It has been 15 years since viewers were first introduced to Mystic Falls, along with its vampires, love triangles, and teenage drama. Yet, The Vampire Diaries still holds a special place in the hearts of many fans.
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| Paul Wesley and Nina Dobrev in 'The Vampire Diaries' season one. Everett Collection |
The show premiered on The CW on September 10, 2009, and ran for eight seasons. Now, as we celebrate this milestone anniversary, showrunner Julie Plec reflects on the series she co-created with Kevin Williamson and how it launched a supernatural franchise.
Plec recalls wanting to "tell a really emotional story that was sexy and romantic and scary and all the things," while also crafting "something that felt timeless, that could live on and continue to resonate with any generation at any time."
To achieve that, Plec and Williamson knew they needed to assemble a strong team capable of delivering stories with "creative integrity" that were deeply emotional and highly entertaining.
They also needed the ideal cast, as building successful onscreen relationships is a "very complicated dance," Plec explains. This became especially true when viewers rooted for Damon [Ian Somerhalder] and Elena [Nina Dobrev] to end up together, even when Damon's character was made "worse, meaner, more murderous, and more despicable."
But much to their surprise, they ultimately transformed The Vampire Diaries into a full-fledged television universe, with two successful spin-offs — The Originals and Legacies — while also launching the careers of stars like Dobrev, Somerhalder, Paul Wesley, Kat Graham, Candice King, and more.
In the interview below with Reporter, Plec reflects on The Vampire Diaries 15 years later and her successful career in television. She also reveals her favorite episode, discusses casting challenges, navigating onscreen romances, the moment she realized the show was something special, and hints at the possibility of more Vampire Diaries stories in the future.
As you think back to 2009, just before The Vampire Diaries was set to premiere, what is the first thing that comes to mind?
Kevin constantly said we had a 50/50 chance of either riding the wave of the vampire craze or being the ones to drive the final nail in the coffin. At that time, there were Twilight and True Blood, and there's always a risk when you're chasing a cultural trend. It could either completely backfire or deliver exactly what everyone wants, and we had no clue if we would succeed or fail. Going into the show, we were proud of it and happy with how it was shaping up, but we had no idea how it would be received. It was equally thrilling and terrifying.
Looking back to the start, could you have predicted that the show would turn into what it became, or that it would lead to two successful spin-offs?
When we started, it was simply a straightforward adaptation of an old book series [The Vampire Diaries by L. J. Smith] that spoke to Kevin and me for different reasons. He was a huge fan of Dark Shadows growing up, and I had become a massive fan of Buffy the Vampire Slayer in the late '90s. Not to mention, we had both read Anne Rice and enjoyed all the great vampire books and movies. We were just excited to tell a deeply emotional story that was sexy, romantic, and scary.
Neither of us foresaw a franchise opportunity, but the Originals came along, and they were just so good. Conceptually, the idea of an original family of vampires — the origin story of the species in our world — combined with incredibly successful casting, especially Joseph Morgan, Daniel Gillies, and Claire Holt, opened the door to opportunities we hadn’t even imagined until it became clear it was the perfect direction.
It seems like it was a pleasant surprise.
Absolutely! The books mentioned the Originals but didn't flesh out a family dynamic. In writers' rooms, when introducing new characters, you constantly explore their emotional core, even if they’re villains, and figure out their powerful relationships. Kevin and I have always believed that villains are the heroes of their own stories, so we gave them the same deep desires and needs as our heroes.
This led to a rich opportunity to build a highly dysfunctional, thousand-year-old history of children who had suffered abuse, and how that bonded them while also causing them to perpetuate that abuse among themselves. The central question became: can this cycle be broken, or is it an eternal trap?
This theme was so distinct from The Vampire Diaries, which primarily dealt with grief, family, and loss, that it allowed us to explore an entirely new story without rehashing the original show. That’s always the risk when creating a second show — it can sometimes feel like you're just repeating the first one with a different cast.
We worked hard to avoid that and had many exciting discussions about how to make The Originals feel like a more Shakespearean version of what The Vampire Diaries had been.
How was it working alongside Kevin Williamson to help make the show such a success?
Collaborating with Kevin Williamson was truly exciting because his creative mind operates in ways no one can anticipate. He’s the kind of person who can come up with a plot twist that catches everyone off guard. I call his process the “story blender” – where all the writers throw their ideas in, and Kevin spins them into something no one else had thought of, yet it always ends up being the coolest or most surprising choice. Watching him work is like a masterclass in plot twists and storytelling.
There were moments when he’d pitch an idea, and I’d be left speechless, wondering how he came up with it. He once told me, “When everyone is looking in one direction, I try to figure out what no one else is seeing.” That’s a lesson I’ve carried with me and shared with all the writers throughout the years. Kevin’s influence is felt not only in the shows we worked on together but also in the careers of many writers who started with us and have now become creators and showrunners in their own right.
You were managing both The Vampire Diaries and The Originals at the same time for several years. How was that experience?
It was definitely a test of delegation and setting priorities (laughs). In the first few years of The Vampire Diaries, I was involved in every detail, thinking that if I wasn’t, everything would fall apart. While that attention to detail can lead to great television, it can also take a toll on your mental and physical well-being.
When The Originals came along, four years into The Vampire Diaries, I realized the importance of letting go and empowering others on my team. I trusted Caroline Dries to handle the day-to-day operations of The Vampire Diaries while Mike Narducci took charge of The Originals. This allowed me to stay connected to both shows without being overwhelmed.
It’s something I learned early on – you never leave the “mothership,” meaning you always keep a close eye on the original show because it’s the foundation of everything. If that crumbles, so does everything else.
One of the key figures who really stepped up was Brett Matthews, who joined The Vampire Diaries in season three. He became my “work husband” and was essential to the success of Legacies. Finding people who loved the shows as much as I did made it possible to expand the franchise into multiple series.
You’ve had a continuous run of shows since The Vampire Diaries premiered. What’s your take on that?
I feel incredibly proud to have maintained that streak for 15 years, and with We Were Liars coming out next year, I hope to keep it going. It’s rewarding to still be part of the industry and look forward to what’s next, rather than just reflecting on the past.
What was special about the Vampire Diaries era was how we all grew together. We started out as a new team in Atlanta, and over the eight years of the show, we saw crew members evolve from day players to key roles. Some went on to work on Marvel projects, and others became directors or producers. It was like going through high school and college together – those eight years built the most important relationships.
Continuing the franchise with The Originals and Legacies wasn’t just about keeping the story alive; it was also about sustaining that creative ecosystem we had built together. We wanted to keep the team working and growing, and that sense of family has been a powerful connection throughout the franchise's run.
You’ve been working in the supernatural genre for a long time with The Vampire Diaries, The Originals, and Legacies. However, your latest show The Girls on the Bus is a political drama. How did you manage the shift away from supernatural themes?
It was thrilling to work on The Girls on the Bus. Greg Berlanti, a longtime friend since college, called me out of the blue five or six years ago and said, “I have your next show.” He recommended Amy Chozick’s book Chasing Hillary, especially the chapter called “The Girl on the Bus.” Greg and I share a love for politics and shows like The West Wing and The American President, so it was the perfect fit.
I’m always drawn to stories about foundational families, so this hit all the right notes for me intellectually and emotionally. What made this project particularly exciting was that it wasn’t for broadcast, which gave us more creative freedom—no act breaks, no specific runtime constraints, and we could explore a lot more with the characters.
Even though the version I initially created didn’t make it to air, I had fun as the creator and showrunner for the first phase, and eventually executive producer for the rest of the process.
You’re working on a TV adaptation of We Were Liars. What excites you most about this project, and can you give fans any teasers? I know Candice King from Vampire Diaries is involved.
I’m beyond excited! I’ve loved We Were Liars since it was published in 2014 and have tried multiple times to get the rights. Carina Adly MacKenzie and I finally got the chance to make it into a show with Universal and Amazon.
Our goal is to create a beautiful, mysterious, romantic, and emotional coming-of-age love story. We’re filming the last episode of the season right now, and it feels great. Candice King is absolutely perfect for one of the roles, and it’s exciting to see her step into an adult role now that she’s grown up alongside us.
The Vampire Diaries propelled many actors into fame. When did you realize you had something special with that cast?
We had moments during the pilot where we saw how special the cast was—Nina Dobrev, Paul Wesley, and Ian Somerhalder each had their moments to shine. Nina and Paul had amazing chemistry, and Ian was just perfect as Damon. I kept waiting for that “big moment” of fame, but it all unfolded organically over the eight years we worked together.
The show’s popularity really grew over time, especially in the last five years, with new viewers discovering it on streaming platforms like Netflix. It’s surreal being recognized globally as the writer of a show—it’s a testament to how much of an impact The Vampire Diaries has made worldwide.
Do you remember other contenders for the roles of Elena, Damon, and Stefan?
The casting process was quite a rollercoaster. Nina came in sick for her first audition, and we almost overlooked her, but she fought for a second chance, and it was the perfect timing. Ian tanked his audition, but we couldn’t picture anyone else as Damon.
Paul Wesley also faced some doubt initially—we thought he was too old for Stefan—but after his first day on set, we knew we’d made the right choice. We had considered actors like Steven Strait, Sebastian Stan, and Taylor Kitsch, but we couldn’t have done a better job with the final cast.
Do you have a favorite memory from your time working on the show?
Two moments stand out. First, during the finale, we had emotional goodbyes to sets and characters, with speeches and reflections. It was a beautiful, weepy experience after eight years together.
The second is more social—there was a tiny bar with a big patio where the cast and crew would gather on Friday or Saturday nights, staying until the early hours of the morning. It became a beloved hangout spot for us, and it’s one of the things we miss most after the show ended.
What are you most proud of with The Vampire Diaries?
One of my greatest sources of pride is that 15 years after the show first aired, it’s still finding new viewers and being rewatched by old fans. Streaming services have played a big role in this lasting popularity. Despite the ups and downs of streaming today, I'm grateful for the show's success on both The CW and Netflix.
I'm particularly proud of the show's content. Marcos Siega, who directed the pilot, emphasized that we weren’t just making a TV show but creating a series of small movies. Kevin and I embraced this approach, aiming for cinematic and storytelling excellence throughout the series.
Many showrunners might accept that not every episode is a winner in a 22-episode season, but I always believed that was unacceptable. We worked tirelessly to ensure every episode was as good as the last. Even when we couldn't always achieve that, the deep engagement of the audience often allowed for some leniency.
I'm also proud of the careers we helped launch over the years. We gave first television writing jobs to Ashley Lyle and Bart Nickerson, who now shine with Yellowjackets, and Caroline Dries, who became a creator/showrunner. I’m pleased that our show served as a learning ground for many, as I made sure to share my knowledge with others.
Additionally, I'm proud that we managed to evoke strong emotions, including tears, which was a personal goal for me. Growing up in a family where emotional expression was limited, I used storytelling as an outlet for my own emotions, hoping others would find the same relief.
Rewatching the series always makes me cry, which reflects the emotional depth we aimed for.
One moment that stands out is when Kevin Williamson left at the start of season three. I was anxious about leading the show on my own. Mike Narducci’s episode, "The Reckoning," was a turning point for me, showing me that we could continue to create something exceptional. That episode, from writing to editing, remains one of my favorites.
How did you balance multiple onscreen couples without letting them overshadow each other?
Creating successful relationships on television involves a mix of math, chemistry, and fan reaction. I planned a long-term arc for Stefan and Caroline, aiming for them to end up together eventually, even if it took years. However, when Klaus was introduced, his chemistry with Caroline almost derailed this plan.
Balancing and adapting to fan reactions while managing ongoing storylines is complex. The fast-paced nature of broadcast TV allows for real-time audience feedback, which influences adjustments to the storyline.
The biggest challenge came with Damon and Elena. Despite our efforts to make Damon less sympathetic to deter fans, they continued to support the pairing. We had to navigate this fan-driven demand carefully, ensuring we didn’t give away too much too soon, which could have ended the show prematurely.
Are there any updates on the potential Vampire Diaries movie mentioned at a fan convention?
Paul Wesley and I recently discussed the idea of a Vampire Diaries movie after seeing the news about the Twilight animated show. We agree that there are many ways to keep the franchise alive. Leslie Morgenstein was talking about a Vampire Diaries movie as early as season two, so I’m sure it’s still being pursued.
We’ve explored various ways to revisit or reimagine the story, and I have my own ideas for a potential story. Whether or not these ideas will come to fruition remains to be seen.
Would you consider reuniting the original cast for another project?
The challenge with a vampire story is that characters don’t age, which complicates any sequel or prequel. Plus, many characters had already died by the end of the show. However, there are still ways to honor the original characters and explore new storylines.
Regardless of who takes on the next chapter, it will be a challenging but exciting task to build on the extensive history of the series.
What advice would you give to new viewers discovering the show?
We aimed to create a timeless series that resonates with any generation. I believe that’s why it still holds up today. However, I recognize that some aspects of the show may not align with current standards on issues like agency and inclusion.
Over the years, I’ve learned valuable lessons and adjusted my storytelling approach. Despite these changes, I’m proud that we aimed for creative integrity and emotional depth, and I think we succeeded in delivering that.
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