10 Sharp Facts About Let The Right One In

Magnolia Pictures
Magnolia Pictures

Ask any horror super fan to list their 10 favorite films of the last decade and odds are good that Tomas Alfredson's Let The Right One In will end up somewhere in the ranking. The Swedish vampire film, beloved by viewers for its eerie lighting, subtle horror, and beautifully strange young actors, turns 10 years old today, and it remains a crossover hit, drawing fans far outside of its native country and even some fans who don’t tend to enjoy horror films at all.

Let the Right One In’s journey to modern classic was a relatively smooth one, but it wasn’t without its interesting wrinkles. So, in celebration of its 10th anniversary, here are 10 facts about the film, from its director’s reluctance to adapt a novel at all to the unusual way its stars learned their lines.

1. TOMAS ALFREDSON WASN'T INTERESTED IN ADAPTING A BOOK.

Patrik Rydmark, Johan Sömnes, Mikael Erhardsson, and Kåre Hedebrant in 'Let the Right One In' (2008)
Magnolia Pictures

Let The Right One In began its life as a 2004 novel by John Ajvide Lindqvist, which became a bestseller in Lindqvist's home country of Sweden and soon began attracting movie producers interested in bringing the story to the screen. Ironically, director Tomas Alfredson was not among the people initially circling the project. He was gifted the book by a friend (something he claimed he usually objects to, because he finds book selection too personal for gift giving), and after letting it sit around his house for a while, he picked it up and became engrossed. After reading Lindqvist’s novel, Alfredson expressed interest in adapting it for the screen, despite a general belief that great books cannot be made into great films.

"I really think you shouldn't do films of good books," Alfredson told the Los Angeles Times. "The reason is that the depth of a good book is so much greater than you could possibly do on screen in 90 minutes. But this was sort of the exception."

2. ALFREDSON WASN’T INTERESTED IN WATCHING OTHER HORROR FILMS.

Before Let The Right One In, Alfredson was best known not for horror, but for comedy films and stage productions. When reading the novel, he noted he was drawn in by the story of Oskar not because he befriended a vampire, but because he was an isolated child who was also a victim of bullying.

"It's very hard and very down-to-earth, unsentimental," Alfredson said. "I had some period when I grew up when I had hard times in school ... So it really shook me.”

When approaching the story for the screen, Alfredson deliberately avoided educating himself about the horror genre, relying instead on other influences to shape the look and tone of the movie, including the paintings of Hans Holbein. For him, flooding his brain with other horror films would have been counterintuitive.

“I did the exact opposite actually because I did not want to know what other people have done,” he told Total Sci-Fi Online. “You see, I think that too many filmmakers watch movies by other directors to try and inspire themselves but, to me, this is totally pointless. I would rather get my influence from art or music. Don’t get me wrong, I enjoy horror movies when I see them on the television, but I am totally uneducated toward the genre and I never seek them out."

3. IT TOOK NEARLY A YEAR TO FIND THE LEAD ACTORS.

Lina Leandersson and Kåre Hedebrant in 'Let the Right One In' (2008)
Magnolia Pictures

So much of Let The Right One In is carried by the characters of the boy Oskar and the vampire Eli, and even though one of them is a centuries-old vampire, they both still had to be played by children who somehow had great chemistry. Alfredson knew that if he made one mistake in casting his two young stars, he could lose the whole movie, so he spent nearly a year working through open casting calls trying to find the perfect pair of children to inhabit the two roles.

"It was very complicated,” he said. “I wasn't just [trying] to find one boy and one girl; I had to find the perfect match to the same character. It is also very important they have good families and are stable persons. It is a big responsibility to carry a whole film on your 12-year-old shoulders."

Eventually, Alfredson found his instantly iconic stars in Kåre Hedebrant as Oskar and Lina Leandersson as Eli, and settled on a somewhat unusual way of working with them.

4. THE KIDS WERE NEVER ALLOWED TO READ THE SCRIPT.

For his own “artistic reasons,” and because professional child actors are not a concept in Sweden the way they are in America, Alfredson settled on a method of working with his two young stars that might seem unusual given how accustomed many moviegoers are to seeing children working in Hollywood. In the audition process, and even during principal photography, Hedebrant and Leandersson were not allowed to read the script. Their parents read it to approve all of the content, but the two actors were fed all of their lines and scenarios by Alfredson himself as a means of focusing on creating very specific moments.

“They didn't read at all, and not during the shooting either. I never let them read anything from paper, so I always read it aloud to them, so they learned by ear, rather than eye,” he recalled. “They didn't know what it was all about really, but they started to make this puzzle every day. ‘Okay, I'm coming in here now’ because I think the best way to get the best out of a child actor is ... You really cannot say ‘you are disappointed with adults.’ They cannot do anything with that, but if you say, ‘You're very upset with this specific person right now in this very moment because you're very hungry and he's just taken your food away.’ You really have to take every and each situation for what it is, and not trying to make it into a bigger puzzle. That's my way to it."

5. ELI’S VOICE WAS SUPPLIED BY ANOTHER ACTRESS.

A number of techniques were employed to make Leandersson look and feel like a being who is hundreds of years old, many of them visual, but one very important creative decision came in the film’s elaborate sound design process. To make Eli seem even more ancient and also androgynous (the character is a castrated boy in the books, which is also suggested in the film), it was decided that Leandersson’s voice would not be used, and instead an older actress would dub all of her dialogue. According to the film’s sound designers, the crew took a vote, and actress Elif Ceylan was chosen to provide the voice.

6. A PEDOPHILIA SUBPLOT WAS CUT.

Lina Leandersson in 'Let the Right One In' (2008)
Magnolia Pictures

In adapting the novel for the screen, Lindqvist and Alfredson had to make some key decisions on how best to focus their story on the relationship between Eli and Oskar, which meant that certain elements simply had to go. Among these was the thread running through the book that Hakan, Eli’s elderly blood supplier, was also a pedophile. For Alfredson, this introduced too much thematic baggage into the plot to be handled properly within the film’s runtime, so it had to go.

“So that really gave another tone to the whole thing. That’s too often used as say ... an emotional special effect, without taking responsibility for what that really is,” he said. “It’s a really complicated thing to debate on screen, I think. So that would’ve disturbed the story a lot to have that."

7. A CASTRATION SEQUENCE WAS ALSO ABANDONED.

The revelation that Eli was not born a girl, but was instead a boy who was castrated 200 years earlier, is present in Lindqvist’s novel and is hinted at in one brief but memorable shot in the film. According to Alfredson, though, this was originally going to be explored in much greater detail through a flashback sequence that actually showed the castration taking place. When it came time to shoot the scene, however, Alfredson got cold feet because of certain elements of … realism.

“I tried to do a flashback scene, where we see the castration of Eli [the girl vampire] 200 years ago, with very close shots of a knife coming close to skin, starting to cut, and I said to the make-up guys that I want to do this,” he recalled. “They said, 'You can’t do this unless it is real animal, because if you are so close to the camera, you can’t use rubber or special effects,' so I said 'Okay, let’s do that then,' then I forgot about it, and the assistant director said, 'We have the pig here now.' I said, 'What pig?' 'The pig for the cutting shot. A living pig. He is outside together with the slaughterer.' So I went outside the studio and a butcher was standing with his knife, and this pig looking with his sad eyes. I said no. I wouldn’t be able to sleep if we killed him. That’s bad karma."

8. IT FEATURES A LOT OF VERY SUBTLE CGI.

Let The Right One In is a relatively small film, with few central characters and locations. It’s far from a massive, effects-driven blockbuster, but that doesn’t mean that Alfredson was shy about using computer generated effects to his advantage when the film called for it. The reason many viewers may not notice, though, is that Alfredson and his team employed CGI in often very small ways, to accentuate the strange movements and behaviors of Eli and to add to the eeriness of the wintry landscape at night.

"There is a lot of CGI in this film," Alfredson said. "I think over 50 CGI shots. And it’s a fantastic tool box to use, but it seems like almost everyone is using it too much. If there’s a car explosion, it seems like the car has to explode for three minutes, and has to be the biggest car explosion you’ve ever seen. And it’s not good for the material or the reality to it. So, we tried to hold back on that as much as possible. You can do so much with those effects in a subtle way. For instance, changing the size of the eyes by 10 percent. Just make them 10 percent smaller, and nobody could tell what you have done, but it’s really spooky when someone suddenly has little, smaller eyes. In one scene, they were bigger and so on. People can not really pinpoint it. If you make a car explosion for four minutes, everyone will know it’s fake and why."

9. ALFREDSON WASN'T HAPPY ABOUT THE FILM'S REMAKE.

Tomas Alfredson directs 'Let the Right One In' (2008)
Magnolia Pictures

Even as Let the Right One In began getting noticed from American critics and audiences, studio executives were already looking for a way to Americanize the story, and by the fall of 2008 Cloverfield director Matt Reeves had signed on to write and direct the new adaptation of Lindqvist’s novel. Even before that film, titled Let Me In, was released in 2010, Alfredson was outspoken about his misgivings, and actually turned down an offer to make the American version himself.

“Initially they approached me to do the remake but I decided not to participate in it," he said. "I am too old to make the same film twice and I have other stories that I want to tell. I think that it is a little sad. I wish that American viewers would just see the foreign language version! When I first got asked about the remake I said ‘Can you not just get everyone to see this one? It is a perfectly good film you know!’"

10. IT ALMOST BECAME A TV SERIES.

Even after Let Me In arrived in American cinemas, producers weren’t done with Let The Right One In. In 2015, A&E began developing a potential TV series, written by Teen Wolf creator Jeff Davis. In the summer of 2016, TNT ordered a pilot for the series, but by the spring of 2017 the network had decided not to proceed with the pickup, and the project fell off the radar. At the time, it was reported that production company Tomorrow Studios was still interested in the concept and potentially shopping it around to other networks, so perhaps the idea still has a future.

This Outdoor Lantern Will Keep Mosquitoes Away—No Bug Spray Necessary

Thermacell, Amazon
Thermacell, Amazon

With summer comes outdoor activities, and with those activities come mosquito bites. If you're one of the unlucky people who seem to attract the insects, you may be tempted to lock yourself inside for the rest of the season. But you don't have to choose between comfort and having a cocktail on the porch, because this lamp from Thermacell ($25) keeps outdoor spaces mosquito-free without the mess of bug spray.

The device looks like an ordinary lantern you would display on a patio, but it works like bug repellent. When it's turned on, a fuel cartridge in the center provides the heat needed to activate a repellent mat on top of the lamp. Once activated, the repellent in the mat creates a 15-by-15-foot bubble of protection that repels any mosquitos nearby, making it a great option for camping trips, days by the pool, and backyard barbecues.

Mosquito repellent lantern.

Unlike some other mosquito repellents, this lantern is clean, safe, and scent-free. It also provides light like a real lamp, so you can keep pests away without ruining your backyard's ambience.

The Thermacell mosquito repellent lantern is now available on Amazon. If you've already suffered your first mosquito bites of the summer, here's some insight into why that itch can be so excruciating.

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

16 Fun Facts About The Baby-Sitters Club

Scholastic
Scholastic

In 1986, Scholastic published the first The Baby-sitters Club book, Kristy’s Big Idea. Before long, the books were hitting bestsellers lists and what started as a four-part miniseries would eventually grow to more than 200 books. By the series' original end in 2000, 176 million copies of Baby-sitters Club books had been sold—which, if stacked on top of each other, would be as tall as 77,203 Empire State Buildings.

In 2006, The Baby-sitters Club got a graphic novel makeover (it, too, kicked off with Kristy's Big Idea). There was also an HBO series in 1990, and a film in 1995. Now, Netflix's version of the beloved book series starts streaming July 3.

Here are a few things you might not have known about the hugely popular books, which didn’t just turn kids into readers—it also turned them into babysitters when they created their own real-life clubs.

1. Scholastic editor Jean Feiwel came up with the idea and the title for The Baby-sitters Club, then hired Ann M. Martin.

When Jean Feiwel joined Scholastic in 1983, she was put in charge of the publisher’s preteen and young adult book clubs. The idea for Baby-sitters Club came when Feiwel noticed that a book called Ginny’s Babysitting Job was a top-seller month after month, despite having “a rotten cover” and being buried on the third or fourth page of the book club's catalog. “I thought, it must be something about baby-sitting because it’s not something about Ginny or the cover,” Feiwel said.

The editor then approached Ann M. Martin—whom she had briefly worked with at Scholastic before Martin left to become a freelance writer—with the idea and the series’ title. “All I gave Ann was just a glimmer of an idea—a series about a babysitters club,” Feiwel told Publisher’s Weekly in 2010. “She came up with everything else.”

2. Ann M. Martin drew from her own friendships and experiences to write The Baby-sitters Club books.

“First, I had to decide exactly what a babysitters club might be and I decided that it would be a babysitting business,” Martin told Glamour in 2010. “And then I created the four original main characters.” The author, who not long before had been a teacher for a year, said that experience was foremost in her mind: “I was also thinking of the kids in my classroom who came from really different kinds of backgrounds. I remember at the time being struck by how many came from families in which the parents were divorced or a lot of blended families. And this was just a pretty typical classroom in Connecticut.”

Princeton, New Jersey, where Martin grew up, was the inspiration for BSC’s Stoneybrook, Connecticut, and when it came time to create her characters, Martin drew on her own friendships: Mary Anne and Kristy were based on the author and her best friend Beth, respectively, when they were growing up.

“We started a number of clubs and they were all her idea,” Martin told The Washington Post in 1995. “They lasted for about two days, but it was like the old Judy Garland-Mickey Rooney movies: ‘Hey, let’s start a club.’ We’d meet in Beth’s bedroom, eat cookies, and then go home.”

Claudia, meanwhile, was named after Martin’s friend Claudia Werner. She also wrote her goddaughters into the books, who readers might remember as the Perkins girls, frequent charges of the BSC: “As adults, they tell me that it's a lot of fun for them to look back and read about the characters that were inspired by them,” Martin told Scholastic.

Martin spent a lot of time babysitting in her youth, but that wasn’t the only thing she used for inspiration: Her childhood desire to find a secret passageway in her house (which was designed and constructed by her parents just five years before they moved in) inspired The Ghost at Dawn’s House, while summer vacations on the Jersey Shore—and in Surf City, Avalon, Stone Harbor, and Cape May in particular—inspired Sea City, New Jersey, the fictional town where members of the BSC enjoyed summer adventures in Boy Crazy Stacey.

One thing Martin never used as inspiration: The thousands of ideas that were sent to her by fans, which all tended to be too dramatic for the series.

3. The Baby-sitters Club was intended to be a four-book miniseries.

The idea was that each book would focus on one of the four original characters—Kristy, Mary Anne, Claudia, and Stacey—and have a run of 30,000 copies. The first, Kristy’s Big Idea, debuted in August 1986 in bookstores and in book clubs; it quickly sold out of its initial run, then sold an additional 120,000 copies. The other books also did well—so well that Scholastic requested another two BSC novels with initial runs of 100,000 copies; starting with Mary Anne Saves the Day, the books were printed in runs of 250,000 (it would one day become the first children’s book to appear on the USA Today Bestseller List) and were soon being published at the rate of one a month.

The Baby-sitters Club was a hit, and it was no wonder it resonated with young girls: The books focused on issues and topics they would find relatable. Things like divorce, the death of a pet, sibling rivalry, disabilities, cancer, racism, eating disorders, learning disorders, the death of a friend, and sexism were all fair game. Drugs and sex were not, however. “I think these topics are a little heavy for younger readers,” Martin told TIME in 1991. (More mature issues like alcoholism and abusive relationships were explored in the Dawn-centric spin-off California Diaries.)

4. The Baby-sitters Club covers were painted by Hodges Soileau—and one featured Kirsten Dunst.

Hodges Soileau, who now teaches part-time at Ringling College of Art and Design in Sarasota, Florida, painted covers for more than 300 books in various genres, including beloved series like The Boxcar Children as well as Harlequin romance novels. For The Baby-sitters Club covers, he worked from photographs of models—one of whom was a young Kirsten Dunst on her very first job. “My first cover was a book in the Baby-sitters Club series, Claudia and the Phantom Phone Calls,” Dunst told Parade in 2008.

5. The handwritten portions of The Baby-sitters Club books were all created by one employee.

Each BSC book focuses on a different character and features handwritten passages—and though each may have looked as unique as the BSC member it belonged to, they all actually came from one hand: “The handwriting for the girls—all of them!—was done by one person in Scholastic's art department,” Martin said.

6. Originally, Martin wrote all of The Baby-sitters Club books herself.

When The Baby-sitters Club debuted, Martin was writing each of the books herself at the rate of one per month. She had a routine: Each morning she’d wake up early, then write longhand on yellow legal pads from 8 a.m. to 6 p.m. Soon, Scholastic added a spin-off series to her load: Baby-sitters Little Sisters, which she also had to write at the rate of one a month. And her workload continued to grow: In 1995, Martin told The Washington Post that “I’m responsible for 12 Baby-sitters Club books a year. Twelve Little Sisters books, six mysteries, and about four Ms. Coleman books [another BSC spin-off], and two or three other titles ... It totals over 30 books a year. I don’t even think Stephen King could do it.”

7. A multitude of Baby-sitters Club spin-offs eventually meant hiring ghostwriters.

When the workload became too great for Martin, she and Scholastic opted to hire ghostwriters—a small group of writers that Martin and her editors had worked with before, including Ellen Miles, Peter Lerangis, and Nola Thacker. “I almost didn’t have a choice, because there is no way I could have written all of those books myself,” Martin told CNN in 2014. “Each of the authors had to read all of the books in the series up to the point from which they would be writing so they would have the background.” (It’s easy to tell if a book has been ghostwritten: Look for an acknowledgments page that thanked the ghostwriter for “help in preparing this manuscript” or “help in writing this book.”)

But just because the books were ghostwritten doesn’t mean Martin had stepped away entirely: She outlined the plot for each book (“I am a huge outliner. I outline everything,” she told CNN) and edited them as they came in. “I really enjoyed it,” she said. “I had been an editor before I became a full-time writer, so this was like putting my editorial hat back on.”

8. There was a Baby-sitters Club bible

To keep consistency, the editorial team created a BSC “bible” full of details like each character's eye color, hobbies, and habits. The bible was overseen by David Levithan, then a 19-year-old intern who would go on to become Scholastic’s editorial director. “I was the guy on the subway not only reading BSC, I was reading it with a highlighter to keep track of who spoke French, who had green eyes, and so on,” he told The Atlantic.

The bible would go on to be published as a book of its own: The Complete Guide to the Baby-sitters Club.

9. The hardest Baby-sitters Club book for Martin to write was Claudia and the Sad Good-bye.

Claudia and the Sad Good-bye, which deals with the death of Claudia’s grandmother, was written shortly after Martin lost her own grandmother. “There was a lot of me in the book,” Martin told Life in 2002.

Claudia’s uber-fashionable outfits, incidentally, were sourced from clothing catalogs, magazines, and what kids were wearing on TV.

10. Reading about Stacey’s diabetes in The Baby-sitters Club helped some readers get diagnosed.

Martin, who gave Stacey diabetes after two of her friends were diagnosed with the condition, told Entertainment Weekly in 2012, “It never occurred to me that after I wrote this book [The Truth About Stacey] I would hear from so many readers who actually recognized the warning signs of diabetes and [got] diagnosed themselves based on Stacey’s story.”

The author’s descriptions of diabetes helped in other ways, too. As one commenter wrote on Martin’s Facebook page :

“I have to admit that a lot of what you wrote about Stacey's diabetes really helped me tremendously when I took Anatomy and Physiology recently. The descriptions you wrote about the disease were very accurate.”

11. When Stacey was written out of The Baby-sitters Club, fans freaked out.

In BCS #13, Good-bye, Stacey, Good-bye, Stacey heads back to New York City. “I thought it was reasonable that in a group of friends the size of the Baby-sitters Club, one member might move away at some point,” Martin told Entertainment Weekly. “Since Stacey hadn’t grown up in Stoneybrook, I thought it made sense that she might have to move back to New York City.”

But at that time, Stacey was BSC’s most popular character, and fans were not pleased: “BIG MISTAKE! Stacey’s huge fan base let it be known that they wanted her back in Stoneybrook asap!” Martin wrote on her Facebook page. Stacey had her homecoming in BSC #28, Welcome Back, Stacey!

12. John Green is a Baby-sitters Club fan.

Boys were BSC fans, too—including author John Green. He wrote in the September/October addition of The Horn Book Magazine that, when he was around 10, he started to hate the Hardy Boys—not the books, but the characters. “They were vapid and preppy and struck me as entirely too popular,” he wrote. “The Hardy boys were never lonely or inexplicably sad. They got scared sometimes, but only because the cave was dark. Every 10-year-old worth his or her salt knows that caves aren't nearly as terrifying as people.” But Green found what he was looking for in BSC:

“I found the Baby-sitters Club, and I was in love. I was in love with Stacey, of course, because she was awesome and cute and industrious and also vulnerable and prone to getting herself into the kind of trouble that one does not often find in caves. But I was also in love with the books. The BSC offered me characters whose conflicts were like my own, or at least relevant to my own: they experienced interpersonal conflict, and even internal conflict. If I may paraphrase Faulkner when talking about the Baby-sitters Club: for me, at least, Stacey's griefs grieved on universal bones.”

That devotion lasted into Green's college years. During a fight with a college girlfriend, Green retreated to her family’s guest room, where he found her old BSC books. “I spent an hour reading Claudia and the Sad Good-bye, and by the time I reached its end, I felt much better,” he wrote. “I was 19 years old. By then, I needed more from books than the BSC could provide—but what they could provide, I still needed.”

13. There was a Baby-sitters Club TV series on HBO.

When Scholastic wanted to create a BSC TV show, they first approached the networks, where the publisher hit an unexpected roadblock: No one thought a TV show aimed at girls would be successful. One network suggested making the show a cartoon, and others discussed adding more boy characters before giving the go-ahead, but Scholastic dismissed those options. Instead, the publisher created two straight-to-VHS specials themselves.

Finding young actors that matched the characters in the books was no easy task. “We saw 500 girls because we were looking for very specific physical characteristics,” Deborah Forte, then VP at Scholastic, told the Philadelphia Inquirer in 1992. “And they had to act, too.”

The videos were a surprise success: 1 million cassettes were sold for $12.95 each and based on that, HBO picked up the series: Thirteen half-hour episodes ran throughout 1991. The episodes later aired on the Disney Channel, and you can watch them today on Hulu.

14. There was also a Baby-sitters Club movie.

Just a few years later, Columbia Pictures released The Baby-sitters Club movie, which starred Schuyler Fisk as Kristy, Rachel Leigh Cook as Mary Anne, Larisa Oleynik as Dawn, and Bre Blair as Stacey. Scholastic co-produced the film and was involved heavily in the production. Jane Startz, executive vice president of Scholastic Productions, helped to hire a screenwriter, took part in script revisions, and hung out on set. “Scholastic wanted to make sure The Baby-sitters Club movie would have the same feel as the books,” director Melanie Mayron told the Los Angeles Times. “[Jane] was like a partner and I was grateful to have her … she’d point to [one of the characters] and say, ‘She wouldn’t do that.’”

Martin, too, worked on the film, helping to create the plot and weighing in on the script when necessary. “I was involved from the very beginning, talking to producers and working on the general idea for the plot,” she told Publisher’s Weekly in 1995. “I saw the script through its many, many stages. I’ve seen the movie twice now and am very pleased with it.” The movie, which had a budget of $6.5 million, made a little under $10 million domestically.

15. When Martin wrote a prequel in 2010, Scholastic reissued the first seven Baby-sitters Club books—with a few changes.

By 2009, all of the Baby-sitters Club titles were out of print. In 2010, Martin released a prequel to the events of BSC called The Summer Before. “It was fun to explore their lives in the prequel,” Martin told Amazon, “and to figure out what led the girls to form the Baby-sitters Club, something that would eventually change their lives. It was like a reunion with friends—friends who haven’t changed a bit.”

To celebrate the prequel, Scholastic released the first seven books in the series with new covers and important updates: References to outdated technology like Walkmans were removed; Stacey’s perm was replaced by an “expensive haircut.” But they didn’t go all out. “We felt if we set ourselves going down the road of cell phones it would have been crazy, so we didn’t do that, but we updated stuff about Stacey’s diabetes, and we got rid of stuff like VCRs,” Martin told Elle.

16. Martin has some ideas about where The Baby-sitters Club girls ended up.

Though The Baby-sitters Club is being reborn via Netflix, Martin is still often asked about what her characters are doing now, and though she doesn’t have any hard answers, she is willing to speculate. In 2010, she told The Washington Post in 2010 that Kristy is likely a politician or a CEO, while Mary Anne decided to become a teacher; Stacey works in fashion and business and Claudia in art (obviously). Jessi is a dancer, and Dawn is a permanent California girl—but Martin isn’t sure what Mallory would be up to. Maybe, she speculated, she would go on to write a series of books for children.