Austen gives us very specific allusions as to how the couple might achieve happiness, so when presented with the concept, I flatly refused to even consider a vampire version. However, after discussing the idea with close friends and with my editor, I conceded. It was my belief the project would go forward with or without me. At least if I was involved, I could possibly maintain some integrity in the story. In a Gothic or vampire-inspired story, undertones of sex, blood, and death are inherently present, although Jane Austen rarely even hinted at any of these elements in her novels.

Originally, the concept was that Darcy would be the vampire who seduces Elizabeth, yet I could not abide such a proposal. If vampirism was to be added to the tale, I wanted Darcy portrayed as a poetic tragic hero rather than as an embodiment of evil. I also Pride and Prejudice, Darcy needed to desire Elizabeth and to be willing to put aside his beliefs and lifestyle in order to earn her love. As Vampire Darcy’s Desire is a horror romance, a more prominent sexual tension than in the Austen version was obviously required, although any astute reader of Austen feels the sophisticated undertones present in her writing.

My story line is based on the traditional Scottish ballad known as “Lord Thomas and Fair Ellender,” which I used as the core of the curse upon Darcy’s family. The ballad has many versions. Some even call it “The Brown Girl.” It is currently listed as one of the ballads brought back into circulation by Francis J. Child, a renowned “songcatcher.” The story behind the ballad dates back to the time of Charles II. There are Irish, Scottish, and English versions of the song, as well as similar stories in Norse and European folklore. Popular folk singers, such as Jean Ritchie and Alan Lomax, have recorded versions of the song.