escaping to a world that just might be possible. Don’t alienate your readers by creating a world so unrecognizable they can’t see themselves in it.
World building can be daunting, but if you pay attention to the details of our real world, and then elevate or transform them to fit your narrative, your audience will beg for more.

Chapter Seven: Tirigan

A Human Response

“Hating oneself is something I am unfamiliar with personally, but aware of on a physiological level. The human brain is a nest of potential abnormalities and complications; full of tiny particles that dictate how one will feel about any given circumstance. Neurotransmitters that control your mood, your responses, your life. It is possible to overwrite the body’s natural chemical responses through alternative methods of emotional processing, but few choose to explore such avenues. Apparently, it is far easier and more satisfying to wallow in one’s own depression. Humans are exceedingly tedious.
To hear Calor emotionally succumb to that which is not out of his control does not soften me to him. It aggravates me further. If he is unhappy with who he is, why not change? Laziness. Fear. Incompetence. The brain is malleable; it is capable of taking orders. Simple chemistry. Mathematics. Problem, solution. Why must everyone be so emotional? Human error. So easily controlled? Slaves to their emotions. Don’t they see how vulnerable it makes them? Maybe that’s the point.
My argument with myself pushes me back to my original problem. I’ve been floundering, trying to sleep, trying to understand why I can’t sleep, and the solution is obvious.
I’m emotionally compromised.
These people, our circumstances, my growing attachment, it’s all making it difficult for me to separate my feelings as I’ve always done. I’m no longer just interpreting and processing in-formation. I care. I have a vested interest. Charlie’s decision to kill those Téssera wasn’t just shortsighted; it was heartbreaking. Avias and Calor’s relationship isn’t just distracting; it aches with irritation.
I refuse to fall victim to the very issues that plague those who are now going out of their way to comfort the brooding blonde boy. Charlie asks him to tell her what's wrong. Oleander puts his arm around Calor’s shoulders. Calor makes a sound that I can compare only to that of an infant feline. It’s grating. I turn over in a sweeping motion that I’m sure looks rather dramatic from Charlie’s perspective. As expected, my sister presses at my mind. I open it to her just enough to communicate.
What’s with you?
The weeping drunk hasn’t filled your emotional outreach quota for the evening?
My emotional outreach—? Man, sometimes I really regret teaching you sarcasm.
Seriously, what’s wrong? You’re all huffy and—
Huffy? Do you think that made it into the original Oxford dictionary? I feel her irritation rising. It satisfies me.
Avias’ sass is really rubbing off on you, Tir. Why don’t you do us both a favor and just go to sleep.
I was in the process of doing just that when I was interrupted by what I can only assume is some sort of dying animal.
Close mind.”

About the Author

Indie Gantz grew up in Northern Virginia and received her Psychology degree at George Mason University. Despite her passion and curiosity for the human mind, Indie left her chosen field of study to finally give voice to the many imagined minds she has created.
Indie lives with her family in North Carolina. She spends her days drinking tea and clacking keys.

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