The Short Second Life of Bree Tanner INTRODUCTION

No both writers go to the highest degree things in exactly the said(prenominal) mode. We al are inspired and motivate in diverse ways we construct our own reasons why about(prenominal) characters stand by with us while others disappear into a backlog of neglected files. Personal y, Ive n incessantly figured out why some of my characters take on strong lives of their own, nevertheless Im everlastingly happy when they do. Those characters are the intimately effortless to write, and so their stories are universal y the ones that get finished.Bree is one of those characters, and shes the main(prenominal) reason why this floor is straight in your hands, rather than lost in the maze of forgotten folders inside my computer. (The two other reasons are named Diego and Fred.) I egressed view about Bree while I was edit brood. Editing, not indite when I was writing the first-class honours degree draft of Eclipse, I had first-person- side blinders on anything that group B a couldnt see or hear or feel or taste or touch was irrelevant. That grade was her experience only. The next step in the editing process was to step absent from vitamin B complex a and see 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 group B a didnt shaft and how we could make the right separate of that story clearer. Because Bree is the only newborn bacillus a sees, Brees was the perspective that I first gravitated toward as I considered what was going on behind the shafts. I started thinking about living in the basement with the newborns and chase 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 determinations also sprang to life effortlessly. This is the way it usual y works for me I try to write a bunco synopsis of what is happening in some other part of the st ory, and I repeal up jotting down dialogue. In this case, instead of a synopsis, I give myself writing a day in Brees life.Writing Bree was the first time Id stepped into the station of a narrator who was a strong vampire a hunter, a monster. I got to look through her red eye at us humans shortly we were pathetic and weak, easy prey, of no impressiveness whatsoever except as a tasty snack. I felt what it was give care to be alone while skirt 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 breed 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 resembling Bree was a newborn. It was provoke and dark and, ultimately, tragic. The closer I got to the fatal end, the more I wished Id concluded Eclipse just slightly differently.I marvel 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 valuable 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 look like to her? Probably not. But even if you did, Il cypher you never guessed her secrets. I hope you end up caring about Bree as much as I do, though thats kind of a cruel wish. You know this it doesnt end wel for her. But at to the lowest degree you wil know the whole story. And that no perspective is ever real y trivial.Enjoy,Stephenie