For me, when creating a new heroine for a romance novel, occupation is essential. First and foremost, she must have a career of some sort, because this ensures that she is determined, diligent, focused, goal-oriented, hard-working, imaginative, independent and intelligent… all qualities that I think are essential for a modern-day heroine in order that she can hold her own and be equal with the male hero.

But having established that my heroine must have a passion, a raison d’être, a vision for her future to which she is working, what career do I choose for her? The choice is based on the character herself – is she naïve or worldly, academic or dreamy, organised or chaotic? In all my heroines I select a career that embodies certain qualities that then reflect these aspects of the person herself.

In Burning Embers, my debut novel, Coral is a freelance photographer. I chose this career path because it shows her:

• creativity and imagination;
• appreciation of beauty in its rawest form, which connects her to the wild Kenyan setting of the book;
• independence in being freelance; and
• strength in forging a path in what at the time was a fairly male-dominated sphere.

In my new novel, The Echoes of Love, there’s a little more weight and seriousness to Venetia’s career path. She has been to university and qualified as an architect, and she is living in Venice so that she can work for her aunt’s architecture firm. But rather than shut my heroine away in an office and have her meticulously drawing building plans, I chose for her the specialism of mosaic and mural restoration. This conveys several aspects of Venetia’s personality, including her:

• appreciation and respect for culture and history;
• creativity and artistic flair;
• intelligence and keen mind;
• serious and thoughtfulness; and
• attention to detail and careful approach.

… all qualities that come through as her relationship with Paolo develops. Venetia has, perhaps, a tendency to overanalyse, and to temper her feelings with careful, analytical reasoning, which impedes her love for Paolo initially. Her rigorous academic training and her delicate workmanship are earning her a reputation as a restorer par excellence, and yet all the aspects of her personality that make her so good at her job are less desirable when it comes to romance. For Venetia, there will need to be a process of letting go, of trusting, of casting off the cloak of careful introspection and being less architect, more woman in love. But she already has what she needs to do so: the passion. And as French philosopher, art critic and writer put it in the 18th century, ‘Only passions, great passions, can elevate the soul to great things.’