Often, the biggest dilemma for a writer isn’t actually coming up with what the story is about, but deciding how to tell it. I’d been wanting to write a split-narrative book for a couple of years but the format didn’t particularly lend itself to the plots I had in my head at the time and when I set out to write this book, I still didn’t think I could tell a ‘past and present’ story – I initially thought it would have a four-way perspective, but I found myself so drawn in by Elena and her extraordinary life that I didn’t want to lose pages to other characters when I could focus on her.
I had read widely on the pre-eminent socialites of her age – Marella Agnelli, Lee Radziwill and Gloria Vanderbilt, among others – and even though they were all from different backgrounds and cultures (although all born into money), I was struck by the parallels in their interests, concerns, tone and social circles, and wrote lists identifying the overlaps. By the time I’d finished reading, Elena was fully-fleshed in my mind; so when I found myself at a dinner party talking to a friend who’s an identical twin, I hit upon the one thing that her money could not buy, and knew I had my ‘past/present’ story at last.
I travelled to Rome for a glorious research recce – any excuse! – with the express intention of finding the palazzo and piazza that were in my head. I knew what I needed logistically speaking – an enormous palazzo fronting onto a principal square, with a smaller one off to the side – but even though I walked and walked and walked, I actually couldn’t find exactly what I wanted, so I’m afraid the Palazzo Damiani, Piazza Angelica and Piazzetta Palombella are fictitious. However, if you’re interested in the real-life elements, the bakery ‘next door’ is based upon the wonderfully old-world Biscottificio Innocenti in Trastevere and the front of Cesca’s apartment, with the steps and flowers, is inspired by the lovely little house just up the road from that (you can’t miss it). Piazza Angelica is very loosely based on Piazza Navona, but given that I stole the flower and food market from Campo de’ Fiori and plonked it in there, it’s hardly a literal representation; more an indicator of set-up and scale. I read up on various palaces in Rome but it was the Doria Pamphilj that really caught my attention – this is the palace with the papal throne facing the wall, and which has 1,000 rooms. It’s open to the public if you are ever in the city and interested in visiting. And the ice cream store where the four characters sit outside on Vespas is based on Giolitti in Via del Vicario, near the Pantheon.
So: for this story I researched top-flight socialites and Roman palaces, the Black Nobility and speleology, and just how cunning identical twins can be (thanks Justin and Nuala!). I had a super time and writing this book was a joy, but the fact that it’s sitting in your hands right now doesn’t just come down to my input. There are so many other people who have helped get this story to you, principally my super-agent Amanda Preston, who always knows within two sentences whether or not an idea’s a book, and my unflappable editor Caroline Hogg, who gets briefs from me on everything from romantic astronauts to bad-tempered speleologists and never gets spooked!
There’s such a huge operation in full swing behind the scenes and I owe a debt of thanks and gratitude to Jeremy Trevathan, Wayne Brookes, James Annal, Katie James, Jonathan Atkins, Stuart Dwyer, Daniel Jenkins, Anna Bond, Alex Saunders, Amy Lines, Phoebe Taylor, Claire Gatzen; and particularly my copy-editor, Kate Moore, and proofreaders, Camilla Rockwood and Mary Chamberlain, who I think probably have the trickiest jobs of all – making me make sense!
And of course, nothing would ever get written if it weren’t for my gorgeous family coming to find me in the study when I go MIA under deadline. They bring me chocolate, tea and champagne (sometimes all at once) – but all I will ever need is them.