Building a World Where Monsters Aren't Always the Villains

In creating the world of "Blood Money," I faced a choice that would define everything: follow traditional vampire lore, or build something entirely new.
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I chose to build something new. And in doing so, I discovered that the most compelling monsters aren't the ones we fear—they're the ones we understand.

Reimagining the Vampire: Meet the Dracules

The most challenging aspect of creating my vampire world rules wasn't deciding whether to include garlic and stakes—it was asking why these elements existed in traditional lore and whether they made sense for the story I wanted to tell in today's world.

My vampires aren't traditional vampires at all. I call them Dracules, and they're something far more complex: demons that possess a soul and take over a person's life, integrating so completely with their host's memories and personality that they become something entirely new. They're not just monsters wearing human faces—they're beings caught between their demonic nature and human experience.

​This integration creates a psychological complexity that traditional vampires lack. A Dracule doesn't just feed on blood; they carry the weight of human memories, human relationships, human love. They remember being human, even as they struggle with their demonic needs. How do you hate a monster who remembers loving their children? How do you fear a predator who grieves for the life they lost?

The Innovation That Changed Everything: Vampires Who Feel

The concept that Dracules feel everything their blood donors experience came from a moment of pure inspiration. I was thinking about the traditional vampire-victim dynamic and realized the power dynamic wasn't one-sided. Blood carries more than just sustenance—it carries essence, personality, emotion.

It's the same phenomenon we see when a heart transplant recipient who was vegetarian suddenly craves meat, or when they develop new preferences that mirror their donor's. Blood doesn't just nourish the body; it carries traces of who we are. In my world, when a Dracule feeds, they don't just take blood—they absorb pieces of their donor's soul, their emotions, their very essence.

This single rule transforms everything. Feeding becomes intimate, vulnerable, dangerous for both parties. A Dracule can't simply take—they must experience their donor's fear, pain, pleasure, emotions. They become connected in ways that blur the line between predator and prey.

​For blood dolls like Miles, this creates incredible power. She's not just a victim—she's someone who can influence, control, even heal the very beings who feed from her. The traditional power dynamic is completely flipped. The "victim" holds the real power, and the "monster" becomes dependent, vulnerable, almost human.

When Your Setting Becomes a Character: The Brightwood Estate

One of my favorite world-building choices was making The Brightwood Estate a living being with its own mind and will. Why not have a house or mansion with a life of its own? Why not make the scenery itself a character?
The Brightwood Estate isn't just Warren's home—it's a sanctuary that exists between dimensions, a place where demons can meet angels, where broken beings can find refuge. The mansion chooses who enters, who stays, who heals. It has opinions, preferences, protective instincts.
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This creates such rich storytelling possibilities. The house can be an ally, offering comfort and safety. It can be an obstacle, refusing entry to those it deems dangerous. It can be a plot device, opening portals or hiding secrets. But most importantly, it becomes a character readers can connect with—a nurturing presence in a world full of darkness.

Balancing Tradition with Innovation

Creating a new mythology doesn't mean abandoning everything that came before. I wanted to honor traditional vampire lore while finding scientific or realistic explanations for why these elements might exist in today's world.

Stakes and garlic aren't just random weaknesses—they're tools that work for specific, logical reasons within my world's rules. Holy water isn't magic—it's a substance that affects demons in ways that make sense within the mythology I've created. Every traditional element either serves the story or gets reimagined into something that does.

​This balance allows readers familiar with vampire lore to feel grounded while discovering something entirely new. They can recognize the familiar while being surprised by the fresh perspective.

The Psychology of Sympathetic Monsters

What I discovered in building this world is that the most compelling monsters aren't the ones we fear—they're the ones we understand. When a Dracule struggles with their demonic nature while carrying human memories, they become relatable. When they feel everything their donors feel, they become vulnerable. When they seek redemption while battling their own darkness, they become sympathetic.
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Miles and Warren aren't just supernatural beings—they're individuals shaped by trauma, driven by love, seeking connection despite their fears. Their supernatural abilities don't make them less human; they make their humanity more precious.

Creating Moral Complexity

In traditional vampire stories, the lines are clear: vampires are evil, humans are good, stakes solve problems. But real life isn't that simple, and neither should our monsters be.

In the world of "Blood Money," blood dolls can be both victims and controllers. Dracules can be both predators and protectors. Angels can make demands that seem cruel. Demons can seek redemption. The Brightwood Estate can offer sanctuary while hiding dangerous secrets.

​This moral complexity creates space for characters to grow, change, and surprise both themselves and readers. It allows for redemption arcs, moral dilemmas, and the kind of character development that makes readers care about supernatural beings as if they were real people.

Why World-Building Matters

Every rule I created for the "Blood Money" world serves the story I wanted to tell: that love is possible even in darkness, that redemption is available even for monsters, that power isn't always what it seems, and that the most dangerous thing isn't supernatural abilities—it's the choice to remain closed off from connection.
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The world-building isn't just backdrop; it's the foundation that makes Miles and Warren's love story possible. Without Dracules who feel everything, their connection couldn't develop. Without blood dolls who hold real power, Miles couldn't be Warren's equal. Without The Brightwood Estate as sanctuary, they couldn't find safety to heal.

The Magic of Making Monsters Human

What I learned in creating this world is that the most powerful magic isn't supernatural at all—it's the moment when a reader sees a monster and thinks, "I understand you." When you see a demon seeking redemption and think, "I've felt that way too." When you see two broken beings choosing love despite fear and think, "That's what courage looks like."

That's the world I built for "Blood Money"—one where monsters aren't always villains, where victims can be heroes, where houses can love, and where the most dangerous thing you can do is open your heart to someone who might break it.

Coming July 31st

​"Blood Money" releases July 31st, and I can't wait for you to explore this world where nothing is quite what it seems, where traditional rules don't apply, and where love might just be the most powerful magic of all.
Because sometimes the best monsters are the ones who remind us what it means to be human.

Until next time...
...happy reading!

​~ Stephy