I like to break left when people think I'm going to go right.

Before she became the Girl from Nowhere-the One Who Walked In, the First and Last and Only, who lived a thousand years-she was just a little girl in Iowa, named Amy. Amy Harper Bellafonte.

Sara waited a respectful time, knowing there was nothing she could do to ease the woman's pain. Grief was a place, Sara understood, where a person went alone. It was like a room without doors, and what happened in that room, all the anger and the pain you felt, was meant to stay there, nobody's business but yours.

Here she was, a women who could bolt-load a crossbow in under a second, put half a dozen long arrows in the air in fewer than five, blade a target dead through the sweet spot at six meters, on the run, on an off day; and yet knitting a pair of baby booties seemed completely beyond her power.

One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.

Every book has got its challenges. You run into a plot point that you can't figure out, or a scene that you struggle to write and have to write 50 times.

And I had always liked vampire stories because they are great material that can be refashioned in lots of ways.