Mindi Scott has a real talent for getting inside her protagonist's head. She sketches out Coley's story in grand swathes, and then paints in all the little details, so that you feel as though you are enmeshed in Coley's brain: thinking her thoughts, feeling her confusion, anger, and, in the end, pain. I just don't think it's possible to read this book and not identify with Coley in some way.
Even now, so many years after the end of the show, there are still new fans finding their way into Sunnydale. Buffy doesn't care that they're late to the game. She's been waiting for them - and she accepts all of them exactly as they are. Besides, no matter how many times you may have seen an episode, there's no such thing as an expert. I can guarantee there are always new and intriguing things to discover in Buffy; things that you missed somehow on previous viewings.
The acting is something that will always be a part of my life, but the writing gives me a lot more creative freedom. You're a pawn in somebody else's chess game, whereas as a writer and as a director, you get to call the shots. And that's very thrilling.
I think specifically because of the character that I played, people are very connected to her. I used to get letters from young gay and lesbian and trans-gendered kids saying, 'I didn't kill myself because of Buffy'.
I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
I think specifically because of the character that I played, people are very connected to her. I used to get letters from young gay and lesbian and trans-gendered kids saying, ‘I didn’t kill myself because of Buffy’.