In a world without empathy, what makes us human?

This is the ultimate question of DISSONANCE, Conversations with a Tuner: a 75,000-word upmarket speculative fiction thriller and family drama with elements of magical realism—the first of a proposed trilogy with the potential of Divergent or The Hunger Games—set in a near-future dystopian society that has elected to forcibly rid itself of emotion. Inspired partly by neurodivergent family as well as my own experiences with emotional trauma and resilience, Dissonance explores the power of empathy in a society determined to destroy it. Through themes of mental health, societal conformity, and familial power dynamics interspersed with elements of magical realism, this book—and its sequels—challenges readers to consider what it means to feel and what is lost when we no longer do. 

Dissonance holds the potential to attract the attention of adults of all ages through its rich and unique vocabulary and its thought-provoking subject matter, and will appeal to those searching for and developing their own identities; empathic humans and those passionate about emotional intelligence and awareness; professionals and appreciators of classical music; intellectual readers and philosophers and students of history. Dissonance holds up the proverbial societal mirror like The Handmaid’s Tale by Margaret Atwood, challenges a regimented norm through emerging adults like the Divergent series by Veronica Roth and enhancing—even weaponizing—a sixth sense or ability just as Patrick Ness's male protagonist learns to do in The Knife of Never Letting Go, and has a fierce and climactic fight for independence akin to The Girl with the Dragon Tattoo by Stieg Larsson. Therefore, anyone can identify with Dissonance no matter their age, origin, or status in life.

The uniqueness of Dissonance stems from its brazen challenge of a variety of issues impacting today’s society and the musical terms that are utilized in an ironic fashion throughout the story against the utter lack of feeling the fictional society has adopted; this can be compared directly to the fight within our current society to acknowledge the importance of empathy and emotion. Now more than ever, people are questioning the very humanity of their neighbors as well as their own empathic capacity, and are confronted with the dangers that lie in denying them both. 

There is also an accompanying screenplay that I aim to film independently with talented and experienced talent and industry professionals, when able. 

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*AI has not been involved in the creation of Dissonance nor any of its materials*

The character of Peter is lightly inspired by my younger brother, who has an introverted nature, amazing recall for facts, and unlimited curiosity. Through my admiration of Dante’s Divine Comedy, the character of Peter not only has the curiosity of my younger brother, but also that of Dante Alighieri himself as he dares to embark with Virgil on their dual adventure just as Peter embarks with Eloise both metaphorically and, ultimately, literally as they attempt to break from their physical and figurative chains,. While Peter is the main focus of the story, the tuner in the basement—whom we come to know as Eloise and (in combination with the younger sister Alina) is loosely based off of myself—becomes a second character upon which the story begins to also focus. As their stories intertwine, the reader is thrust into a heartfelt tale of familial love, loss, and redemption, and a fight for freedom that sets itself up for a saga-like continuation as the two main characters embark into a world with purpose and renewed senses.

While inspired by living individuals and in possession of their own unique identities, my characters are also influenced by those from books I have read. I have always been inspired by multi-faceted female characters who not only go through hardship but have an inner fire and resilience beyond their vulnerability, and the character of Vesuvia Adelia Rachel Ortese Aguilar (Adelia) in the Mistress of the Art of Death series by Ariana Franklin is surely a root influence to my female characters, including Eloise. Her unyielding nature to stay true to herself is as admirable as her fierce protection of those she loves, yet she does not deny her weaknesses; this is in a similar manner to Esther in City of Shadows by the same author, whose inner strength is truly commendable as she not only survives a horrific trauma but then stays true to her reborn persona despite the danger she faces simply due to her identity (like the tuners in Dissonance). Finally, the imposing figure of Roman Primobasso echoes the heartlessness, ruthlessness, and charisma of figures like Mayor David Prentiss of The Knife of Never Letting Go by Patrick Ness and Sir Joscelin of Mistress of the Art of Death.