An acolyte of the sun god, Mische saw her life destroyed when she was forcibly Turned into a vampire. After murdering the vampire who turned her, Mische is spared from execution when she agrees to journey into the afterlife with Asar, a vampire prince, and resurrect the god of death. Tasked by the sun god with betraying Asar and sabotaging their mission, Mische finds herself questioning everything she’s ever believed in when she begins to fall for Asar.

The Songbird & the Heart of Stone takes us straight into an afterlife that’s as intriguing as it is terrifying. How did you conceive of your version of the road to the underworld?
Much of my process adhered to the improv philosophy of “yes, and . . .” I know that many readers love my books for the hot vampires—and make no mistake, I do also love hot vampires!—but I have a streak that just really, really loves weird, gross, dark magic. I always enjoy creating structures to my magical fantasy journeys that have a strong sense of progression, and better yet if they give me the opportunity to try all kinds of different gimmicks. So, I loosely ran with the general idea of “circles of hell” and thought about what those “levels” might look like in the context of the Nyaxia world. Then I mapped each of these levels to the character arcs for Mische and Asar, and tied them into the lore of the gods’ story. This piece was the most fun for me!

So far in the Crowns of Nyaxia series, we’ve been inside the heads of three characters: Raihn, Oraya and Mische. Mische has a very different internal monologue than any of the others. How did you get into her head to really capture that change in narrative voice?
Going from Oraya’s cynical, hard-edged voice to Mische’s optimistic and thoughtful one was a little jarring in the beginning. But, I had a baby in between writing The Ashes and the Star-Cursed King, the previous book in the series, and Songbird, so I had a lot of time to think about the inner workings of Mische’s brain during my maternity leave. I got to know her a lot in borderline-hallucinatory brainstorming sessions at 3 a.m.!

Luce, Asar’s beloved necromantic dog, is undoubtedly going to steal some readers’ hearts (just as she stole mine). How did she come into the picture?
It’s only now that I realize I cannot remember when I first conceived of Luce! She came into the picture very early in my brainstorming for Asar’s character. He’s introverted, rigid and definitely a bit scary, but boy does he love his dog! (Rightfully so—she is a very good girl.) I believe that platonic relationships are just as important as romantic ones. It’s important that we see the characters reflected against someone else who is meaningful to them. In this case, Luce really helped me define Asar, and took on an (after)life of her own from there.

Architecture—whether it’s the impressive structures of the underworld or the details of the Citadel—gives a distinct sense of character to the human, vampire and godly locations within The Songbird & the Heart of Stone. Did you have any particular inspirations for the look of each major location? 
I’m very flattered by this question, because it’s so important to me that each of the houses feels distinct! My favorite thing about the Nyaxia world is that it’s just so huge, and with every book that ventures into a new corner of the world, I try to make sure that place feels different from everywhere we’ve been before it. Typically, I’ll start with a very general “vibe” for a place, and then I’ll mash together many different influences until I like what I’ve arrived at. I will be the first to admit that the entire creative process on this front is chaotic!

You once mentioned that you ended up with the three courts because you couldn’t choose one type of vampire. What were some of your influences in creating the vampire houses, and if you had to join one of the houses, which would it be?
There wasn’t one specific influence for each house so much as each had a general “vibe” I was trying to capture. The Nightborn are the winged, deadly vampires; the Shadowborn are the seductive, scheming vampires; the Bloodborn are the monstrous, bloodthirsty vampires. Of course, these simplistic ideas bloomed into many others as I fleshed everything out! 

I would be in the House of Shadow, because I’m definitely not coordinated enough to be in the House of Night nor intimidating enough to be in the House of Blood. I’d likely immediately get myself killed in the House of Shadow, too—but at least I could hide out in the libraries for a while first.

Despite following the same god, Mische and Chandra have little in common when it comes to both their outlook and their goals. If their roles had been reversed, how would Mische have taken to life as a midwife for vampires? What about Chandra as a vampire?
Chandra and Mische both have been indoctrinated by their god most of their lives, and both of them have very real, very legitimate reasons to justify hatred of vampires. Chandra is so similar to Mische in so many ways, and yet has followed all of those commonalities to a completely different end. Even at the height of her status in her previous human life in her cult, Mische couldn’t fully accept the harsh boundaries of her world. Chandra was likely exactly the kind of acolyte Mische wished she could be in those years: pious, devoted and unquestioningly loyal. But Mische was never going to be that person, for better or for worse. Even if her positions were swapped with Chandra, they would always end up in radically different places.

Just as Chandra and Mische are foils, so too are Mische and Asar. We get Mische’s perspective the first time she sees Asar, but what does Asar think of Mische at first sight?
I can’t answer this question in too much detail because it might be something we cover in the next book! In a super general sense: Asar knows right away that Mische is unusual, and he’s intrigued by her right off the bat. Some of that is just because he’s a guy who likes to know things, and Mische is objectively unusual because of her background. But even from the start, when he’s underestimating her, he gets the sense that there’s more to her.

Imbalanced power dynamics and the abuse of power are themes that have cropped up several times in Crowns of Nyaxia so far, from Vincent in The Serpent & the Wings of Night to this novel. This is obviously an issue in our own world as well, but do you think that there’s something about vampire society that makes it particularly interesting to explore? 
The exploration of power runs through the entire series. In the world of Nyaxia, there are just so many different layers to those power dynamics: humans versus vampires, gods versus mortals and, of course, the plethora of interpersonal power dynamics that are specific to each character. What makes this particularly interesting to me is that some groups or characters stand in very different places on the power spectrum depending on the lens you’re looking through. Vampires, for instance, are much more powerful than humans physically, but they’re also often brutally hunted if they venture beyond Obitraes. Vincent, Oraya’s father, was obsessed with maintaining power, but the things he had to do to keep it ended up isolating him—and unforgivably harming those he loved most. There’s a lot more to power than physical strength and having so many different layers in this world has made it particularly fun to explore.

Even with her own discomfort surrounding her vampirism, Mische holds views on vampires that seem more nuanced than what we see from Oraya in the Nightborn Duet. How much of that is from their backgrounds, and how much is due to the individuals—and the courts—that they’re dealing with?
I love this question! Mische and Oraya are so, so different. They came from opposite backgrounds. Oraya was surrounded by vampires but constantly told how dangerous the world around her was. Meanwhile, as a missionary, Mische learned to help people become better versions of themselves by looking beyond her initial impressions of them. They embody opposite extremes, and we would have seen that even if their positions and Houses had been swapped—but of course, both still isolate themselves in different ways. 

We get a deeper view of the pantheon in The Songbird & the Heart of Stone, including the very intimate interactions between the gods and their followers. What inspired you to have the gods be so very present (and fallible)?
I love the sheer amount of possibility that the pantheon introduces into this world, and from the beginning, I wanted the gods to be highly present, creating very tangible impacts on the story. It introduces a whole other layer to the hierarchy of the world and another level of power dynamics. It throws open doors that would otherwise be impossible to explore!

Are there any gods who we haven’t interacted with yet who you’re excited to explore further?
I am fascinated by the gods, and they play a much bigger role from Songbird onwards. So, the short answer is “yes, so many!”—but I think I’ll leave it at that rather than risk saying too much.

Photo of Carissa Broadbent by Victoria Costello.