I am a visual writer, and building out worlds in which I can actually envision each character as they evolve is key to me being able to summon the emotions necessary to write them into existence.
The Sibylline Chronicles is written as a parallel narrative – moving between the end of the fourth-beginning of the fifth century A.D. and 2015.
So, with two separate timelines came two separate character worlds – both led by brilliant, fierce, ruthless women who valued power and control above all else – despite the altruistic roots of that value.
The women of the modern-day timeline became warriors by circumstance. Professors, doctors, human rights activists and scientists, they found themselves thrown into the midst of civil war, protecting a long-forgotten secret. Kasey Mackenzie is dropped into their lives and the war zones of the Middle East where she quickly learns their allegiances.
In 370 A.D., three children are born. Three daughters of the line. 500 years of bloodline manipulation, marriage contracts and service to The Protectorate. One must live to rise as the new prophet and the cloistered society of the Sorores – more powerful than any king – ruthlessly protected them.
They are the last of a great line. The Sorores, the warriors of the Sibylline.
Mapping out the visual power of these women brought with it something totally unexpected – rumblings of stories untold, the kind that linger for a thousand lifetimes locked away until one day someone opens the vault and they come tumbling out.
These bad-ass women unlocked that vault for me.
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