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Both the town's permanent residents and the visiting vampires lead lives of quiet desperation and Alfredson and Lindqvist maintain a subtle balance between the two narrative strands.
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The reader may be inclined to draw another contrast between the two narratives.
It is now that parallels between the two narratives begin to emerge.
The differentiation between the two narratives is really good, and you see the effect that both characters have on each other.
Seeking release in research in a Norfolk graveyard, she encounters a 19th-century tombstone inscribed to an "amiable and beloved son", subtly underlining the constant, nagging connection between the two narratives: the terror that her own lost child, like his 200-year-old shadow, will also die young, still beloved though far from amiable.
In recent weeks, however, the intensity of the violence -- and thus the gap between the two narratives -- has increased considerably.
The hinge between the two narratives is the cataclysmic death of their mother, as well as one twin's acceptance into a prestigious art school.
Vanessa Curtis of The Scotsman admired the novel for its much more satisfying portrayal of Brooke than his biographies and called it "a seductive book, evocative and well paced, the tale split between Brooke and Nell, the two narrative voices strong, distinctive and consistent".
Another eloquently described the special pleasure of "rereading" the novel and discovering patterns of foreshadowing and connection between the three narrative strands that could not be visible on a first reading.
The two narratives beautifully complement and amplify each other.
Gradually, the two narratives become interdependent.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com