rough first drafts. Once I have the manuscript in good enough shape that I feel like reading it wouldn't be an utter waste of my sisters' time, I tend to give it to my sisters Dorothy and Catherine. Perhaps a broader range of carefully-chosen friends will read the next revision after that. This process is essential. Every line of feedback is essential. I surely hope everyone is getting something out of it, because there aren't enough words to express how helpful it is to me! My parents tend not to read it until it's in final or nearly final form, making them two of my first "early feedback" people for the final book as it enters the world -- which tends to be a comforting way to begin that process.:) Helen: Kristin, thank you very much for agreeing to be interviewed for "...on Anything, Really." As I said in the introduction, I loved Bitterblue -- in fact it may just be my favourite Kristin Cashore novel yet! -- and I have very much enjoyed working with you to bring the interview together. Kristin: Helen, thank you so much for these truly wonderful questions! It was a pleasure. Addendum: In response to EmmaB's comment and questions, posted below, Kristin Cashore has replied as follows: "It was fascinating to consider class issues while writing Bitterblue, Bitterblue being in many ways unaware of her own enormous privilege and nave about the differences between her and Saf, for example. And thinking about class more