The Writer's Cut: A Novel;

A manic satirical ride through the booze and sex-fuelled world of Tinseltown from one of the world's most-loved comedians - Monty Python legend Eric Idle.

Set during the glorious days of the Bush Empire before they finally invaded and killed irony, The Writer’s Cut follows Stanley Hay, a joke writer. He has a girlfriend, a writing partner and a career going nowhere in particular. Wisecracking, ambitious and horny, Stanley decides that he is going to change that by writing a novel. This is where things start to spiral out of control.

Caught up in the excitement Stanley falsely confesses that the novel will be a kiss-and-tell (a kiss and sell?) featuring Hollywood’s most famous and glamorous actresses. Before long expectations are going through the roof, Stanley is a celebrity in his own right and he's living the LA highlife.

There's only one little problem...

'I have, for a long time, admired Eric Idle for his valiant efforts to escape gainful employment. I congratulate him on this latest explosion of Idleness. I am reliably informed that it is quite good in parts.' Billy Connolly

Eric Idle is a comedian, actor, author, singer, playwright, and songwriter. Co-creator of Monty Python on TV, stage and films, including The Holy Grail, which later he adapted for the stage as Spamalot. Creator of The Rutles, he starred as Ko-Ko in the English National Opera version of The Mikado, has appeared in The Pirates of Penzance and wrote and performed the comic oratorio Not The Messiah, He’s a Very Naughty Boy. His musical play What About Dick? co-stars Eddie Izzard, Russell Brand, Billy Connolly and Tracey Ullman. Eric has written two novels, Hello Sailor and The Road to Mars, and appeared in several movies, including Nuns On the Run, Shrek The Third, and The Adventures of Baron Munchhausen. Last year he wrote and directed the final Monty Python reunion show One Down, Five To Go at London’s O2.

Praise for Eric Idle

'I laughed, I cried, and then I read the book.' Steve Martin
'Filled with intelligent observations about comedy and comedians, and enough one-liners to keep a funnyman in gigs past Pluto.' The New York Times
'Dazzling … the language, the jokes, the problems and foibles of his characters are purely of our time.' Los Angeles Times