Joel Shepherd: I think my favourite Sandy scenes are the scenes with the three street kids she befriends, and comes to have maternal feelings for. Because she is a killing machine, and she's only just really coming to terms with that, and allowing herself to be herself without guilt... and then gets thrown for a loop when three kids who she should have ignored for the sake of the mission, begin to mean even more to her than the mission itself. I like to give Sandy difficult dilemmas that she can't solve with a bullet, and this plays the two opposing sides of her nature against each other--the lethal one, and the nurturing one. I probably enjoy writing those internal character conflicts even more than action scenes.

Joel Shepherd: I usually only listen to music if my writing environment is noisy, or sometimes if I'm stuck and need a boost. Sometimes music can kick the brain into gear, but it can't be too distracting -so nothing with intrusive lyrics, because then my brain starts listening to the words.   Instrumental music can fade into the background, and make a nice ambiance. A lot of Sandy's action scenes have been written to any album by Tool. There have also been quite a few Hans Zimmer soundtracks (Inception, Last Samurai), and classical/prog-rock fusion band Sky. And lately, some Tanushan, urban city scenes work quite well with random Trance tracks downloaded on Youtube--my latest favourite is Moonsouls--"In Your Heart."