The Inspiration Behind The Most Beautiful Woman in Florence

Perhaps the question that authors get asked the most is, “How did you come up with the idea for this book?” Inspiration comes in all kinds of ways – for instance, the idea for The Violinist of Venice came to me in a dream, out of the blue. With The Most Beautiful Woman in Florence, though, the process was rather different and more gradual.

I can’t remember for certain, but I believe it was when I went to Italy the first time – when I was researching The Violinist of Venice – that I first heard of Simonetta Vespucci, as I also went to Florence on that same trip as well. All I had, initially, were scraps of information (and as I would find when researching the novel, there wasn’t much more than scraps to be had): that she was supposed to be the woman in Botticelli’s painting The Birth of Venus, and that she had also supposedly been the mistress of Giuliano de’ Medici. I filed this away as a potential novel idea – something about her relationship with both Botticelli and Giuliano. When I got back from Italy, I found the idea had stuck with me, and so I poked around online and in the library to try to find out more about her.

One of the first things I found in my preliminary Google searching was that Botticelli had been so in love with Simonetta that he had asked to be buried at her feet when he died – AND HE ACTUALLY WAS. This COMPLETELY changed the novel idea that I thought I had. I no longer really cared about exploring whatever relationship Simonetta may have had with Giuliano (and the historical record is not certain on that score) and was instead interested in exploring the possible relationship that may have existed between her and Botticelli. Did not the fact that he was buried at her feet suggest more than a simple-artist muse relationship?

I certainly thought so, and still do think so, though we will never know the truth of their relationship for sure. What I did know was that this would make a stellar story, and was the perfect premise for a historical novel that I wanted to write. Yet with all that said, at this time I was working on my final revision for The Violinist of Venice before I was ready to start querying, and so I was in no position to start a new novel just yet. Even after Violinist was being queried and was later on submission with publishing houses I didn’t start writing my Renaissance Florence story, though I was playing around with some other ideas. For whatever reason, it just didn’t feel like the time was right. I also knew that I would want to go back to Florence to do some further research for it, so the timing would need to be right for that too, both personally and financially.

What I did do almost immediately, though, was write the last two lines of the book. I typed them out in a note on my phone, which I still have. They’re maybe my favorite lines in the book, and they have not changed through all the rounds of revisions since. I would share them here with you, but that would give away the ending 🙂 So you’ll just have to read the book when it comes out to see them!

Then Violinist sold, and not only that, but I was offered a two-book deal with St. Martin’s, which I obviously accepted. As I talked about at the time in my post on second-book syndrome, this sent me into a bit of a panic. What to write next? What could I write next that my publisher would love as much as Violinist? And hey, what about the fact that I had been (partially) paid for a book I hadn’t written yet?

At first, I had no idea what I wanted to do for my second book. None of the ideas I’d been playing around with while Violinist were on submission were really grabbing me; they just didn’t feel developed enough yet to be my next published book. So I dug out my idea about Simonetta and Sandro and thought, hmmm, maybe this is the time for this idea. I wrote some initial pages that seemed to go well and shared them with my agent, who liked what I had done. I had a phone call with my editor, where I described a basic outline of the idea, and she gave her blessing.

There was lots of struggle in writing The Most Beautiful Woman in Florence, which you can read about here and here and also here. But I pushed through it, and as a result have a book that I’m perhaps even more proud of. As I mentioned above, researching the book was rather frustrating at times because we have only the barest facts about Simonetta’s life, and even a few of those are in dispute or uncertain. Yet this also gave me a lot of freedom as a fiction writer: I took those few facts and built a framework on which I could speculate and write scenes of my own invention. And I did get to go back to Florence for research, and saw a lot of the locations where the story takes place, and also the artwork that figures into it (I actually added even MORE artwork into it after visiting Florence again).

Aside from all the second-book syndrome stuff, in hindsight, what I now realize is that when I initially started drafting The Most Beautiful Woman in Florence, I had a good story, but I wasn’t hearing Simonetta’s voice yet. I realized the exact moment when her voice finally broke through, when I finally began to hear it and felt like I really knew her as a character, and then it became much easier.

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