V.E. Schwab made a significant impact on the literary world in October 2020, as her fantasy novel “The Invisible Life of Addie LaRue” was released amidst the pandemic. However, this blockbuster bestseller about an immortal woman who is instantly forgotten by everyone she encounters wasn’t her debut work.
Five years after the initial publication and a handful of books later, Schwab has introduced her newest novel, “Bury Our Bones in the Midnight Soil.” This work is set within the same universe as “Addie LaRue,” but offers a narrative that starkly contrasts with the themes found in the previous book. The creation of this new book follows its remarkable success.
Schwab shared with EbMaster during an interview that ‘Addie LaRue’ is a tale exploring immortality and hope, but also immortality and desire. This novel, due for release on Tuesday by Tor, is no exception to the rule that all immortality bargains, be they about vampires or pacts with the Devil or ghost stories, are transactional. Schwab was intrigued by the concept of what hunger represents, particularly as something that society often tells women not to embody – an angry, rageful, seemingly boundless force. The type of hunger that consumes you, whether it’s the yearning to be loved, seen, understood, or just to exist in this world, these are the shared themes.
The novel “Bones” spans over a century and chronicles the lives of three women – Alice, Charlotte, and Sabine – who transform into vampires (though the term is used infrequently throughout the book). Each of these characters grapples with their newfound blood-drinking existence and their resulting emotions and desires in unique ways. While “Bones” and “Addie” are both novels featuring queer love stories, “Bones” predominantly revolves around three queer women who unabashedly embody messiness and villainy, as described by the author.
Addie aspires to make an impact and be recognized, yet she’s not consumed by this desire,” Schwab explained. “Instead, she exudes happiness, joy, and optimism. I often jest that hope is crucial, but so is resentment. In my view, these are the two emotions that drive ‘Addie’: it’s a representation of hope, while the other is defiance. Furthermore, I wanted to explore the terrifying aspect of navigating the world as a woman. Every time you step outside, there’s an undercurrent of danger due to societal expectations and threats. You are often perceived as vulnerable, not as a threat, but rather as the one who is threatened. I aimed to craft a narrative where a woman’s greatest act of freedom was transforming from being the victim to the aggressor. ‘Addie’ presents an alternative perspective on femininity compared to this theme.
Continue reading below for further details from EbMaster’s discussion with Schwab, encompassing progress reports on the film adaptations of her books such as “Addie LaRue”, the “Vicious” series, the “Darker Shade of Magic” collection, and most recently, “Bones”.
“Addie” blew up, it was huge. How did you feel after that, having written plenty of books before that? And how did you decide to write “Bones” as a sapphic love story? While “Addie” had elements of queerness, this is much more explicitly queer.
It’s fascinating to reflect on my years as a writer and how my work spans before and after my coming out. “Addie” and “Bury Our Bones” were both penned by me during my queer identity, but the representation of this aspect varies significantly between the two. In many ways, “Addie” is more subtle or implied, while “Bury Our Bones” is more overtly queer in its themes.
Over time, I’ve come to realize that this dichotomy is part of my personal and professional journey, as well as an ongoing conversation with the publishing industry. I have always been drawn to creating complex characters, and for a long while, it felt like I wasn’t allowed to create messy or villainous queer characters without being accused of linking queerness with villainy. However, this association is overly simplistic because queer characters deserve the same depth and complexity as their straight counterparts.
In essence, this book represents a form of self-reckoning for me, as I’ve spent so long trying to conform to publishing standards, suppressing my femininity and queerness to appeal to a wider audience. However, with the triumph of “Addie LaRue”, I feel that if I don’t channel this success into authenticity, into creating complex, messy women and queer characters who are deeply flawed yet human, then the achievement holds little meaning. Success should embolden us, not instill fear.
“Bones” was written before this — but right now, vampires are very hot. We’ve got the “Buffy” reboot coming, the “Twilight” animated series, AMC’s “Interview with the Vampire” is very, very popular. It’s a good time to be coming out with a new sexy vampire story. But how your vampires are different? What stereotypes have you embraced, and what are you working against?
I stand firm on my belief that vampires can’t be completely straight. They may be young, but not straight in the traditional sense. In fact, I’ve always found the concept of an apathetic immortal to be flawed, as anyone who lives forever has the means to end their existence if they so choose. The character Addie LaRue serves as a good example, as she could easily decide to end her immortality. So, I’ve always struggled with the idea of immortals experiencing deep existential despair, since there’s no reason for them to be suicidal when they have control over their lives.
Instead of pondering over the scarcity of vampires, I’d like to delve into a thought-provoking perspective: Could there be an inherent self-destructive nature in them? Let me elaborate on this idea of decay as an internal process, similar to a slow but relentless deterioration, almost like a form of mental decline or erosion of identity. Over time, their human qualities would fade away, leaving only raw instincts behind. While these instincts are essential, they also lead to recklessness, which can be dangerous.
What I aim to explore is the humanistic concept that we all die at different rates, but some people’s humanity starts decaying almost immediately, while for others it might take centuries. The rate of decay depends on how deeply rooted one was in their humanity initially.
It’s clear that sunlight isn’t beneficial for them, yet they don’t harm themselves. Churches seem safe, but sacred ground may be harmful. I was seeking the vulnerable spots, and in essence, it boils down to the heart. The heart is the final aspect. The heart remains mortal. The heart embodies both humanity and vulnerability. Thus, I continue to incorporate psychology and symbolism into my work. However, I appreciated that this concept enabled personal understanding. For example, characters like Alice, Charlotte, and Sabine will deteriorate at vastly different paces depending on their unique traits.
So let’s go to our three leading ladies: Charlotte, Sabine and Alice. People are going to have a lot of thoughts on who’s their favorite and why, and who they don’t like, and why. Can you tease who each of these women are and what you’re trying to say with each of them?
The shorthand I employ is that Alice, our contemporary heroine, thinks logically (head), Charlotte emotes intuitively (heart), and Sabine acts instinctually (hunger).
Alice, our main character, is an 18-year-old who embarks on a new phase of life. After a one-night stand at a college party, she mysteriously dies. Given her modern sensibilities, Alice is highly relatable and I wanted to incorporate the fact that she acknowledges the prevalence of vampire pop culture in today’s world. A significant aspect of her journey involves grappling with the disconnect between the fantastical tales she grew up with and the bizarre reality she now faces. To make it more personal, I aimed to portray what any of us might experience if we woke up transformed into a vampire. The term ‘vampire’ is used only once in the entire book for this reason, as I wanted to emphasize her internal struggle with cognitive dissonance about her new identity.
In essence, Sabine represents our contemporary vampire, being the most self-aware of her queerness and societal position while also being the only one whose transformation into a vampire occurred after the emergence of vampire pop culture. This means that when she became a vampire in the 16th century, there was no popular culture or queer language to describe her experiences. It wasn’t until someone showed her another way of life that she realized it was possible.
Another important aspect is the presence of a queer mentor figure, who often guides young individuals, showing them that there are alternatives to their current lives. Sabine embodies this character as well.
Lastly, Charlotte is deeply emotional and caring, which unfortunately makes her vulnerable. Her longing for love is her greatest weakness, as she values feeling loved above all else. I’m eager to see how these characters unfold and who might be considered the most malevolent among them. I have a very firm opinion on this matter.
What new book are you working on right now as you’re promoting this?
I’ve just completed the third installment of the “Villains” series, titled “Victorious,” which is set for release next year. Currently, I’m in the process of creating a screenplay adaptation for the first book, “Vicious.” In other news, I have some exciting secrets and untold stories on the horizon that haven’t been revealed yet. After that, I’ll be revisiting the world of “Threads of Power” to work on my next book, and I’m thrilled about it as it incorporates a significant plot point reminiscent of “Count of Monte Cristo,” but set in Red London. This allows me to pay homage to one of my all-time favorite stories.
Yesterday, I took the time to compile a list of all my books, and as of now, it stretches up to the year 2030 – either because they’ve already been sold or are scheduled for release. As a devoted movie buff, I can’t wait to delve into these stories!
Is something tied to “Bones” on that list?
Each book in my “Garden,” such as “The Invisible Life of Addie LaRue” and “Bury Our Bones in the Midnight Soil,” should be able to be read independently, without requiring knowledge of other books. Future installments will follow this pattern, offering a cumulative experience for discerning readers but primarily contributing to an overall literary urban fantasy world with its unique heart, soul, and psychological depth.
“Invisible Life of Addie LaRue” is being adapted into a movie. Would you think “Bones” would be best adapted as a movie or as a TV series?
I believe “Bones” would work well as a TV series due to its expansive narrative. At the moment, plans are underway for this adaptation. It’s still very much in the development stage, but rest assured, there is progress being made towards bringing it to television. I felt quite passionate about this when making the decision because “Addie” is more suited as a standalone story, while “Bury Our Bones” has such a broad scope that I believe it needs the format of a TV show to fully develop and give justice to all the main characters and the supporting cast that I care for.
When it comes to book-to-screen adaptations, I know you’ve had lots of projects in the works, one, “First Kill,” has made it to the finish line. So where are you at with each of those right now and how do you feel about the process of adapting at this point?
Moving forward, I aim to ensure equal connectivity across all my future projects, as opposed to how things have been in the past. This commitment stems from my dedication to the source material, which leads me to seek out the optimal team for each adaptation. While the elements that make a great book, show, or movie may differ, they are interrelated in a meaningful way. My ultimate goal is to preserve the essence and emotions of the characters. Plot adaptations based on medium are less crucial to me, but ensuring emotional depth remains a priority. As such, I’m deeply invested in every aspect of these projects, even if it means taking a bit more time to get things right and produce the best possible adaptation.
Throughout Addie’s journey, there were instances where things might have taken a different course, yet I’m thankful they didn’t. While readers may feel frustrated, I believe the effort put into crafting the ideal script, securing the appropriate budget, and garnering the necessary support has been worthwhile. As someone who is usually very impulsive, I’m learning to be more patient within the television and film industry because, as a novelist and storyteller, I understand that it’s crucial to invest time in creating the best possible outcome.
Essentially, “Vicious” was the initial screenplay I sold the rights to, way back in 2013, to Ridley Scott’s production company. Since then, it’s undergone numerous transformations. However, now I feel confident and experienced enough to revisit this project because I have a clear vision for it, and I enjoy dissecting ideas and reconstructing them.
At times, I find myself requiring a multitude of perspectives in the conversation. For a project like “Bones,” it won’t solely be me, and I wouldn’t want it to be. On the other hand, for something like “Vicious,” I feel we should pool our thoughts together, gather the ideal team and people, and approach it collaboratively.
As a devoted cinephile, I’ve got to share an interesting tidbit about the series “Vicious.” You see, during its early stages of development for television, there was a suggestion that we should mold it more like the gritty, action-packed show “The Boys.” But let me tell you, the idea of transforming a show with the emotional depth and intellectual wit of “Goodwill Hunting” into something as hard-hitting and violent as “The Boys”? Absolutely not! That’s like comparing apples to oranges, or maybe even more like trying to mix oil and water. Each series has its unique flavor that should be respected and enjoyed for what it is.
Where are you with the “Darker Shade of Magic” adaptation?
Initially, my aim was to adapt this work for television over a decade ago, but it ended up selling as a film instead. I thought it would be challenging to transform into a movie, and surprisingly, I was correct. It went through numerous skilled screenwriters who attempted to crack the code, but each time they tried, the project became more convoluted. Now, we’re shifting our focus back to television production, which I’m genuinely excited about. Readers might be disappointed because this is a creative setback, but I believe it’s essential to get it right for characters like Kell and Lila who deserve their full-fledged adventures. It’s unfortunate that we need to start from scratch again, but I think this approach will ultimately benefit the project’s longevity in the long run.
Would you say of all the adaptations that the “Addie” film is the furthest along?
Initially selling ‘Addie LaRue’ was quite an unusual experience. When I first sold the film rights, I hadn’t even written the book yet. For the subsequent five years, I essentially functioned as a living story encyclopedia for various screenwriters. The project went through numerous changes and eventually, eOne was acquired by Lionsgate. Now, ‘Addie LaRue’ is in the hands of Lionsgate, who are deeply committed to creating the best possible version of it. I am encouraged by their dedication because they aim to produce a faster, more economical version that can be streamed, rather than theatrical release. I recently met with Lionsgate in LA and they are fully aware of the story’s nuances and potential. They acquired eOne for this very reason. Therefore, they are taking their time to ensure the perfect script is developed so they can achieve their vision for the project. It’s not quite there yet, but I am genuinely excited about its progress and eagerly anticipate its next stage.
Do you have any recommendations for readers, either viewing, listening or more reading, for a “Bones” Summer vibe?
You might consider rephrasing as follows:
“My top recommendations would be ‘Interview with the Vampire’, an outstanding TV series that showcases stunning visuals, and ‘Killing Eve’, particularly its first season. If you’re into music, I’d suggest you appreciate Kiki Rockwell and Florence and the Machine while watching these shows – they complement them beautifully.”
This version attempts to maintain the original meaning while simplifying the language and making it more conversational and easier to understand.
This interview has been edited and condensed.
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2025-06-10 20:21