When I began writing Juliet’s Story, Book 2 of The Voyagers trilogy, I thought deeply about the kind of woman I wanted as my heroine: age, physical appearance, personality, talents, flaws, fears, family, job or career…everything that makes a person who he or she is.
So that people wouldn’t say, ‘Oh, I see you’ve modelled Juliet on yourself’ (I hate that), I made her taller than me, with very dark hair (I’m fair) and twenty years younger (I wish!). But I couldn’t resist giving her a similar career background. If I hit it right, Juliet’s career would define her in so many interesting ways which I could use as major plotting devices in the story.
My own background is in the property world. I started an estate agency in 1988 and expanded it and ran it for 17 years, then sold (unfortunately to two conmen), so I could write fiction. Instead, I found myself writing Seller Beware: How Not To Sell Your Business before I could tackle a novel.
Having your own business is fraught with problems, long hours and staff issues, and Juliet’s is no exception. She sells other people’s businesses at Reece & Co. She’s been running it for nine years and has neglected herself in the meantime: she’s a bit overweight, smokes (she gives up early on in the novel), is a poor sleeper, a non-going gym member, doesn’t take proper holidays…she’s in a much worse state than I used to be, but you get my drift.
Juliet has worked hard in her business to prove to her parents she can be successful at something. Her sister and brother are more intellectual and have brilliant careers, while Juliet feels inadequate. She married Gerrard, ten years older and a stuffy lawyer, not because she truly loved him but because her parents approved. She finally takes charge, and when the story opens she is recently divorced, but exhausted by the demands of the business. She longs to go to Australia to follow in her grandparents’ footsteps (see Annie’s Story, Book 1 of The Voyagers trilogy). But there’s another powerful reason for wanting to be there. Though how can she leave her business, not to mention her ailing father?
Like Juliet, I might have been tempted to take off to Australia for a few months given the opportunity, but it would have been an equally terrifying decision to put my business in someone else’s hands, as well as leaving an agoraphobic mother. However, unlike Juliet, I have a sister living in the same village who would keep an eye on Mum, and so I was able to take proper holidays without too much worry.
When you throw problems and miseries at your hero and heroine to reflect or exceed those in real life, you are the master of their fate. But working out how your characters get out of their multiple difficulties can often solve some of your own problems. Is the brain even more perceptive than we realise?
Do other writers feel the same? I’d love to know.
Juliet’s Story will be published on 25 January 2016.
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