Podcast appearances and mentions of Theresa May

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Kemi Badenoch is the Conservative MP for North West Essex and the Leader of the Opposition. Since winning her seat in 2017, she has held cabinet positions as Minister of State for Equalities under Boris Johnson and Secretary of State for International Trade under Liz Truss and Rishi Sunak. She became leader of the Conservative Party in 2024 after Rishi Sunak's resignation and is the first black person to lead a political party in Britain. Her Nigerian parents came to Britain for medical treatment and Kemi was born in a private hospital in Wimbledon in January 1980. Her parents returned with their newborn daughter, and she was brought up in Nigeria in an affluent suburb of Lagos. After a series of military coups and economic downturns, her family, along with many other middle-class families in Nigeria saw their wealth decline and Kemi was sent to London to study for her A levels.Instead of following her parents into medicine, she chose to pursue Computer Systems Engineering and went to Sussex University. A well-paid career in IT followed and she joined the Conservative Party aged twenty-five where she also met her husband, Hamish. Her first attempt at becoming an MP was in 2010 in Dame Tessa Jowell's former constituency of Dulwich and West Norwood constituency in London. She finished third behind the Labour and Liberal Democrat candidates.In 2017, she was selected for the Saffron Walden seat and became an MP.She lives in London with her husband and three children and divides her time between Westminster and her constituency of North West Essex.DISC ONE: The Story of Tonight - Lin-Manuel Miranda, Okieriete Onaodowan, Daveed Diggs, Original Broadway Cast of Hamilton DISC TWO: Don't Stop 'Til You Get Enough - Michael Jackson DISC THREE: Wonderful World - Sam Cooke DISC FOUR: Be Still - Aled Jones and English Session Orchestra DISC FIVE: Everybody's Free (To Wear Sunscreen) - Baz Luhrmann DISC SIX: Love is All Around - Wet Wet Wet DISC SEVEN: Carry You Home – Alex Warren DISC EIGHT: Dear Theodosia - Leslie Odom Jr., Lin-Manuel Miranda BOOK CHOICE: Vanity Fair by William Makepeace Thackeray LUXURY ITEM: The Marvel Movie Collection with a solar-powered DVD player CASTAWAY'S FAVOURITE: Don't Stop 'Til You Get Enough - Michael Jackson Presenter: Lauren Laverne Producer: Sarah TaylorDesert Island Discs has cast many politicians away to the island over the years including Sir Keir Starmer, Nicola Sturgeon, Sir Vince Cable, Theresa May, Ed Miliband, Boris Johnson and Margaret Thatcher.

Larry, die kat van 10 Downingstraat herdenk die maand 15 jaar in die amp... wat die kat van 10 Downingstraat is. Larry, wat tans 19 jaar oud is, het ses eerste ministers oorleef insluitend David Cameron, wat hom aangestel het om muise te vang, Theresa May, Boris Johnson, Liz Truss, Rishi Sunak en die huidige Keir Starmer. Sy goedkeuringsgradering is hoër as enige van die eerste ministers waaronder hy gedien het. In 2016 het Cameron gerugte oor sy verhouding met Larry, in die parlement aangespreek met ‘n foto van hom en Larry saam.

Did Epstein try to bring down a Prime Minister?  Plus: Manchester United mogul Jim Ratcliffe called to apologise for saying the UK is ‘colonised by immigrants'. With NoJusticeMTG, Dalia Gebrial & Alfie Potts Harmer.

Keir Starmer's standing has gone from bad to worse this week, with the Peter Mandelson scandal giving way to a series of resignations in No. 10 and the Scottish Labour leader openly calling for Starmer to go. Ed Balls and George Osborne look at what might be Starmer's worst week yet, and assess if he can survive or if we're reliving the final days of Boris Johnson, and Theresa May.Away from Westminster, the Munich Security Conference begins this weekend, which means we're one year on from JD Vance's consequential address in which he claimed the greatest threat to the continent came from within. Has that speech set the tone for the Trump administration's relationship with Europe? What reverberations has that had for the UK? How will European leaders manage in a world without America as a reliable ally? Finally, they tackle one of the great debates in British politics: what do you do about the Palace of Westminster? The British parliament has been crumbling for decades and the dilemma of how to fix a working government building has been a live issue since Ed and George first the Commons. As the issue is delayed, the costs continue to rise. They ponder the solution to this while reminiscing about crumbling offices, leaks and mice running across their feet. Is it in the British public's interest to spend billions refurbishing the Palace of Westminster? We love hearing from you, so please don't forget to send all your EMQs to questions@politicalcurrency and make sure to include a voice note of your question. Thanks for listening. To get episodes early and ad- free join Political Currency Gold or our Kitchen Cabinet. If you want even more perks including our exclusive newsletter, join our Kitchen Cabinet today:

Downing Street is in turmoil as Sir Keir Starmer fights for his political life. Can he cling on to power? Niall is joined by Lord Barwell, Theresa May's chief of staff during her time in Downing Street. He says watching current events play out is like post-traumatic stress disorder. So, what actually goes on inside Downing Street during a time of crisis? And is there anything the prime minister can do to save his job? Producers: Tom Gillespie and Paul Wilkinson

Met de nieuwe tranche onthullingen uit de Epstein files neemt de druk op voormalig prins Andrew en ook op Labourleider Keir Starmer weer toe. De premier wordt door de onthullingen opnieuw in verlegenheid gebracht vanwege het aanstellen van Peter Mandelson als ambassadeur in de VS. Mandelson wordt opnieuw in verband gebracht met Jeffrey Epstein, nadat hij eerder probeerde die banden af te zwakken - update: Mandelson is opgestapt als Senator - Keir Starmer heeft ondertussen Andrew opgeroepen te getuigen in de Verenigde Staten. De kans dat Starmer dat deed zonder overleg met Koning Charles lijkt nihil. Ook in deze aflevering Het eerste bezoek van een Britse premier aan China sinds Theresa May in 2018 verliep een stuk amicaler dan vooraf verwacht. De banden met China worden flink aangehaald nu de relatie met de Amerikanen steeds twijfelachtiger wordt. China ontving Keir Starmer met open armen, maar had een behoorlijke lijst aan wensen. En: kroegbazen begrijpen er niets van, maar de Britten gaan sinds kort in lange rijen staan om te bestellen, in plaats van gewoon aan de bar. Dat dat niet de bedoeling is blijkt moeilijk bij te brengen. Waar komt deze zorgwekkende trend vandaan, en hoe wordt er mee omgesprongen? Over Van Bekhovens Britten In van Bekhovens Britten praten Lia van Bekhoven en Connor Clerx elke week over de grootste nieuwsonderwerpen en de belangrijkste ontwikkelingen in het Verenigd Koninkrijk. Van Brexit naar binnenlandse politiek, van de Royals tot de tabloids. Waarom fascineert het VK Nederlanders meer dan zo veel andere Europese landen? Welke rol speelt het vooralsnog Verenigd Koninkrijk in Europa, nu het woord Brexit uit het Britse leven lijkt verbannen, maar de gevolgen van de beslissing om uit de EU te stappen iedere dag duidelijker worden? De Britse monarchie, en daarmee de staat, staat voor grote veranderingen na de dood van Queen Elisabeth en de kroning van haar zoon Charles. De populariteit van het Koningshuis staat op een dieptepunt. Hoe verandert de Britse monarchie onder koning Charles, en welke gevolgen heeft dat voor de Gemenebest? In Van Bekhovens Britten analyseren Lia en Connor een Koninkrijk met tanende welvaart, invloed en macht. De Conservatieve Partij leverde veertien jaar op rij de premier, maar nu heeft Labour onder Keir Starmer de teugels in handen. Hoe ziet het VK er onder Keir Starmer uit? En hoe gaan de ‘gewone’ Britten, voor zover die bestaan, daar mee om? Al deze vragen en meer komen aan bod in Van Bekhovens Britten. Een kritische blik op het Verenigd Koninkrijk, waar het een race tussen Noord-Ierland en Schotland lijkt te worden wie zich het eerst af kan scheiden van het VK. Hoe lang blijft het Koninkrijk verenigd? Na ruim 45 jaar onder de Britten heeft Lia van Bekhoven een unieke kijk op het Verenigd Koninkrijk. Als inwoner, maar zeker geen anglofiel, heeft ze een scherpe blik op het nieuws, de politiek, de monarchie en het dagelijkse leven aan de overkant van de Noordzee. Elke woensdag krijg je een nieuwe podcast over het leven van Van Bekhovens Britten in je podcastapp. Scherpe analyses, diepgang waar op de radio geen tijd voor is en een flinke portie humor. Abonneer en mis geen aflevering. Over Lia Lia van Bekhoven is correspondent Verenigd Koninkrijk voor onder andere BNR Nieuwsradio, VRT, Knack en Elsevier en is regelmatig in talkshows te zien als duider van het nieuws uit het VK. Ze woont sinds 1976 in Londen, en is naast correspondent voor radio, televisie en geschreven media ook auteur van de boeken Mama gaat uit dansen, het erfgoed van Diana, prinses van Wales (1997), Land van de gespleten God, Noord-Ierland en de troubles (2000), In Londen, 9 wandelingen door de Britse hoofdstad (2009) en Klein-Brittannië (2022). Over Connor Connor Clerx is presentator en podcastmaker bij BNR Nieuwsradio. Hij werkt sinds 2017 voor BNR en was voorheen regelmatig te horen in De Ochtendspits, Boekestijn en de Wijk en BNR Breekt. Als podcastmaker werkte hij de afgelopen tijd aan onder andere De Taxi-oorlog, Kuipers en de Kosmos, Splijtstof, Baan door het Brein en Welkom in de AI-Fabriek. See omnystudio.com/listener for privacy information.

El fabricante neerlandés ASML, una de las compañías más estratégicas de Europa, anuncia una reestructuración interna que supondrá la salida de 1.700 empleados, principalmente en Países Bajos, a pesar de que el grupo ha batido expectativas con sus resultados y reservas récord gracias a la demanda de la IA. Los resultados de LVMH tumban al sector del lujo europeo. El grupo francés ganó el año pasado 10.878 millones de euros, un 13% menos respecto a 2024 al igual que los ingresos que cedieron un 5% hasta los 80.807 millones. El franco suizo alcanza su nivel más alto frente al dólar estadounidense en más de una década mientras Alemania debate este miércoles con los ministros de otras cinco grandes economías europeas la posibilidad de impulsar los planes de una Unión Europea de “dos velocidades” para facilitar una toma de decisiones ágil en un momento de convulsión geopolítica. El premier británico Keir Starmer está de visita en China.. es el primer viaje de este tipo por parte de un primer ministro del Reino Unido desde la visita de tres días de Theresa May en 2018. Entrevistaremos a Fernando Román Avila, Director de Desarrollo de Negocio de Sipay, para hacer balance de las rebajas de invierno 2026. Los temas de la actualidad, a debate en la Tertulia de Cierre de Mercados con Isabel Giménez, directora de la Fundación de Estudios Bursátiles y Financieros, y Juan Iranzo, catedrático de Economía Aplicada de la UNED y director de ArmadatA.

Keir Starmer lands in China tonight as he becomes the first British Prime Minister to visit since Theresa May in 2018. Sam Hogg from the Oxford China Policy Lab and James Heale join Patrick Gibbons to assess the UK-China relationship right now, what Labour is hoping to get from the visit and whether there are risks for Starmer as well as rewards. Is the tight rope Starmer is walking between the UK & China a sign of weakness, or an extension of a pragmatic 'Starmerite' foreign policy?Produced by Patrick Gibbons.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

Sir Keir Starmer is heading to China for what will be the first visit by a British prime minister since Theresa May went in 2018. He'll be accompanied by a plane full of business leaders as he hopes to improve the UK's trade and economic relations with China. But the UK already has a huge trade deficit with China – so what might the prime minister get in return? The visit also takes place against the backdrop of his approval of the new Chinese "mega" embassy in London and allegations of Chinese spying. To discuss the security concerns and how close a relationship the UK should have with the Chinese, Niall is joined from Beijing by The Times' China correspondent, Richard Spencer Producers: Tom Gillespie and Emily HulmeEditor: Wendy Parker

The Whitehall Sources podcast goes deep into one of the most unsettling weeks in global politics as Donald Trump triggers fresh anxiety across NATO, floats a deal over Greenland, drops European tariffs — and leaves allies questioning the future of the alliance.Hosts Calum Macdonald and political strategist Jo Tanner are joined by former NATO spokesperson Oana Lungescu, the longest-serving spokesperson in NATO history, to unpack what really happened behind the scenes — and how close the alliance came to crisis.They explore: • Trump's Greenland comments and NATO's response • Whether NATO's future was genuinely at risk • Mark Rutte's crucial role as NATO Secretary General • Why defence spending, Arctic security and China matter here • How Keir Starmer handled Trump — and whether his approach worked • What NATO's core interest really is in 2026The episode also marks the emotional farewell of Kirsty Buchanan, former special adviser to Theresa May, as she steps away from the podcast after more than three years and 170 episodes — reflecting on politics, compromise, and the shifting centre ground in Britain.

The newly-appointed British ambassador to the United States, Sir Christian Turner, is a career diplomat whose experience spans almost three decades. He was about to take up the role of the UK's ambassador at the UN but after Lord Mandelson was abruptly pulled from his ambassadorial role in the US late last year, Sir Keir Starmer diverted Turner to replace him. Born in Crawley in 1972, Turner attended the prestigious Marlborough College, before pursuing English literature at the University of Manchester, and later a doctorate at York. After flirting with documentary-making, he pivoted to public service, entering the Cabinet Office in the late nineties. He has closely advised several prime ministers, including Theresa May with whom colleagues say he shared his love of card games.After an initial posting to Washington ended in 2006, his career has flourished at the foreign office. Mark Coles finds out more about the UK's new man in DC, as he prepares to navigate ties with the Trump administration in a delicate moment for the so-called ‘special relationship'.Contributors:Lord Peter Ricketts, former National Security Adviser Sir Simon Fraser, former Permanent Under-Secretary of the Foreign and Commonwealth Office and current chair of Chatham House. Tom Fletcher, United Nations Under-Secretary-General for Humanitarian Affairs and Emergency Relief Coordinator Rachel Barber-Mack, sister-in-law Richard Cooke, Royal Choral Society musical director Jerry Koehler, Royal Choral Society singer James Perry, friend Richard Warlow, friend Joel Burden, friendProduction team:Producers: Ben Carter, Katie Solleveld and Laurie Kalus Sound: Rod Farquhar Production co-ordinators: Maria Ogundele and Katie Morrison Editor: Justine LangArchive:KTN News Kenya BBC News APTNNote of Correction:  In this episode we incorrectly referred to the Mau Mau tribe in Kenya. It should have been the Mau Mau uprising.

The Sources Podcast hosts come together for a special New Year 2026 UK politics preview, analysing what could be the most volatile year in British politics for a generation.With local elections in England, Scottish Parliament elections, Senedd elections in Wales, and mounting pressure on the Northern Ireland Executive, this episode explores how the rise of Reform UK, growing voter fragmentation, and Labour's governing challenges could reshape the UK's political map.

https://www.youtube.com/watch?v=f54KzxOrRYM Premiered on 8 Dec 2025 The International Holocaust Remembrance Alliance is an organisation whose chief aim is to disseminate its 'working definition' of Antisemitism among the nations and institutions of the world. It was first adopted by Theresa May on behalf of the British Conservative (Tory) party in December 2016, but also on behalf of the British Nation. There has been no consultation about this. Nicola Sturgeon led the SNP and Scotland to accept it. Jeremy Corbyn led the Labour Party to adopt it while leader. After him Plaid Cymru, the Greens, the Liberals and every mainstream party of British imperialism has accepted and adopted it. THE definition has been pushed onto schools, universities, the police forces of the UK and now has been forced onto the NHS and all of its institutions in November 2025 by none other than the arch-ZIonist Wes Streeting, currently Labour Party's Health Secretary. It is a dangerous definition because it seeks to brand all criticism of Israel as 'racism' (antisemitism). By doing so it will outlaw all real criticism of Israel's genocide, all support for the freedom struggle of the oppressed in Palestine and by extension elsewhere. It is a means of Political policing and political repression - with very real economic consequences for those accused - by employers, the Labour Party apparatchiks and zionist activists - of "antisemitic" support for Palestine and criticism of Israel. Dr Ranjeet Brar - himself the serial victim of this legislation, definition and action - explains point by point, what is wrong with the IHRA definition, and why a rigorous campaign against it is needed throughout British society, including but not limited to the NHS, to defend basic political liberty and freedom of speech for the whole of the British working class. An essential tool for education and the campaign - please watch it in full and spread it widely. Subscribe! Donate! Join us in building a bright future for humanity! www.thecommunists.org www.lalkar.org www.redyouth.org Telegram: t.me/thecommunists Twitter: twitter.com/cpgbml Soundcloud: @proletarianradio Rumble: rumble.com/c/theCommunists Odysee: odysee.com/@proletariantv:2 Facebook: www.facebook.com/cpgbml Online Shop: https://shop.thecommunists.org/ Education Program: Each one teach one! www.londonworker.org/education-programme/ Join the struggle www.thecommunists.org/join/ Donate: www.thecommunists.org/donate/

What’s Trending: Federal prosecutors have evidence Trump committed a felony // Phoenix Suns owner threatens to move NBA team to Seattle // GUEST: Simon Owen with the latest on Theresa May and the Brexit deal // GUEST: Liv Finne with the Washington Policy Center says Seattle teachers are leaving the union // GUEST: The Fire’s Laura Burke says 9 in 10 American colleges restrict free speech

The government announced that elections for new mayors in four regions will now be delayed. Voters in Greater Essex, Sussex and Brighton, Hampshire and the Solent, and Norfolk and Suffolk will be waiting until 2028 instead. Why has the government done this? Is this part of a clever strategy or a desperate last-minute fumble?  Meanwhile, the government is installing yet more peers into the House of Lords after a series of battles between the government and the second chamber. So what lies behind the battle, what might happen and will it make a difference to the long-running debate about Lords reform? And finally... Sajid Javid says he lost faith in Boris Johnson's leadership, Simon Hart says the Sunak government nearly collapsed over the Rwanda bill and Theresa Villiers says that WhatsApp group chats were critical to defeating Theresa May's Brexit deal. We speak to the team behind our latest Ministers Reflect series. Hannah White presents With Akash Paun, Jack Pannell and Rebecca McKee Learn more about your ad choices. Visit podcastchoices.com/adchoices

With more leadership speculation swirling around Keir Starmer and claims he is seen as a ‘caretaker Prime Minister', this week the podcast takes a look at things from the other end of the telescope; asking how do you protect the person in charge if you're working inside Number 10? What can you do to defend your principal and neutralise any threats they face?Well to answer that three people who worked at the coalface in different Downing Street administrations and faced a litany of internal threats join host Alain Tolhurst. First up is Beatrice Timpson, who was deputy press secretary to two prime ministers, Liz Truss and then Rishi Sunak, and is now a director at Sanctuary Counsel.Alongside her is Guto Harri, who was Downing Street Director of Communications in the final year of Boris Johnson's premiership, and also Paul Harrison, press secretary to Johnson's predecessor Theresa May for three years, and now an Executive Director at Lexington.To sign up for our newsletters click herePresented by Alain Tolhurst, produced by Nick Hilton and edited by Ewan Cameron for Podot

Jan Ravens is one of the UK's most celebrated  impressionists and comedians. She first discovered comedy at Cambridge University's Footlights society, where she made history as the first female president. Now she is best known for her work on the hit BBC show Dead Ringers, where her impressions of figures like Theresa May, Liz Truss, Margaret Thatcher and others have become iconic.In this episode of Ways to Change the World, Krishnan Guru-Murthy speaks to Jan about the meaning of satire and the importance of a good laugh.

In 2015, Cameron returned to office with a majority of his own even if it wasn't particularly huge. At least it meant he no longer needed to be in a coalition with the Lib Dems, who'd taken a terrible beating. Labour too had done badly, losing further parliamentary seats.Cameron's government still had to deal with two foreign wars, in Afghanistan and Iraq, though both now involved far smaller numbers of troops, even if the emergence of ISIS in the Middle East might mean more might have to be sent.A far more immediate problem was the conflict within the Conservative Party, where Eurosceptics were beginning to become increasingly powerful. That was made worse by the rise of the harder right UKIP, actively campaigning for Britain to leave the European Union, in what would come to be known as Brexit. To try to silence his critics, Cameron pledged before the 2015 election to hold another referendum on EU membership, confident that it would vote to stay in. He was mistaken. A mixture of generalised anger against government leading to a desire to cast a protest vote, together with concerns over poor economic conditions for which immigration was blamed by many, much of it from EU countries, produced a narrow majority in favour of Brexit. Cameron resigned as Prime Minister. Theresa May took over, Britain's second woman in the post.Her challenge was to negotiate the Brexit terms with the EU. She tried to strengthen her position by holding another election in 2017 but, rather like the EU referendum, it didn't produce the desired result. She lost seats and her majority.She struggled on for another couple of years but eventually gave up and resigned.It was the dawning of the time of Boris Johnson – the theme for next episode.Illustration: Boris Johnson by the Brexit campaign bus with its false claim that leaving the EU could save Britain £350 million a week for the NHS. Photo from the Irish TimesMusic: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License

We're going to visit June 2017 now. It might have been summer in the UK - but things weren't looking very sunny. Tiff Stevenson and Tom Ballard joined Andy for Bugle issue 4035 - Theresa May has ruined leopard print.Hear more of our shows, buy our Christmas sweater, and help keep us alive by supporting us here: thebuglepodcast.com/This episode was produced by Chris Skinner and Laura Turner Hosted on Acast. See acast.com/privacy for more information.

To submit your urgent questions to Michael and Maddie, go to: spectator.co.uk/quiterightThis week on the first ever Quite right! Q&A: What's your most left-wing belief? Michael & Maddie confess their guilty liberal secrets on the Elgin Marbles, prison reform and private equity – or ‘the unacceptable face of capitalism'.Also this week: who would you trust to save your life on a desert island – Boris Johnson, Theresa May or David Cameron? And finally, a literary turn: from John Donne to Thomas Hardy, Michael and Maddie share their favourite poems, and make the case for learning verse by heart.Produced by Oscar Edmondson. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the latest episode of Lunch with Shelley with our most world-famous guest to date – the Right Honorable Liz Truss! Liz Truss is the former Prime Minister of the United Kingdom and Leader of the Conservative Party.  Her political career and ideological outlook have had and continue to have a profound impact on contemporary British Conservatism and the western world. Liz Truss was first elected Member of Parliament for Southwest Norfolk and quickly rose through the ranks, holding ministerial posts under David Cameron, Theresa May, and Boris Johnson. Throughout her political career, she consistently advocated for classical liberal and free-market Conservative principles, meaning a smaller state, lower taxes, deregulation, and a belief in the power of individual enterprise to drive economic growth. Her eventual Premiership was shaped by this ideological stance.Liz remains politically active and is a prominent voice among free-market Conservatives both in the UK and abroad.  She recently Co-Founded and Chairs the Verity Alliance Foundation, which champions the fundamental values that have made Europe and the West great, focusing on the power of national sovereignty, the importance of free speech, and the enduring strength of Christian values that have shaped our civilization for centuries.Join us at the great Billy Martin Tavern for great food and a fabulous discussion about her powerful book “Ten Years to Save the West” as well as politics today, music, food of course and so much more!Check us out at www.lunchwithshelley.com or wherever you get your favorite podcasts and in the meantime Peace, Love and Lunch!

Ben Riley-Smith, the political editor of the Daily Telegraph, assesses the latest developments at Westminster.Ben discusses the troubles at the Home Office with two former Home Secretaries: Alan Johnson, who served under Gordon Brown and Amber Rudd, who served during Theresa May's premiership.Following the row over the China spying allegations, Ben discusses managing relations with China with Lord Sedwill, the former Cabinet Secretary and former National Security Adviser and Labour MP Matt Western who is the chair of the Joint Committee on the National Security Strategy.The 'Speaker's Conference' - which has been investigating abuse and intimidation towards politicians - published its final report this week. Ben discussed the findings of the report with Sir Lindsay Hoyle, the Speaker of the House of Commons. And, in the week that the Prime Minister discussed his musical tastes on the Radio Three programme 'Private Passions', Ben spoke to two musical politicians about the power of music: Labour's Baroness Thangam Debbonaire, who was a professional cellist and the LIberal Democrat MP Anne Sabine, who plays the bassoon.

Sir Keir Starmer leaves Labour's party conference in Liverpool with a bold new strategy: frame the fight as Labour vs Reform UK. But is calling Nigel Farage's immigration policies “racist” a huge political risk?On this episode of Whitehall Sources, Calum Macdonald, Kirsty Buchanan (former No.10 adviser to Theresa May) and Jo Tanner (political strategist) break down:What really happened at Labour conference – and why the media narrative may differ from the inside story.The launch of Senedd Sources – completing the “Sources family” across Westminster, Holyrood, Stormont and now the Welsh Senedd.Why Wales could deliver the biggest shock of the May 2026 elections if Labour loses power for the first time.Starmer's strategy against Reform UK and Nigel Farage – smart politics or a dangerous gamble?Reform UK's rapid pushback, claiming Labour's rhetoric endangers Farage's security.How this all shapes up for Labour ahead of the looming Budget and next year's elections.

News, rants, theories, stories and assorted old hokum which this week stumbles into … … Kate Bush, Thunderbirds, Tim Buckley, the Blind Boys of Alabama … the magical bass adventures of Danny Thompson (and the time he headlined over the Beatles) … how Claudia Cardinale wound up on the sleeve of Blonde On Blonde … would Roxy Music have made it if their albums had been released in brown paper bags? … how TikTok is destroying the “superfan” … do late night TV hosts need us more than we need them? … Boris Johnson chose the Clash? Charles Kennedy chose Toploader? Theresa May chose ‘In These Shoes' by Kirsty MacColl? MPs on Desert Island Discs … packaged goods: how CDs removed music's greatest marketing tool … the peculiar life of Johnny Carson … have you ever bought an album solely on the strength of its cover? … and Carmel, Andrew Ridgeley, Jay Leno's pay packet and birthday guest Jon Pickles on high-impact sleeve art.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

News, rants, theories, stories and assorted old hokum which this week stumbles into … … Kate Bush, Thunderbirds, Tim Buckley, the Blind Boys of Alabama … the magical bass adventures of Danny Thompson (and the time he headlined over the Beatles) … how Claudia Cardinale wound up on the sleeve of Blonde On Blonde … would Roxy Music have made it if their albums had been released in brown paper bags? … how TikTok is destroying the “superfan” … do late night TV hosts need us more than we need them? … Boris Johnson chose the Clash? Charles Kennedy chose Toploader? Theresa May chose ‘In These Shoes' by Kirsty MacColl? MPs on Desert Island Discs … packaged goods: how CDs removed music's greatest marketing tool … the peculiar life of Johnny Carson … have you ever bought an album solely on the strength of its cover? … and Carmel, Andrew Ridgeley, Jay Leno's pay packet and birthday guest Jon Pickles on high-impact sleeve art.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

News, rants, theories, stories and assorted old hokum which this week stumbles into … … Kate Bush, Thunderbirds, Tim Buckley, the Blind Boys of Alabama … the magical bass adventures of Danny Thompson (and the time he headlined over the Beatles) … how Claudia Cardinale wound up on the sleeve of Blonde On Blonde … would Roxy Music have made it if their albums had been released in brown paper bags? … how TikTok is destroying the “superfan” … do late night TV hosts need us more than we need them? … Boris Johnson chose the Clash? Charles Kennedy chose Toploader? Theresa May chose ‘In These Shoes' by Kirsty MacColl? MPs on Desert Island Discs … packaged goods: how CDs removed music's greatest marketing tool … the peculiar life of Johnny Carson … have you ever bought an album solely on the strength of its cover? … and Carmel, Andrew Ridgeley, Jay Leno's pay packet and birthday guest Jon Pickles on high-impact sleeve art.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In many ways, Leo Varadkar was a historic Taoiseach. The youngest Irish PM, the first from an ethnic minority, and the first openly gay head of government. His time at the top of Irish politics was also historic - he grappled with Trump's first term, the Brexit years, and the Covid pandemic. At just 44 years of age, he walked away from politics. But he is still fascinated - even obsessed - by the political arena. He's written a memoir, 'Speaking My Mind', about his rise to power and his time at the seat of government. He came into The News Agents studio to speak to Lewis about the populist surge and where Starmer is failing in his efforts to curb it here, what it's like dealing with Donald Trump up close and personal, and why he found Boris Johnson easier to deal with than Theresa May - even though he couldn't trust him.

This week we look at the fallout from the Charlie Kirk assassination;  Yes Minister; Students in Amsterdam;  the Oxford Union President; Mental Health worker in Australia;  Borussia Dortmund;  AI books exploit death;  What does the London March mean?  Sir Trevor Phillips; Net Zero in Australia; Andrew Hastie;  the growth of ASEAN; The Decline of Germany; Theresa May on Euthanasia; Christians slaughtered in the Congo; Banning Prayer in New South Wales; Finnish school pupils v English Uni students;  'Man Overboard' banned; Danny Kruger joins Reform; Star Trek bissexuality; Robert Redford;  and the Last Word, with music from BJ Thomas; Sons of Korah;  Don Mclean;   REM;  The Rolling Stones;  Prelude;  Blink; 

Are the Greens ‘anarchists'? Has British politics become Americanised? And why was Theresa May prime minister?Anoosh Chakelian is joined by Rachel Cunliffe to answer listener questions and explain LARPing to Andrew Marr.LISTEN AD-FREE:

U.S. President Donald Trump is in town next week for an unprecedented second state visit to the U.K.  The sacking of Peter Mandelson as Britain's Ambassador to Washington, following the revelations about the extent of his relationship with Jeffrey Epstein, could not have provided a more awkward backdrop for the visit.  Shorn of his “Trump whisperer,” and badly bruised by recent events, the prime minister needs to make the most of the opportunity after deploying the ultimate diplomatic move.  The U.K. is looking to make progress on a whole host of thorny issues, including trade and the wars in Ukraine and Gaza. This week on Westminster Insider, host Patrick Baker explores what the British state has up its sleeve when it comes to charming foreign dignitaries into giving the U.K. what it wants. Theresa May's former Chief of Staff Gavin Barwell explains the jeopardy attached to Trump's dealings with the press when he's abroad, and the stress involved in trying to minimize the U.S. president's exposure to any protests. Esther Webber, POLITICO's senior foreign and defense correspondent, takes us through what's at stake with this Trump visit, and reveals how the royal family are set to be deployed to woo a U.S. president known for his love of pomp and pageantry. Robert Hardman, the royal historian and author of “King Charles III: The inside story,” reveals the U.K.'s long and storied history of inviting controversial world leaders on state visits, leveraging the mesmerizing power of the monarchy as the ultimate diplomatic weapon. Grant Harrold, a former royal butler to King Charles, explains the importance of etiquette to the royals, and takes us through what Trump can expect at the glittering state banquet. Former Foreign Office minister Andrew Mitchell lifts the lid on what it's like to be entrusted as guardian of the Government's vast wine cellar, and how the finest claret is served up to heads of state to lubricate potentially difficult political discussions. And Kate Fall, former deputy chief of staff to David Cameron, recounts her former boss taking China's President Xi for pints at the pub on a 2015 state visit. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sean Farrington assesses the impact a vote of confidence in French PM François Bayrou will have on Europe's second largest economy. Also, we talk to Theresa May's former advisor about that Cabinet reshuffle. Who's in and who's out - and what it means for Britain's business landscape. And, the Women's Super League kicked off this weekend. Newcomers London City Lionesses broke women's football transfer records with their signing of Grace Geyoro, the third time the record has been broken this Summer. We talk to a women's football expert about where the game goes from here.

A Portfolio Checklist hétvégi különkiadásában ismét vendégünk volt Kovács Ferenc Soma és Szepesi Mór, a Harvard és a Yale Egyetem diákjai, akikkel részletesen elemeztük Donald Trump elnök amerikai elit egyetemeket és különösen a Harvardot ért példa nélküli támadását, a trumpi vámok körül kialakult egyetemi diskurzus legfontosabb megállapításait, az elhíresült Trump-Zelenszkij vita Ivy League-es fogadtatását, és az AI szerepét a felsőoktatásban, illetve a világban. A beszélgetést kér részletben közöljük, a folytatás egy héttel később, jövő szombaton érkezik. Főbb részek: Intro – (00:00) Magyar sportsikerek a Harvardon – (01:34) Magyar Chairman a Yale-en – (05:34) Trump támadása a Harvard ellen – (11:07) Miért pont a Harvard? – (15:42) A Yale reakciója: Institutional Netruality – (19:23) Bajban a kórházak – (25:51) Antiszemitizmus, DEI, sátortáborok – (27:40) Trumpi vámpolitika egyetemi megítélése – (38:53) Találkozások: Theresa May, Mike Pence – (42:12) Trumpi gazdaságpolitika harvardos kritikája – (49:27) Trump-Zelenszkij vita megítélése – (54:00) A képzettség szerepe az AI korszakban – (59:33) Címlapkép forrása: ShutterstockSee omnystudio.com/listener for privacy information.

 Say No To Farage. Probably more than any other politician in Britain Nigel Farage was responsible for winning the vote on Brexit in 2016. He exploited racism and anti-migrant sentiment winning new converts over to an English centred- jingoistic view of the world. The dangers of Farage's xenophobic beliefs are evident daily across the British news media. Every day attacks increase on refugees and migrants.Farage has also exploited the divisions within the British Conservative Party. Theresa May and Boris Johnson said they were for completely cutting Britain from all its legal and legislative connections and treaty obligations with Europe. One of these is the European Convention on Human Rights (ECHR). The ECHR was incorporated into the law of the North as an integral part of the Good Friday Agreement. It was written into the Agreement as a way of protecting equality and human rights and preventing any return to the discriminatory and sectarian policies implemented under the Stormont Regime.Farage has now made the withdrawal of Britain from the ECHR a major plank of his political programme for the next British general election. As the right in Britain become ever more strident Farage has set his sights, very publicly, on renegotiating the Good Friday Agreement and clearing the way to extricate Britain from the ECHR. Padraic Fiacc – A Belfast PoetPadraic Fiacc (born Patrick Joseph O'Connor) died six years ago at the age of 94. Several weeks ago a Blue Plaque was unveiled on the wall of the Falls Road Library, close to his birthplace, in memory of this redoubtable Belfast poet.His writing is not as well-known as other poets but his poems stand out for their stark language and brutal rawness, especially when he writes about the conflict. Michael and Brid McKernon, brother and sister, have been campaigning for almost twenty-five years to have Padraic Fiacc, formally recognised and accepted as an outstanding poet of his time. They believe the recent unveiling of the Ulster History Circle Blue Plaque, is a significant step in that direction. Chieftain's Walk, Doire 14th of September. 

With a very busy autumn of politics just around the corner, many in the government are looking at the polls and wondering how they turn their fortunes around. This week, host Patrick Baker explores how Labour might use the coming months to try and reset the narrative. Speaking for the first time since he left Number 10, Ravinder Atwhal, Labour's former head of policy and author of its election-winning manifesto, takes us inside the government's difficult first year of power and explains what he thinks Keir Starmer needs to do to get back on track. With the autumn bringing plenty of reset opportunities, Scotland Office minister and Gordon Brown's former speechwriter Kirsty McNeill reveals the secret to a barnstorming conference speech and offers her advice to the PM about how to make a success of his own Labour conference address in Liverpool. Poppy Trowbridge, former Treasury comms director under Theresa May and someone with no shortage of experience working on tricky budgets, offers her advice to Chancellor Rachel Reeves on how to turn this autumn's big fiscal event into a political success (spoiler: it might not be possible). And former government chief whip under Rishi Sunak, Simon Hart, lifts the lid on the art of the government reshuffle and sets out why, in his view, they rarely provide the reset moment governments hope they might. Learn more about your ad choices. Visit megaphone.fm/adchoices

From Glastonbury performers to classical music buffs, Westminster has always been packed full of music obsessives. But the music industry has not always been so obsessed with politicians. Who could forget Stormzy calling out Theresa May over Grenfell or Elton John calling Keir Starmer's government "absolute losers"? So this week on Westminster Insider, host Sascha O'Sullivan finds out what how important the cultural capital of the music industry is to SW1. She talks to boss of music lobby PRS organisation and former Longpigs frontman Crispin Hunt about Tony Blair being buoyed to success during the Britpop era. Corbyn advisor James Schneider reflects on Grime4Corbyn in 2017 and explains how important Stormzy leading the "Oh Jeremy Corbyn" chant was as a cultural moment. James Frith, Labour MP and former frontman of Finka, who once performed Glastonbury, takes Sascha inside the political scene at the music festival. Caroline Dinenage, chair of the culture select committee and former Tory culture minister, told Sascha the music industry was often ungrateful to Conservative politicians, saying they probably said "f*** the Tories" under their breath even after billions of pounds in pandemic-era support. And she takes Sascha inside the current row over artificial intelligence and the music industry. She said Technology Secretary Peter Kyle was initially "arrogant" and "swallowed the A.I. kool-aid". Lord Brennan, Labour peer who was part of the Lord's recent rebellion over AI and is currently leading a fan-led review into music, says the intervention of top musicians can help move the dial and he tells a story of teaming up with Billy Bragg to exact policy change over guitars in jails. Learn more about your ad choices. Visit megaphone.fm/adchoices

As the government makes another announcement about deporting foreign criminals, Hugo Rifkind asks if they're pursuing tougher policies than under Theresa May's 'hostile environment'. And with both the Conservatives and Reform UK campaigning hard on migration, has the 'Overton window' in British politics moved?With Times columnists Seb Payne and Charlotte Ivers. Hosted on Acast. See acast.com/privacy for more information.

UKPolitics #LanceForman #JonGaunt #KeirStarmer #Gaza #Hamas #Trump Jon Gaunt sits down with former Brexit Party MEP and leading businessman Lance Forman for a hard-hitting interview on UK politics, the Middle East, Donald Trump, and the future of Britain. Lance blasts Keir Starmer's “ceasefire ultimatum” as a dangerous gamble — accusing him of rewarding terrorism, ignoring Donald Trump's influence, and pandering to his backbenchers over fears of Jeremy Corbyn's political comeback. He argues that Israel has already offered a ceasefire, and that Hamas is holding things up.  He doesn't hold back on the BBC, accusing it of bias and a hidden anti-Semitic agenda in British politics and media. Lance warns that Starmer's first year in office has been a disaster, and predicts: “There's no way back for Starmer… and that's quite dangerous.”  From Trump's approach to business, immigration, and taxes to the lack of real-world experience in the UK's political elite, Lance delivers an unfiltered take on why Britain is “in such a mess.”  He also defends Nigel Farage from the Jimmy Savile smear, calling him the most charismatic leader in UK politics today.  In this explosive conversation, Lance also reveals: • Why Trump “gets” the Middle East and Starmer doesn't • The truth about Brexit and Theresa May • Why a new definition of Islamophobia is unnecessary •  How political inexperience is crippling Britain's leadership  If you care about UK politics, Brexit, free speech, or the Middle East, you won't want to miss this.  #Brexit #LanceForman #JonGaunt #KeirStarmer #Ceasefire #Israel #Hamas #Trump #BBCBias #UKPolitics #NigelFarage #Corbyn #MiddleEast #Islamophobia #TheresaMay #BrexitParty  Lance Forman, jon gaunt, keir starmer, gaza, ceasefire, israel, hamas, trump, bbc bias, uk politics, nigel farage, corbyn, middle east, islamophobia, theresa may, brexit party, starmer gaza gamble, starmer is finished, dangerous times ahead, uk government, labour party, political crisis, british politics, farage next pm

Charlotte Ivers is the restaurant critic for the Sunday Times; most recently she reviewed Lupa, Fenix and Home SW15. Charlotte started her career as a media adviser in Theresa May's Number 10, before she moved into the world of radio. She was a political correspondent at talkRADIO and Wireless Group before joining Times Radio.  On the podcast, Charlotte tells hosts Lara Prendergast and Olivia Potts about chasing the high she felt from tasting risotto for the first time, how a second date unwittingly converted her from vegetarianism and what she thinks makes a good restaurant critic.

Michael Gove, now Lord Gove of Torry in the City of Aberdeen, was a cabinet minister under David Cameron, Theresa May, Boris Johnson and Rishi Sunak. He ran to be leader of the Conservatives twice, famously killed off Boris Johnson's first tilt at the top job but backed him on Brexit, spectacularly falling out with David Cameron in the process in a drama portrayed in sometimes excruciating detail in a book by his ex-wife Sarah Vine. He has now gone back to his first trade of journalism as editor of the Spectator magazine.

KevinFoster #JonGaunt #BorisJohnson #RishiSunak #KeirStarmer #UKPolitics Kevin Foster served as a Conservative MP for 9 YEARS under Boris Johnson, Theresa May, Liz Truss AND Rishi Sunak — and now he's spilling EVERYTHING in this explosive interview with Jon Gaunt.

Ex-Tory Cabinet Minister David Jones has joined Reform UK in the highest profile defection to Nigel Farage's party yet, GB News can reveal.News of Jones' decision comes after former Conservative MPs Ross Thomson and Anne Marie Morris joined Farage's party in the past two weeks.The Tory trio join former Conservative Minister Dame Andrea Jenkyns, ex-Red Wall MP Marco Longhi and former Tory MP Aidan Burley in Reform's ranks.Jones, who was a card-carrying Tory member for more than half-a-century, served as Welsh Secretary between 2012 to 2014, later working as a Brexit Minister under Theresa May. Hosted on Acast. See acast.com/privacy for more information.

As Labour rebels appear to have forced concessions from Keir Starmer over welfare this week, former Conservative MP Steve Baker joins James Heale to reflect on his own time as a rebel, and to provide some advice to Labour MPs. Steve, an MP for 14 years and a minister under Theresa May, Liz Truss and Rishi Sunak, tells James about the different rebellions he was a part of (from Brexit to Covid), explains how to organise a successful one and reveals how he has lost close friends when he has made the decision to compromise.He also blames Labour's problems on their ‘bombs not benefits' approach, explains why the current welfare rebellion demonstrates that ‘the facts of life are Conservative' and argues that it has been a mistake for the Conservatives not the support Labour's original approach to reducing the winter fuel allowance.Produced by Patrick Gibbons and Megan McElroy.

As Labour rebels appear to have forced concessions from Keir Starmer over welfare this week, former Conservative MP Steve Baker joins James Heale to reflect on his own time as a rebel, and to provide some advice to Labour MPs. Steve, an MP for 14 years and a minister under Theresa May, Liz Truss and Rishi Sunak, tells James about the different rebellions he was a part of (from Brexit to Covid), explains how to organise a successful one and reveals how he has lost close friends when he has made the decision to compromise.He also blames Labour's problems on their ‘bombs not benefits' approach, explains why the current welfare rebellion demonstrates that ‘the facts of life are Conservative' and argues that it has been a mistake for the Conservatives not the support Labour's original approach to reducing the winter fuel allowance.Produced by Patrick Gibbons and Megan McElroy.

We are raiding the Guardian long read archives to bring you some classic pieces from years past, with new introductions from the authors. This week, from 2022: at the Oxford university debating society in the 80s, a generation of aspiring politicians honed the art of winning using jokes, rather than facts By Simon Kuper. Read by Andrew McGregor. Help support our independent journalism at theguardian.com/longreadpod

Former Home Secretary who chose principle over position, Amber Rudd has spent much of her life at the centre of power. From banking to frontbench politics, her career has spanned the high-stakes worlds of business, government and Brexit-era turmoil.In this episode of Full Disclosure, James O'Brien sits down with Amber to reflect on the decisions, mistakes and tensions that shaped her time in office. From her alliance with Theresa May to her public resignation from Boris Johnson's Cabinet, Amber offers an unusually frank look at what it means to hold power- and when to walk away from it.She speaks candidly about the human cost of leadership, the moral complexity of the Home Office, and the fallout of political compromise. And she reflects on what it takes to recover- personally and professionally- from being publicly vilified.Grounded, introspective and refreshingly sincere, Amber revisits the pressure points of her political life, the people who've shaped her, and why disagreement doesn't have to mean disloyalty.She also shares why she's returned to public conversation with The Crisis Room- a new podcast co-hosted with journalist Mark Urban and former CIA officer Marc Polymeropoulos. Each week, the team unpicks the biggest crises shaping the UK and the world. With insider perspectives drawn from the gritty underbelly of investigative reporting, the corridors of Westminster and the shadowy realm of intelligence, they break down what's really happening behind the headlines, and what's at stake for our future.Listen to The Crisis Room here

When Novichok's deadly tendrils claim an innocent victim in Dawn Sturgess, Prime Minister Theresa May must find the perpetrators and bring them to justice. But any response risks plunging Britain into full-scale chemical war.Do you have a suggestion for a scandal you would like us to cover? Or perhaps you have a question you would like to ask our hosts? Email us at britishscandal@wondery.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.