The Short Second Life of Bree Tanner INTRODUCTION

No two create verballyrs go about things in exactly the same way. We al atomic number 18 inspired and motivated in unalike ways we have our own cases why some characters stay with us while others disappear into a backlog of neglected files. Personal y, Ive nalways calculate out why some of my characters take on strong lives of their own, but Im endlessly happy when they do. Those characters are the most effortless to write, and so their stories are normal y the ones that get finished.Bree is one of those characters, and shes the chief reason why this point is now in your hands, quite a than lost in the maze of forgotten folders intimate my computer. (The two other reasons are named Diego and Fred.) I started intellection about Bree while I was editing predominate. Editing, non writing when I was writing the first muster in of Eclipse, I had first-person-perspective blinders on anything that Bel a couldnt propose or hear or feel or taste or touch was irrelevant. That s tory was her be yet. The next step in the editing mold was to step away from Bel a and tick off how the story flowed. My editor, Rebecca Davis, was a huge part of that process, and she had a lot of questions for me about the things Bel a didnt make love and how we could make the right parts of that story clearer. Because Bree is the plainly newborn Bel a sees, Brees was the perspective that I first gravitated toward as I considered what was going on behind the scenes. I started telephoneing about vitality in the basement with the newborns and hunting traditional vampire-style. I imagined the world as Bree understood it. And it was easy to do that. From the start Bree was very clear as a character, and some of her fri arrests also sprang to behavior effortlessly. This is the way it familiar y works for me I try to write a short synopsis of what is happening in some other part of the story, and I end up jotting down dialogue. In this case, preferably of a synopsis, I found myself writing a day in Brees life.Writing Bree was the first metre Id stepped into the shoes of a narrator who was a actual vampire a hunter, a monster. I got to learn through her red eyes at us humans suddenly we were pathetic and weak, easy prey, of no importance whatsoever except as a tasty snack. I felt what it was like to be alone while surrounded by enemies, always on guard, never sure of anything except that her life was always in danger. I got to submerge myself in a total y different generate of vampires newborns. The newborn life was something I hadnt ever gotten to explore even when Bel a final y became a vampire. Bel a was never a newborn like Bree was a newborn. It was exciting and sad and, ultimately, tragic. The closer I got to the inevitable end, the more I wished Id concluded Eclipse just slightly differently.I wonder how you wil feel about Bree. Shes such a smal, seemingly trivial character in Eclipse. She lives for only five minutes of Bel as perspective. And yet her story is so important to an understanding of the novel. When you read the Eclipse scene in which Bel a stares at Bree, assessing her as a possible future, did you ever think about what has brought Bree to that point in time? As Bree glares back, did you wonder what Bel a and the Cul ens hold back like to her? Probably not. But even if you did, Il flirt you never guessed her secrets. I hope you end up caring about Bree as much as I do, though thats kind of a roughshod wish. You know this it doesnt end wel for her. But at least you wil know the whole story. And that no perspective is ever real y trivial.Enjoy,Stephenie