After many years writing tv scripts it was particularly liberating to work on my first novel. At last I could include any crazy thing that popped into my head – providing it made at least a tiny bit of sense – and no production people would yell at me. (“That can’t be animated! There are too many characters/scenes/locations/props! It’s impossible!”) And since it was a fantasy story, the sky really was the limit. All of which explains how Eldritch Manor ended up featuring an unruly mob of characters, an extremely busy plot, and magical marvels at every turn.
Fast forward six or seven years to last summer, as I struggled to distill Eldritch down for the stage, cursing myself all the way for cramming so much into that book. Hoist on my own petard, as they say.
The process began when Adina Hildebrandt, local independent bookstore big-wig and theatre school impresario, uttered the fateful words “You should turn this into a play!” I thought she was just being polite. Every time she said it for the next couple of years I thought she was just being polite. Sometime in the third year I began to think she might actually be serious.
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