Romeo and Juliet, Writing

A chat with Richard Armitage about Romeo & Juliet

Last October, when we were finalising the release of Romeo & Juliet: A NovelI was lucky enough to spend the best part of a day at the Audible HQ in Newark, New Jersey, alongside my formidable narrator/performer Richard Armitage. We recorded a long interview about the project, writing and performing.

You can now see it all and read a transcript here on Audible Range. I hope you find it enlightening about some of the many enjoyable challenges authors and actors face in projects like this. Unfortunately this happened the day after I flew out to New York and a sleepless night spent in the noisiest hotel in Murray Hill (last time you see me in the Shelburne that’s for sure). So I’m sure I am pretty inarticulate.

Richard, clean shaven for his role in Love, Love, Love, in which he managed to age from nineteen to his sixties, was as on the ball as ever. This is the last piece of supporting material we have to offer you from this unique project. Thanks for all the interest you’ve shown over the last few months — and particular thanks to Richard for lending his extraordinary talents to the finished version.


Deal Noir, March 25… an update

I’ll be on stage at Deal Noir in Kent on Saturday, March 25. This will be for a panel about British writers who use foreign settings. The panel will be moderated by Andy Lawrence and I’ll be joined by fellow authors Barbara Nadel, Quentin Bates, and Daniel Pembrey.

With any luck we’ll have advance copies of the next Pieter Vos book, Sleep Baby Sleep, available at the event though it’s not due for release until June 1. If you can make it to the lovely seaside town of Deal hope to see you there.


In search of Kopfkino: A few tips on how to write for audio

Romeo and Juliet: A Novel is the third project I’ve been involved with for Audible that was written specifically to be narrated or performed, not as a book.

Lots of people ask about the differences between writing for the page and writing for the ear. There are quite a few and I think they’re important. I also believe that writing for audio provides lots of lessons for the novelist too.

Audible kindly let me loose on their Range magazine today to talk about some of these issues. I hope this answers some of your questions… and thanks for all the kind feedback and great reviews for R&J since its launch three weeks ago.


The third Pieter Vos book wins ‘best translated thriller of 2016’ in Holland

I’m very flattered to say that the third Pieter Vos book, Little Sister in English, and Het derde zusje in Dutch, has just won the award for best translated thriller of 2016 from ThrillZone in the Netherlands. It’s never easy for a foreign writer to win over readers in a country he writes about so I’m deeply chuffed to say the least.

A million thanks to my wonderful translator in the Netherlands Gert van Santen and the great people at Boekerij who have always gone the extra mile to support my work. You’re all an author’s dream…

Oh and it was great to be in Rapsheet’s best of 2016 list for Little Sister too.

'Juliet's tomb', San Francesco al Corso
Audio, Romeo and Juliet

Some of the real history behind Romeo and Juliet

Most of Romeo and Juliet is fiction. But not all. Since I set the story very firmly in 1499 I was able to introduce a few touches of real history too, fragments of Italy which resonate with the story and are still with us today. Here are a few examples. The rest I’ll leave to others to discover. And to find what it means in the story itself go to Audible here.

The mythical, magical Ursula

Continue reading “Some of the real history behind Romeo and Juliet”

Audio, Romeo and Juliet

Time and Place: Verona and 1499

Arthur Brooke, author of the poem which Shakespeare used as the basis of Romeo and Juliet, follows his original Italian sources in stating that the story really happened. He ends his verse with the claim that the tomb of Juliet and her knight still stood in Verona and was much admired. This is pure fancy. There is no record of any family called Capulet in the city. One called Montecchi — perhaps an Italian Montague — did exist but they were expelled in 1229, long before anyone began to write about two star-cross’d lovers.

Juliet's so-called balcony. A great tourist attraction... but a fake
Juliet’s so-called balcony. A great tourist attraction… but a fake

Romeo and Juliet are fictional characters through and through. None of this stops millions of tourists visiting modern Verona to gawp at the famous house in via Capello — so called because it once belonged to the Da Capello family, the nearest anyone can get to ‘Capulet’. This building may date back as far as the 13th century but most of the features visible today date from a heavy restoration in the 1940s, including the much-photographed balcony which was probably a sarcophagus before the town council of Verona decided to stick it halfway up the wall. Quite a few visitors also make the trip to the former convent of San Francesco al Corso to pose for selfies by her supposed stone coffin, below, though in truth the place is much more interesting for its works of art than something that was once used as a simple water trough.

Does it matter? Not really. Stories are sometimes made as much by the imagination of audiences and readers as they are by that of a playwright or author. If enough people believe a myth to be true, is it really still a myth?

It’s impossible to separate the tale of Juliet and her Romeo from this ancient city in the Veneto. So I have set much of this narrative in places you can still see today since the historic centre, set behind its walls in a bend of the Adige river, is recognisably the Verona of five hundred years ago.

The Piazza Erbe today. Once a Roman forum, now a busy tourist market.

The social centre is where the first scene takes place — the market square, once the Roman forum, now the Piazza Erbe, where the servants of Montagues and Capulets are spoiling for a fight. There are still market stalls but mostly they’re for the tourists these days. But in and around the piazza you’ll still find plenty of interesting streets and palaces hidden away.

San Zeno, Verona
San Zeno, Verona

Another key location is the imposing basilica of San Zeno, one of Verona’s most impressive sights, a fifteen to twenty minute walk away from the Piazza Erbe. The embalmed corpse of the saint himself, which so appals Juliet, remains there sixteen centuries on from his death, visible in red robes in a glass casket in the crypt. Above the main doors is the famous rose window with its wheel of fortune characters around the circumference.


Sant’Anastasia, the Capulets’ parish church is little changed, though its most famous feature, the extraordinary Pisanello fresco of Saint George and the Princess with its hanged men in the background, above, has suffered over the years. Around the corner runs the low colonnaded street of Sottoriva where Romeo has his fateful meeting with Tybalt. Today this is a quiet place for restaurants and local shops. But in the period in which the story is set it was a rundown area of brothels and suspect taverns.

dark alley

Back towards the Piazza Erbe lie the central monumental buildings of the city, and the curious raised tombs of the Scaligeri clan where Romeo meets Mercutio and Benvolio before the Capulet banquet. The tombs are an odd corner in this monumental part of the old city, scarcely grand and now fenced off from the public. Next to them the little church of Santa Maria Antica is well worth a visit for its intimate interior and the relics of the family that once ruled Verona.



The statue of Cangrande above his sarcophagus over the church door, grinning on his horse, a dog’s head mask on his back, is a copy. The original you’ll find in his castle, the seat of Escalus in this version. As Mercutio notes, it’s unlikely Cangrande was smiling when he passed away in 1329 since rumour long had it he was poisoned by a relative. In 2004 a post mortem was carried out on his remains and it was discovered he died of digitalis poisoning, perhaps at the hands of his nephew.


Today the fortress is known as the ‘Castelvecchio’, the old castle. But to the players in this tale it wouldn’t be old at all, so in the story it’s called simply Cangrande’s castle. The red brick swallow-tail bridge over the Adige which Romeo rides across is a popular place for evening excursions and a very lively market at times.


The building itself has been converted into a museum and art gallery — the painting of the girl with her charcoal drawing of a stick figure seen in Juliet’s bedroom can be found there again after being recovered when a bunch of thieves stole some of the museum’s most admired canvases. The Roman arena, where the three youths meet after the banquet, is no longer a haunt for prostitutes and vagabonds but a tourist attraction used for operatic performances that attract music lovers from all over the world.

Arena Verona

Here’s a map to put it into a little context. Click on the icon in the right hand corner for the big version and you can walk the streets thanks to the magic of Google.


Shakespeare doesn’t state when his tale is set, though usually it is assumed to be in the early fourteenth century when Verona was still an independent city state. I’ve placed this version very deliberately in July 1499, a time when Italy was in a feverish mood of excitement due to what we now call the Renaissance. By that time Verona had become part of the Venetian empire.

The Borgia pope, Alexander VI, ruled in Rome
The Borgia pope, Alexander VI, ruled in Rome

For me Romeo and Juliet is very much a story about ambition and aspiration. The two lovers want to be free to be themselves. Juliet, in particular, is desperate to throw off the social shackles that mean a woman is a lesser citizen, a possession to be sold by her family in accordance with the social and religious mores of the day.

In 1499 Italy was divided into contentious, occasionally warring city states, not a country at all. Religion was a source of bitter and occasionally bloody argument. The Catholic Church under the Borgia Pope was headed for the split that was to form Protestantism, led by clerics who opposed the corruption and debauchery of Rome.

Count Paris is newly arrived from Florence which has just seen the brief rule of the Dominican friar Girolamo Savonarola, a forerunner of the Protestants, a hardline ascetic who controlled the city for a little while, and brought in the Bonfire of the Vanities, only to be burned at a stake himself when he fell. In the east the Islamic Ottoman empire was rising, threatening to invade Christian Europe and engaging in a running war with its nearest western neighbour, the Venetians.

Machiavelli was active in Florence, thinking about the ideas that would become The Prince

At the same time art and culture were flourishing. In Venice the printer Aldus Manutius had invented the technology to mass produce books cheaply, bringing reading and learning, something previously restricted to the few, to a wider audience. Michelangelo and Da Vinci were constantly crossing the borders between art, philosophy and science, while Machiavelli was plotting to set out the principles of his version of modern statecraft in The Prince.

A new century was just a few months away, with it the start of the second half of the millennium. It seemed an apt moment for a story about two young people who wish to shrug off the stifling world of their parents and explore the brave new one emerging around them.