Podcast appearances and mentions of Booker Prize

Douglas Stuart is one of the most successful writers in Britain today. He is celebrated globally for his honest portrayals of human relationships and working-class life. In 2020 he won the Booker Prize for his debut novel Shuggie Bain, a searingly honest novel set in 1980s Glasgow about a boy named Shuggie trying to save his mother, Agnes, from alcoholism and poverty.  His second novel Young Mungo, a story of the dangerous first love of two young men, was released in 2022 and became a number one Sunday Times Bestseller.  In May 2026, Stuart joined us live in London for an evening on identity, resilience, and the themes of his new novel John of John.  In John of John, Stuart returns to the themes of class, family, masculinity, and sexuality. It is the story of John-Calum Macleod, who returns to his childhood home on the island of Harris. Out of money and with little to show for his art school education, he sinks back into his old life, caught between the two poles of his childhood: his father John, a sheep farmer, weaver, and pillar of their local Presbyterian church, and his Glaswegian grandmother Ella, who has kept a faltering peace with her son-in-law for decades. --- If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events ... Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Douglas Stuart is one of the most successful writers in Britain today. He is celebrated globally for his honest portrayals of human relationships and working-class life. In 2020 he won the Booker Prize for his debut novel Shuggie Bain, a searingly honest novel set in 1980s Glasgow about a boy named Shuggie trying to save his mother, Agnes, from alcoholism and poverty. His second novel Young Mungo, a story of the dangerous first love of two young men, was released in 2022 and became a number one Sunday Times Bestseller. In May 2026, Stuart joined us live in London for an evening on identity, resilience, and the themes of his new novel John of John. In John of John, Stuart returns to the themes of class, family, masculinity, and sexuality. It is the story of John-Calum Macleod, who returns to his childhood home on the island of Harris. Out of money and with little to show for his art school education, he sinks back into his old life, caught between the two poles of his childhood: his father John, a sheep farmer, weaver, and pillar of their local Presbyterian church, and his Glaswegian grandmother Ella, who has kept a faltering peace with her son-in-law for decades. --- This is the first instalment of a two-part episode. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happy blue moon, everyone!   Yes, it is indeed the second full moon of the month which brings us a second May chapter of 3 Books.   This one features an author I've been hoping to have on our show for years.    Join me in welcoming the Booker Prize–winning novelist, deeply philosophical storyteller, and one of Canada's most distinctive literary voices ... Mr. Yann Martel!    Yann is best known for 'Life of Pi', the global phenomenon that won The Booker Prize in 2002, sold over 15 million copies worldwide, and was later adapted into an Academy Award–winning film.   Born in Salamanca, Spain in 1963, Yann spent his childhood in Spain, Portugal, Alaska, Costa Rica, Mexico, and Canada.    Yann's work is deeply shaped by a pulsing curiosity, philosophy, and research. He journeyed through India while developing 'Life of Pi', visited Holocaust memorial sites while writing 'Beatrice and Virgil', and even launched a "guerilla book club" called '101 Letters to a Prime Minister', where he mailed books to former Prime Minister Stephen Harper every two weeks for four years.    Yann's newest novel, 'Son of Nobody', is a (new!) ancient retelling of the Trojan War told through the modern lens of a Canadian researcher who discovers this poem while exploring themes of homesickness, regret, ambition, love, and grief.   Tune in as we discuss Yann's writing routines, the importance of stories, AI in the world of publishing, racism in Australia, art as a co-creation between writer and reader, the beauty of the prairies, and of course, Yann Martel's most formative books...    Let's flip the page to Chapter 161 now...

A glamorous life and career in New York's fashion industry was everything Douglas Stuart worked for. So why did he walk away from it all? And how did he go from fashion designer to Booker Prize winning author? Douglas's first two novels, Shuggie Bain and Young Mungo, were critically acclaimed hits. He continues the streak with John of John, a moving novel about a young man returning home to a remote Scottish island steeped in religion and tradition. It's one of the hottest books of spring and an Oprah's Book Club pick. This week, Douglas joins Mattea Roach to talk about his major career change, diving into Hebridean culture and drawing on his own upbringing for the novel. Liked this conversation? Keep listening:For Jeanette Winterson, stories are essential to survival Why you can't forget your first love Check us out on Instagram @cbcbooks and TikTok @cbcbooks

Biesinger, Gabi www.deutschlandfunk.de, Kultur heute

When Douglas Stuart won the Booker Prize with his debut, Shuggie Bain, it announced the arrival of a distinctive new voice in fiction. Now, after two novels set in his native Glasgow, his third takes us to the Isle of Harris for another close study of family dynamics, repressed emotion and the irrepressible urge towards self-expression. We sat down to speak with him about this change of location and the impact of its rurality, what he learned from his encounters with the local community and more about his own journey from a childhood with no books, to a life now filled with their riches.

Rachel Naylor visits the Booker Prize-winning author Thomas Keneally in his home in Sydney, Australia, to see how he writes his latest book. He gives Rachel a tour of his neighbourhood Manly, a seaside suburb in the Northern Beaches, famous for its ferry, surfing and his beloved Sea Eagles, the rugby league team. Rachel accompanies Thomas, known for writing Schindler's List, on his daily walk around North Head, in Sydney Harbour National Park, taking in the breathtaking views, navigating the swamp and avoiding the spiders. Thomas, who has written more than 50 books, shows Rachel round his library and they discuss ageing, feeling adrift and his first rejection. As he contemplates retirement, he also talks about his recent ill health and how he wants to write the best book written by someone aged over 90. This episode of The Documentary, comes to you from In the Studio, exploring the processes of the world's most creative people.

Webber, Anna www.deutschlandfunkkultur.de, Fazit

One of Ireland's best loved writers, Roddy Doyle is in NZ for the Auckland Writer's Festival. He pops into the studio to speak with Susie ahead of his first appearance this afternoon. From his breakthrough novel The Commitments, which was adapted into a major film, to his Booker Prize-winning Paddy Clarke Ha Ha Ha, Roddy brings working class Ireland to life. Last year he crossed over from Booker Prize winner to Chair of the Booker Prize Judges. His latest book is Life Without Children.

Like the main character in his Booker Prize-winning novel 'Shuggie Bain,' writer Douglas Stuart grew up in Glasgow, working class, queer, and with a mother addicted to alcohol. His first career was in fashion, designing underwear for Calvin Klein. “Sometimes when I'm in an audience now and I feel a little nervous, I have a joke to myself and think, how many people in this audience have worn the underwear that you designed?” He spoke with Terry Gross about his new novel, ‘John of John.'Later, Richard Gadd, creator and star of the Netflix show ‘Baby Reindeer' talks with Tonya Mosley about his new series, ‘Half Man.' It's about two boys who become brothers when their mothers fall in love. They spend the next 30 years trying to survive each other.David Bianculli reviews the latest adaptation of ‘Lord of the Flies.'See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Like the main character in his Booker Prize-winning novel 'Shuggie Bain,' writer Douglas Stuart grew up in Glasgow, working class, queer, and with a mother addicted to alcohol. His first career was in fashion, designing underwear for Calvin Klein. “Sometimes when I'm in an audience now and I feel a little nervous, I have a joke to myself and think, how many people in this audience have worn the underwear that you designed?” He spoke with Terry Gross about his new novel, ‘John of John.'Later, Richard Gadd, creator and star of the Netflix show ‘Baby Reindeer' talks with Tonya Mosley about his new series, ‘Half Man.' It's about two boys who become brothers when their mothers fall in love. They spend the next 30 years trying to survive each other.David Bianculli reviews the latest adaptation of ‘Lord of the Flies.'See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Sarah Jessica Parker discusses being a book publisher, a reader, a Booker Prize judge, and how she knew she had to publish The Radiant Dark while SJPLit author Alexandra Oliva takes us behind the scenes of her new novel in a special episode of Poured Over taped at the Los Angeles Times Festival of Books at USC with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): The Radiant Dark by Alexandra Oliva The Remains of the Day by Kazuo Ishiguro Milkman by Anna Burns A Place for Us Fatima Farheen Mirza I Am You by Victoria Redel Flesh by David Szalay The Loneliness of Sonia and Sunny by Kiran Desai Flashlight by Susan Choi The Rest of Our Lives by Ben Markovits Universality by Natasha Brown Audition by Katie Kitamura  

Megan Boxall is a 33-year-old runner who has been running clockwise around the coast of Britain, aiming to complete the equivalent of 200 marathons in 204 days. She began at Sizewell Beach in Suffolk in October and is now just one day away from that same point, having circumvented the whole island. Megan joins Anita Rani to talk about how she is feeling so near to completion.Violent sexual content in the mainstream is reshaping society, according to Clare McGlynn, a Professor of Law at Durham University, whose first book, Exposed, was published yesterday. In Clare's view, the problem isn't porn per se – it's patriarchal porn; Pornographic content that was once niche and difficult to find – including incest, racism and rape - has been normalised and is widely consumed. Clare joins Anita to discuss the harms of extreme pornography.The prevalence of chronic pain is higher among women than men, but for millions of people living with it, the hardest part can be the sense that it is taking over their life. New research from University of Warwick shows how ‘mental defeat' drives suffering and causes people with chronic pain to withdraw from everyday activities. Anita speaks to Professor Nicole Tang, lead researcher and Fiona, a former nurse who has lived with chronic pain for over 30 years.Samantha Harvey, winner of the 2024 Booker Prize with novel Orbital, has adapted Barbara Pym's 1977 book - Quartet in Autumn - for the stage. This is Harvey's debut play and it opened last night at the Arcola Theatre in London. Samantha talks to Anita about what drew her to choose Pym's book, about four lonely 60-something office workers.Presenter: Anita Rani Producer: Rebecca Myatt

Host Jason Blitman talks to Pulitzer Prize-winner Elizabeth Strout about her latest novel, The Things We Never Say. Conversation highlights include:

A young Hungarian man simply flows with the random events that shape his life for him. This profound feeling of detachment guides the main character of the novel Flesh. Author David Szalay won the 2025 Booker Prize for his work. It stood out so far from the other entries that judges of the Prize said they never read anything quite like it. WSHU's Culture Critic Joan Baum read it, and she agrees.

Many a male Amis reader owes his smoking habit to the author.The novelist Kevin Power is one who thought he'd quit for good, until he spotted Amis and Isabel Fonseca walking on the grounds of Ireland's prestigious Borris House Festival of Writing and Ideas.Peeling off from his friends, Power sidled up and asked Amis for a lighter. Amis obliged and handed Power a thumb-sized Bic, shortly after which Power became aware that the success of this move had emboldened his cohort to form a crowd around a once discreet scene.The opportunity to speak to Amis one-on-one came again later that weekend, but as Kevin explains on the episode, he has always thought of Amis both as "a prose presence" and "a friend" to the reader, and as such, there is little more one can hope to gain from having met Amis than is permenantly there for them in his writing.Amis is unique among novelists in this sense. Even when you listen to his interviews, what you often hear are lines Amis had committed to print somewhere for posterity. Everything he ever wanted to tell us, he told us.This episode deals with Power's chosen novel, Time's Arrow, which was short-listed for the 1991 Booker Prize, and which Power says uses Amis's "full suite of talents" to portray the atrocities of Auschwitz in reverse, both to darkly comic and deeply moving effect. Frequently overlooked in favour of Amis's trifecta of thick London novels, the slender Time's Arrow is nonetheless one of Amis's most mysterious and morally complex achievements.FOLLOW US ON X: @mymartinamisYOUTUBE: @mymartinamispod Hosted on Acast. See acast.com/privacy for more information.

Douglas Stuart won the coveted Booker Prize in 2020 for his debut novel, "Shuggie Bain," about a boy in 1980s working-class Glasgow caring for his mother as she struggled with alcoholism. Geoff Bennett spoke to Stuart about his latest book, "John of John," which follows a young man as he returns to his home in the islands off the coast of Scotland. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Douglas Stuart won the 2020 Booker Prize for his debut novel "Shuggie Bain," about a boy in 1980s Glasgow caring for his mother struggling with alcoholism. His latest novel "John of John," out today, follows a young man returning to his hometown on a rural Scottish island and grappling with his identity, religion and father. Geoff Bennett spoke with Stuart for our "Settle In" podcast. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Douglas Stuart won the coveted Booker Prize in 2020 for his debut novel, "Shuggie Bain," about a boy in 1980s working-class Glasgow caring for his mother as she struggled with alcoholism. Geoff Bennett spoke to Stuart about his latest book, "John of John," which follows a young man as he returns to his home in the islands off the coast of Scotland. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

In the 200th episode of Gays Reading, host Jason Blitman talks to Booker Prize-winning novelist, Douglas Stuart (Shuggie Bain, Young Mungo) about his latest book, John of John. Conversation highlights include:

Douglas Stuart won the coveted Booker Prize in 2020 for his debut novel, "Shuggie Bain," about a boy in 1980s working-class Glasgow caring for his mother as she struggled with alcoholism. Geoff Bennett spoke to Stuart about his latest book, "John of John," which follows a young man as he returns to his home in the islands off the coast of Scotland. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Douglas Stuart won the 2020 Booker Prize for his debut novel "Shuggie Bain," about a boy in 1980s Glasgow caring for his mother struggling with alcoholism. His latest novel "John of John," out today, follows a young man returning to his hometown on a rural Scottish island and grappling with his identity, religion and father. Geoff Bennett spoke with Stuart for our "Settle In" podcast. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Douglas Stuart won the coveted Booker Prize in 2020 for his debut novel, "Shuggie Bain," about a boy in 1980s working-class Glasgow caring for his mother as she struggled with alcoholism. Geoff Bennett spoke to Stuart about his latest book, "John of John," which follows a young man as he returns to his home in the islands off the coast of Scotland. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Like a number of his characters, Booker Prize-winning novelist Douglas Stuart grew up working class and queer in Glasgow. He went on to have a career in fashion, which plays into his latest novel, John of John. “It's hard to tell people about grief. It's hard to talk to people about poverty... and so I'd got very used to the silence in my own life, and my writing is the only thing that allows me to connect with myself,” Stuart told Terry Gross. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

This week my guest is John Glynn, author of the brand new novel (out May 12) “The Lost Book of Lancelot,” a queer retelling of the legend of Camelot that's a great fit for fans of Heated Rivalry and for anyone interested in the legends surrounding the quest for the Holy Grail. Plus, dragons!John's nonfiction debut “Out East: Memoir of a Montauk Summer” was named a best book by Time, Entertainment Weekly, and Cosmopolitan. His writing has appeared in People, Oprah Daily and The Daily Beast.In addition to being an author and freelance writer, John is the editorial director of Hanover Square Press, an imprint of HarperCollins. As an editor, his authors have won the Booker Prize, the Pulitzer, the National Book Award, Grammys, and an Olympic gold medal.We covered:- Formative memories of being read to by his mom when he was little- His early start in publishing as an intern and editorial assistant, and the glamour of going to work everyday in Rockefeller Center for a kid from Western Massachusetts (even though he was photocopying and answering phones)- The two novels he wrote that didn't get published- How working as an editor on other people's books and writing his own books inform each other- How he makes time to write while working a fulltime job- The 13th century French folk tale that sparked the idea for “The Lost Book of Lancelot”- How he started writing the book “just for fun” and “just for me”- The one spot that provides the best chances of him getting some good writing doneConnect with John on Instagram at @glynner85.For full show notes with links to everything we discuss, plus bonus photos!, visit katehanley.substack.com.Thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Like a number of his characters, Booker Prize-winning novelist Douglas Stuart grew up working class and queer in Glasgow. He went on to have a career in fashion, which plays into his latest novel, John of John. “It's hard to tell people about grief. It's hard to talk to people about poverty... and so I'd got very used to the silence in my own life, and my writing is the only thing that allows me to connect with myself,” Stuart told Terry Gross. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Described as a book of startling originality, the writer Nicola Barker speaks to Bookclub, presented by James Naughtie, about her 838-page epic novel, Darkmans, which was published in 2007 and shortlisted for the Booker Prize that same year. Set in the town of Ashford, Kent, the novel centres around a father and son relationship - Daniel and Kane Beede - and a jester from the court of Edward IV makes his presence known in mysterious ways. Producer: Dominic Howell Editor: Gillian Wheelan This was a BBC Audio Scotland production. Author image credit: Colin Alderman

Booker Prize-winning author of Lincoln in the Bardo, and one of Time's one hundred most influential people in the world, George Saunders writes books that are both irreverent and momentous—and utterly unique. He joined us to discuss his latest bestselling novel, Vigil, with acclaimed author Alix Ohlin. Both authors are also revered writing instructors—Saunders at Syracuse University, and Ohlin at the University of British Columbia—and this conversation is filled with essential insights for writers and readers.

Oyinkan Braithwaite est née en 1988 à Lagos, au Nigeria. Son premier roman Ma sœur, serial killeuse (La croisée, 2019) a connu un grand succès mondial (traductions dans 34 pays, en cours d'adaptation au cinéma) et critique (sélections du Booker Prize, Women's Prize, lauréat du Crime Book of the Year). Son nouveau roman Filles maudites mêle fantastique et romance avec une famille à Lagos qui, depuis plusieurs générations, semble être la cible d'une malédiction, et particulièrement les femmes.  Traduction de l'anglais par Christine Barbaste Eniiyi, jeune femme de Lagos, au Nigeria, a grandi dans la peur d'être la réincarnation de Monife, sa tante enterrée le jour de sa naissance. Depuis, sa vie a été marquée par des ressemblances troublantes avec cette disparue, dont le fantôme flotte dans les conversations familiales. Lorsque Eniiyi rencontre le garçon qui pourrait la faire chavirer, elle doit affronter ses craintes, le regard des aînées, et les secrets d'une lignée que l'on dit maudite. Roman familial teinté de mystère, histoire d'amour et de superstitions, Filles maudites nous plonge dans le destin de femmes au cœur d'un Lagos bouillonnant, et signe le grand retour de la reine du suspense africain, après le succès international de Ma sœur, serial killeuse. (Présentation des éditions La croisée).

In this edition we head to Morocco for the Marrakech African Book Festival (FLAM), a key gathering for writers, thinkers and novelists from across Africa and its diaspora. Our team sits down with Nigerian writer Chigozie Obioma, whose acclaimed works "The Fishermen" and "An Orchestra of Minorities" were both shortlisted for the Booker Prize. 

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   George Saunders:  Award-winning Novelist and Short Story Author George Saunders, whose latest novel is Vigil, in conversation with Richard Wolinsky. George Saunders is the highly acclaimed author of several short story collections, including “Tenth of December,”  and “CivilWarLand in Bad Decline,” and others, along with political commentary that has appeared in The New Yorker and other magazines. He won the 2017 Booker Prize for his earlier novel, “Lincoln in the Bardo.” This latest novel, Vigil, takes place in the in-between time before death, when an elderly oil oligarch lies dying, and an angel of mercy, a ghost, named Jill, is on hand to comfort him. The question at hand concerns forgiveness, accountability, grace and several other issues that become involved when someone whose actions were deleterious to humankind and the planet is forced to examine their actions on earth. Justification, remorse, sin? What does it mean, and how do we, the living, deal with these issues when there are so many bad actors doing damage these days on the world and national stages. Recorded by computer on April 15, 2026.   Review of “Come from Away” at TheatreWorks Mountain View Center for the Performing Arts through May 10, 2026.         The post Bookwaves/Artwaves – April 30, 2026: George Saunders, “Vigil” 2026 appeared first on KPFA.

An edited version of this conversation is now available as part of our collaboration with The Yale Review. Read it here: https://yalereview.org/article/shakespeare-and-company-interview-arundhati-royRecorded live at Shakespeare and Company, Paris, Adam Biles sits down with Arundhati Roy to discuss her memoir Mother Mary Comes to Me. Roy reflects on writing a “novelist's memoir,” where memory and imagination blur, and explores her complex relationship with her mother, Mary Roy. The conversation moves from Roy's unconventional childhood in Kerala to her formative years in architecture, activism, and the aftermath of The God of Small Things. She discusses resisting literary celebrity, embracing political responsibility, and finding strength in chosen families and friendship networks. With candour and wit, Roy rejects reductive “therapy narratives,” instead offering a portrait of identity shaped by contradiction, resilience, and love.Buy Mother Mary Comes to Me: https://www.shakespeareandcompany.com/books/mother-mary-comes-to-meArundhati Roy is the author of the novels The God of Small Things, which won the Booker Prize in 1997, and The Ministry of Utmost Happiness, which was longlisted for the Booker Prize in 2017. She is the author of various works of non-fiction including My Seditious Heart, Azadi and The Architecture of Modern Empire.Adam Biles is Literary Director at Shakespeare and Company, Paris Hosted on Acast. See acast.com/privacy for more information.

Howard Jacobson has screamed "liar" at the BBC, lost friends over a newspaper article, and started asking his wife whether it's still safe to live in London. Now he's written a novel about all of it. *Howl* is the story of Ferdinand Draxler — Jewish headmaster, reluctant marcher, man on the edge — who watches the world he believed in applaud the October 7th massacre and descends into a rage that may or may not be madness. Jacobson says he borrowed quite a lot from the last two years of his life. In this Unholy Conversations episode, Jacobson talks with Yonit and Jonathan about the ungovernable anger behind the novel, why he chose comedy as the only honest vehicle for it, the friends who wrote accusing him of celebrating Palestinian deaths, the Manchester synagogue where he was bar mitzvahed and which was attacked on Yom Kippur, and the question he can't shake: what would we have done in Berlin in 1932?   Watch it on Youtube: https://youtu.be/aB-eNbxb41w

Children's Laureate Frank Cottrell-Boyce launches the Children's Booker Prize and discusses some of the themes of his forthcoming Waterstones Children's Laureate Lecture - The Kids Are Not Alright- which calls for the reading of physical books to made a central part of childhood. Soap writer and aficionado Sharon Marshall on how long-running television dramas are employing bold storytelling techniques to retain and attract audiences.Ukrainian Culture Minister Tetyana Berezhna on how her country's artworks have been targeted by the Russians.Poet, playwright, and musician Kae Tempest on his new novel, Having Spent Life Seeking, which centres on the character of Rothko as they search for a way to be at peace with who they feel themselves to be.Presenter: Kirsty Wark Producer: Front Row Production Team

Award-winning Australian author Charlotte Wood discussed her journey from local journalist to Booker Prize finalist, her creative process, and the 10th anniversary of her dystopian novel THE NATURAL WAY OF THINGS. Charlotte Wood is the author of seven novels and three non-fiction books. Her last novel Stone Yard Devotional was shortlisted for the 2024 Booker Prize, listed as a New York Times Notable Book of 2025, Los Angeles Times 15 Best Books of 2025, and one of The Washington Post's best five novels of the year.  Now, for its 10th anniversary, comes a reprint of The Natural Way of Things, a book described as a prescient feminist fable and international classic, “The Handmaid's Tale for our age” by The Economist, and by #1 New York Times bestselling author Paula Hawkins as “beautiful and savage.” It won the prestigious Stella Prize, the Australian Prime Minister's Literary Award in Fiction, and was longlisted for many others. Charlotte's features and essays have appeared in The New York Times, The Guardian, Lit Hub, The Sydney Morning Herald, and The Saturday Paper, among others. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Charlotte Wood, Milena and I discussed: When she committed herself to becoming a writer Why she never starts out with a big idea The real-life girls' school that inspired The Natural Way of Things How to apply "The George Costanza Approach" to your process The career-changing reception of Stone Yard Devotional The double-edged sword of literary prizes And a lot more! Show Notes: charlottewood.com.au   The Natural Way of Things: A Novel by Charlotte Wood (Amazon) Charlotte Wood Amazon Author Page Charlotte Wood on Instagram⁠⁠ Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices

Booker Prize-winning author David Szalay talks to John Wilson about his creative influences. His 2009 debut novel London and The South East, based on his experience of working in telesales, won the Betty Trask Award. The author of six books, his work often defies easy classification: his 2016 novel All That Man Is comprises nine standalone short stories which share the overarching theme of masculinity. His 2018 novel Turbulence follows 12 loosely-linked characters on a dozen flights around the world. In 2025 he won the Booker with Flesh, a rags to riches story told across several decades.Producer: Edwina PitmanArchive used: Extract from T S Eliot, Preludes 1, read by Jeremy Irons, BBC Radio 4, 25 December 2021 Extract from T S Eliot, The Waste Land, read by Jeremy Irons, BBC Radio 4, 2 January 2022 Clip from trailer of Downhill Racer, Michael Ritchie, 1969 Clip from trailer of Taxi Driver, Martin Scorsese, 1976 Extract from David Szalay, Flesh, read by David Szalay Clip from Barry Lyndon, Stanley Kubrick, 1975 Clip from 2025 Booker Prize ceremony

TODAY on The Great Women Artists podcast is the esteemed writer, Deborah Levy on avant-garde pioneer Gertrude Stein. The author of several novels, including August Blue, Hot Milk and Swimming Home, alongside the critically acclaimed Living Autobiography trilogy (some of my favourite books of all time): Things I Don't Want to Know, The Cost of Living and Real Estate, Deborah Levy is one of the most recognisable and influential writers working today. She has been shortlisted twice each for the Goldsmiths Prize and the Booker Prize, is a fellow of the Royal Society of Literature, and has written for the Royal Shakespeare Company. But the reason why we are speaking with Levy today is because she has just published a new novel, My Year in Paris with Gertrude Stein, which follows a narrator who has travelled to Paris to find out more about Stein, the enigmatic, trailblazing writer and patron; a woman who bolted through the 19th to the 20th century and paved the way for modernism as we know it today, with her daring, experimental writing, from Tender Buttons to The Autobiography of Alice B. Toklas, and her patronage of artists such as Picasso, Cezanne, and Matisse – and I can't wait to find out more. My Year in Paris with Gertrude Stein https://www.waterstones.com/book/my-year-in-paris-with-gertrude-stein/deborah-levy/2928377373535 THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: www.famm.com/en/ www.instagram.com/famm_mougins // www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Music by Ben Wetherfield

New York Times bestselling author George Saunders is an American writer who won the Booker Prize for his novel Lincoln in the Bardo. Saunders is known for his sharp wit, moral insight, and inventive storytelling. A longtime contributor to The New Yorker and a creative writing professor at Syracuse University, Saunders is admired for exploring kindness, consumerism, and the human condition with humor and humanity. Saunders joins host Dean Nelson for a lively conversation at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 41205]

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service.This week, the moment when Irish writer Roddy Doyle discovered he'd won one of the most prestigious honours in fiction: The Booker Prize. And our guest, Merritt Moseley, emeritus professor of English at the University of North Carolina in Asheville, discusses the history of the award.Plus, we look back at the assassination of radical African leader Thomas Sankara in 1987, and find out more about the Indonesian province that introduced Sharia law. Also, how Hans Christian Andersen's 'lost fairytale' was discovered in Danish archives, and the female rollerblader who beat the men to grab X Games glory.Finally, the story behind the creation of the children's playtime favourite, My Little Pony, in 1983.Contributors:Roddy Doyle – author of Paddy Clarke Ha Ha Ha.Merritt Moseley - emeritus professor of English at the University of North Carolina in Asheville.Paul Sankara – brother of Captain Thomas Sankara.Bonnie Zacharle – toymaker.Azwar Abubakar - acting governor of Aceh.Ejnar Askgaard - curator and senior researcher, Museum Odense.(Photo: Roddy Doyle with his prize winning book, 1993. Credit: PA Images)

Sian Hughes is a writer who grew up in a small village in Cheshire. Her first collection of poetry The Missing was a Poetry Society Recommendation, longlisted for the Guardian First Book Award, shortlisted for the Felix Dennis and the Aldeburgh prizes, and won the Seamus Heaney Award. Sian's first novel Pearl was longlisted for The Booker Prize 2023 and shortlisted for The Authors' Club Best First Novel Award 2024. On this episode of Little Atoms she talks to Neil Denny about her latest novel No Such Thing As Monday. Hosted on Acast. See acast.com/privacy for more information.

This week's book guest is Flesh by David Szalay.Sara and Cariad are joined by the two time nominee and current winner of the Booker Prize himself, David Szalay.In this episode they discuss and class, Vienna, masculinity, prizes, money and Soho.Thank you for reading with us. We like reading with you!Flesh by David Szalay. is available here.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclubProduced by Naomi Parnell Recorded and edited by Aniya Das for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Bestselling, Booker Prize-winning author, Anne Enright, spoke to me about eagles and moles, the interior engineering of a novel, her love of Irish poetry, and her latest THE WREN, THE WREN. Anne Enright won the Man Booker Prize and the Irish Fiction Award for her novel The Gathering. She has also been awarded the Andrew Carnegie Medal for Excellence, a Lifetime Achievement Award from the Irish Book Awards, and was the first Laureate for Irish Fiction (2015-2018). Her latest novel The Wren, the Wren, was named a Most Anticipated Book of the Year by TIME, The Millions, Literary Hub, and others, and is described as the story of “... three generations of … women who must contend with inheritances―of poetic wonder and of abandonment by a man who is lauded in public and carelessly selfish at home.” The New York Times called it, "... a powerful, thoughtful book by one of the great living writers on the subject of family," and Pulitzer Prize-winning author Jennifer Egan said of the book, “The Wren, the Wren is an electrifying romp through language itself―its dizzying possibilities and satisfactions―led by one the most gifted writers working in English today." Anne Enright has also published two books of short stories, her essays on literary themes have appeared in the London Review of Books and The New York Review of Books, and she writes for the books pages of The Irish Times and The Guardian. [Discover ⁠The Writer Files Extra⁠: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at ⁠writerfiles.fm⁠] [If you're a fan of The Writer Files, please ⁠click FOLLOW to automatically see new interviews⁠. And drop us a rating or a review wherever you listen] In this file Anne Enright and I discussed:  The moment of burnout that changed her career How she used to be a night owl scribe Why you shouldn't over-panic, or over-plan The fallacies of impostor syndrome and inspiration How to create a fictional poet out of thin air Taking a long look at James Joyce across the table And a lot more! Show Notes: ⁠Anne Enright - Wikipedia⁠ ⁠The Wren, the Wren: A Novel⁠ by Anne Enright (Amazon) ⁠Anne Enright Amazon Author Page⁠ ⁠Book Review: ‘The Wren, the Wren,' by Anne Enright⁠ - The New York Times Milena Gonzalez | Writer | Reader | Book Reviewer ⁠diary_of_a_book_babe on Instagram⁠ ⁠Kelton Reid Instagram⁠ ⁠Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Questions, suggestions, or feedback? Send us a message!Welcome to the third season of the Where Shall We Meet podcast. Quick housekeeping, in the show notes you will find a link to send us a voice note, should you feel the urge.Our guest today is Samantha Harvey who is a British novelist and a senior lecturer in creative writing at Bath Spa University. Her Phd centred on writing philosophical fiction. She has published five novels and one work of non-fiction, and her work has been shortlisted for the Women's Prize, the James Tait Black Award and the Walter Scott Prize.Her debut, The Wilderness, was narrated from inside the mind of a man with Alzheimer's and won the Betty Trask Prize. Her non-fiction book The Shapeless Unease is an account of a year of severe insomnia, exploring how prolonged sleeplessness changes the way you think, write, and experience time.Her most recent novel, Orbital, was published in 2023 and won the 2024 Booker Prize - one of the shortest novels ever to do so. Harvey wrote much of it during COVID lockdowns, watching live footage from the ISS.Her work consistently returns to questions of consciousness, perception, and attention - how we experience time, place, and the limits of what the human mind can hold.We talk about:What is readingCan we still pay attention?A love letter to planet EarthThe value of new mediaHow she got 16 sunrises and 16 sunsets into one dayIt's the reader who finishes the novelThe humbling impact of the Overview effectHow to be an intrepid explorer from your deskLet's go into orbit!Web: www.whereshallwemeet.xyzTwitter: @whrshallwemeetInstagram: @whrshallwemeet

In 1993, the Irish writer Roddy Doyle won the prestigious Booker Prize for Fiction. His novel, Paddy Clarke Ha Ha Ha, was remarkable for the way it conveyed gritty drama through the eyes of a 10-year-old boy. Roddy tells Ben Henderson about his inspiration for Paddy Clarke, how he balanced writing with becoming a father and teaching, and the emotions of the night he won the award.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by and curious about the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from how the Excel spreadsheet was developed, the creation of cartoon rabbit Miffy and how the sound barrier was broken.We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: the moment Reagan and Gorbachev met in Geneva, Haitian singer Emerante de Pradines' life and Omar Sharif's legendary movie entrance in Lawrence of Arabia.You can learn all about fascinating and surprising stories, like the invention of a stent which has saved lives around the world; the birth of the G7; and the meeting of Maldives' ministers underwater. We cover everything from World War Two and Cold War stories to Black History Month and our journeys into space.(Photo: Roddy Doyle. Credit: Dominic Ledwidge O'Reilly/Getty Images)

Jack Savoretti sings a song from his latest album We Will Always Be The Way We Were, which is leading the race to top the charts this week. David Szalay's Booker Prize-wnnning novel Flesh is currently at the centre of a debate around inspiration and homage, as critics point to similarities between his novel and Stanley Kubrick's film Barry Lyndon. Literary critics Aled Maclean-Jones and Alex Clark discuss.Turner Prize-winning artist Veronica Ryan on her new show at the Whitechapel Gallery which brings together work that spans the many decades of her career.David Austin, Chief Executive of the British Board of Film Classification on creating a new AI tool to help with their work.Presenter Samira Ahmed Producer: Ekene Akalawu

Douglas Stuart reads his story “A Private View,” from the April 20, 2026, issue of the magazine. Stuart has published two novels, “Shuggie Bain,” which won the Booker Prize in 2020, and “Young Mungo,” released in 2022. His new novel, “John of John,” will be published in May. Learn about your ad choices: dovetail.prx.org/ad-choices

A new week means new questions! Hope you have fun with these!Famous K-pop act BTS made a comeback recently with a megaconcert in Seoul and a new album. What was the reason for their 2,5 year hiatus as an act?What failed non-Newtonian fluid rubber substitute was inducted into the National Toy Hall of Fame in 2001?Which classic style of sushi consists of rice and other ingredients rolled inside a sheet of seaweed?It may come as a shock, but a Van de Graaff generator uses a moving belt to accumulate what?Which letter is the most recent to be added to the English alphabet?Does the Earth rotate clockwise or counterclockwise when viewed from above the North Pole?Which American Idol judge served as judge for the most seasons?Does the Earth rotate clockwise or counterclockwise when viewed from above the North Pole?Who led a violent coup against Chilean president Salvador Allende in 1973?Which women's team just won their school's first NCAA women's basketball championship?Which author just released Vigil in 2026, part of the same world as his 2018 novel "Lincoln in the Bardo" which won the Booker Prize?What 3-syllable term denotes a work of art rendered in only one color?Which Asian country has the lowest population density?What's a winkle picker?Antonio Guterres holds what position, the ninth and current person to have it?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!Quiz, trivia, games, pub+trivia, pub+quiz, competition, education, comedy

Julian Barnes says his new novel is his final. It's called Departure(s), and it's about two people who fall in love when they're young and then meet again decades later. The story is told through the perspective of a writer named Julian … who has a lot in common with the author himself. The book was released on Julian's 80th birthday, and after four decades of writing and a Booker Prize win under his belt, Julian is finally putting down the pen. This week, he joins Mattea Roach to reflect on his literary legacy, why he feels less afraid of death and his recent secret wedding. Liked this conversation? Keep listening:Ian McEwan has hope for humanity — here's why For Jeanette Winterson, stories are essential to survival Check us out on Instagram @cbcbooks and TikTok @cbcbooks

Bestselling author and Booker Prize winner George Saunders talks about obsessively revising his work, seeing things from a dead character's perspective, and why works of fiction can help people make sense of difficult realities. And in this EXCLUSIVE extended interview, hear Stephen and George talk more about writer's block and their favorite Flannery O'Connor short stories, only on The Late Show Pod Show! His latest book, "Vigil," is available now. Stick around for an even more in-depth interview with The Late Show Book Club, when our bookworm producer Ali chats with George Saunders about the music that inspires him to write, the Russian short story he thinks will change your life, and his favorite advice for aspiring writers. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.