In the show, it consistently seems as if you are trying to villainize Eric and sanctify Bill, even referring to Eric as the “bad boy” more than once in interviews. This certainly does not stay true to the spirit of the books, as Eric is absolutely not a villain or even a bad boy in the books, and likewise Bill is definitely not a saint, nor is he even a “good guy” half the time. Is there a reason that you try to portray these characters in this manner, and if so, what is it?

—LISA ROWELL

Hmm . . . I am not sure I agree with your assessment. We have purposely shown many darker aspects of Bill, such as his penchant for sport-killing during his years with Lorena, his keeping things from Sookie, his interaction with the state patrolman he glamoured in Season 1, taking his gun and pointing it at him, and his murder of Uncle Bartlett. Likewise, we have shown many of the deeper, more tender aspects of Eric—his love for Godric, his grief at Godric’s true death. We continue with both of these directions inin Season 3. And it seems to me more dramatic to establish certain expectations about a character and then upend them than to just depict everyone as equal parts light and darkness. And when I use the term “bad boy,” I am referring to the kind of bad boy that women are consistently attracted to—a man who doesn’t play by the rules, a man who is a little dangerous, who is going to create more drama and fun than the good guy who does everything right.

Sex, death, food, and violence play a large role in True Blood. Americans have a possibly unhealthy relationship with all four, and yet we are fascinated by them. Is this the secret to the success of the books and series?

—SARA FOSTER

Honestly, I have no idea. I think the success of the series is because these stories and characters are so much fun.

It is not a common thing for the vampires in True Blood to be young and beautiful, as it normally is in other vampire television shows and movies. Why did you choose to go in this direction?

—ANNE FELDBAK

Well, I think while we have plenty of vampires who are young and beautiful, I like the idea that one can become a vampire at any point in his or her life. This is exactly as it is in Charlaine’s books—and I thought that was clever and unexpected. Also, I generally chafe at doing something the same way everyone else does it.

What plot point (so far) has been the most difficult to write, act, and film?

—MISTY PADGETT

Hmm—the storming of Merlotte’s by the black-eyed zombies . . . the final Maryann sacrifice/marriage . . . the storming of Steve Newlin’s church by the Dallas vampires.

What is your gauge to keep elements in the series that are in the books?