You won for best comedy writing at the Streamys for “Lizzie Bennet Diaries” and then your award category was basically announced before the show even began. How do you feel about that?
I mean, you know, let’s make something clear: nothing beats — winning beats losing, so winning is great. I mean, we’re used to writing and directing categories being announced with the main show, but I kind of understand it from the Dick Clark production point of view and so forth.
What was your favorite experience with the show?
I think, gosh, it’s either working with the people I got to work with and watching these great actors just elevate the material that we wrote and or interacting with the fans, seeing how much they loved it and watching them as they made GIFs and fanart and things. It is mind-blowing what they did and what they’ve done. Fan videos is just like — it’s wild. I actually had some of them compile a list of things, kind of like a “hot list of fan things,” and I thought it was just the tip of the iceberg that’s out there that the fans have done. It’s just really cool.
Now tell me, you can’t obviously continue “The Lizzie Bennet Diaries” per se, but you guys are now doing a mini series called “Welcome to Sanditon”?
“Sanditon” is a manuscript that Jane Austen was working on before she died, and so what we’re doing is, we’re sending one of our characters who actually fits the archetype of the lead character of that novel into that novel, and kind of replacing the main character with her. And as a miniseries we are using that to kind of appease the fans, keep the fans around before we launch the second novel which will be late summer, which is it looks like, I hope. I don’t see why not that should be plenty of time, but we do need the time to build it.
Now are we revealing which character is making that transition, or is that still a secret?
Oh it’s public. It’s Gigi, Darcy’s sister. It’s very public; she’s tweeted about it. The character tweeted about it and all that.
Since “Welcome to Sanditon” is an unfinished novel, are you guys going to be kind of completing that story with your own adaptation?
I think we’re having our own take on it. I would say our adaptation is very loose because what is there in the manuscript is very “here it is.” In context, there are 11 chapters in the manuscript and it is also it hasn’t been edited or polished or anything like that, ‘cause it’s a first draft and “Pride and Prejudice” was 60 chapters — 63 to be exact — so this was on one-fifth of the story, which is not even act one in a three-act story. And so there are things we are covering in terms of character interaction there, but we are very much making it our own story because you kind of have to like — there is no completed story there, and I don’t think we’re going to be running the whole book, like the whole grand story, “Lizzie Bennet size.” This is very much more of a mini-story, but that remains to be seen because we are kind of keeping it very open, like, “Lets start it and see where it goes and lets be prepared to make it a short one if it needs to be short or make it a long, ‘to be continued.’” We’re designing it to be a bridge series into the next novel.