Podcasts about Jack Reacher

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.

Send a textToday's show will be especially helpful for you writers out there, or if you are curious to see what makes a full-time thriller author tick. On the show today, we have award-winning and bestselling author Nick Petrie, who just released his 9th book in the Peter Ash series, The Dark Time.His first novel, The Drifter, won the ITW Thriller and Barry Awards and was nominated for Edgar, Anthony, and Hammett Awards. He won the 2016 Literary Award from the Wisconsin Library Association and was named one of Apple's 10 Writers to Read in 2017.  Apple Books named Light It Up the Best Thriller of 2018. Both Light It Up and The Wild One were shortlisted for the Barry Award.Lee Child, author of the Jack Reacher novels, said. “Lots of characters get compared to my own Jack Reacher, but Petrie's Peter Ash is the real deal.”Nick is the quindecennial blue-collar author. He has an impeccable work ethic forged with years of working as a carpenter and other trades, which has paved his way to becoming a full-time, bestselling author. Please enjoy my conversation with one of the nicest guys I know in the business, Nick Petrie. In today's episode, we discuss:·      What has changed in the publishing business in the last two years since he released his last book? Luck finds people who show up for work every day. ·      Artificial Intelligence and the publishing business.·      Best marketing practices for authors.·      How his former professions and life experiences have helped him in his writing career.·      Pros and cons of writing in a series.·      His advice for new or newer authors looking to break through. All of this and more on today's episode of the Cops and Writers podcast.Visit Nick's website to learn more about him and his books.Check out my newest book! Police Stories: The Rookie Years - True Crime, Chaos & Life as a Big City Cop!My first week as a rookie cop, I had to decide whether to pull the trigger on a man running at me with a butcher knife. He'd just killed his brother over the last hot dog.That was my introduction to policing in Milwaukee.From Wall Street Journal-featured author Patrick O'Donnell comes a memoir of rookie years on Milwaukee's streets.Support the show

Rosamund Pike! What a woman. Famed for her portrayals of razor-sharp, morally complex and deliciously unpredictable characters, she brings that same intriguing duality to this conversation. Thoughtful and quietly rebellious, she reflects on a career that has defied neat narratives from the very beginning. After taking a year out from studying English at University of Oxford to pursue acting, she graduated and stepped straight into the global spotlight as Bond girl Miranda Frost in Die Another Day. From there came a string of unforgettable movies: Pride & Prejudice, Jack Reacher, A Private War and Saltburn. Her chilling performance in Gone Girl earned her an Oscar nomination and she took home a Golden Globe for I Care a Lot. In 2025, she returned to the stage for the first time in 15 years in the National Theatre's production of Inter Alia. In this episode, she talks about her ‘failure' to get married, the realities of raising two sons and her decision not to read a single review of her work for the past 25 years. Plus why she's ‘constantly in battle' with her own fear, her failure to be an action movie hero, her miserable attempt to cook a rabbit and whether or not she's ‘cool'. ✨ IN THIS EPISODE: 00:00 Intro 03:18 No reviews rule 06:57 Early perfectionism and stage craft 07:58 Inter Alia and modern womanhood 10:09 Luminate meditation mask 12:42 Failure to learn Chinese 19:09 Onstage mishaps and acting roles 28:59 What Cool Really Means 29:26 Cool Girl vs Amy 32:21 Failing at Being An Action Star 36:52 Failure to Get Married 45:17 Mothering Two Boys 47:28 Smells and Teen Hygiene 48:44 Rabbit Dinner and Being Enough

"The English have Shakespeare, the French have Molière, and the Russians have Dostoyevsky. What do we own? What do we have? The Western".A few weeks we lost a great and legendary actor who was also one of our top favourite actors. The great Robert Duvall passed away at the age of 95 on the 15th of February 2026. An actor regarded for his amazing versatility, immense range of performances, an actor who always strived for authenticity and realism. He could be big and theatrically booming but he could also be low-key and subtle. A terrific actor. He starred in many films. The Godfather, The Conversation, The Godfather Part 2, Network, Lonesome Dove, Tender Mercies, Jack Reacher, Days of Thunder, Falling Down, To Kill a Mockingbird, M*A*S*H and of course Apocalypse Now. One of the most dedicated and respected actors of his generation. We wanted to pay tribute to Duvall on this episode and hope we did a good job with that. Be sure to check out our Monument Valley Film on our YouTube Channel.Anders's screenwriter work can also be seen at work in the horror, car chase thriller Delivery Run, co-written with & directed by Joey Palmroos. The film has been released digitally and also in select cinemas in the US and the UK. In Finland it was released on Apple TV after finishing its limited cinema run and was the Number 1 film for multiple weeks. You can read a review about it here on the Fangoria website. The film is now available to watch in the other Nordic territories like Sweden, Oslo and of course Denmark. If you live in Denmark, you can watch the movie here on Apple TV by clicking this link.Follow us on our Instagram page. For obvious reasons, we are no longer on Twitter. You won't find us there. Perhaps we will make a BlueSky account, so keep an eye out for that.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic.Check out our blog and read Anders's recent review on David Lynch's brilliant film Mulholland Drive. Hosted on Acast. See acast.com/privacy for more information.

Description Go for the gold with us as we dive into the ultimate 80s/90s Trivia-lympics, battling it out in Movies, Music, TV, Sports, and Pop Culture for pure glory. Play along and see if you deserve a participation trophy, or a gold medal! This week we also cover big geeky news, share what we're enjoying lately, spotlight Jay's latest article, and take a Sci-Fi Saturday trip into a tense dystopian thriller.   News Rogue One: Cassian Andor – Marvel celebrates ten years of Rogue One: A Star Wars Story with a new one-shot comic following Cassian on a dangerous mission before the events of the film.   Toy Story 5 – The new trailer teases Woody, Buzz, Jessie, and the gang facing a modern challenge to playtime when electronics enter the picture.   We look at some really cool projects coming this month  Monarch: Legacy of Monsters Season 2 – More giant monster intrigue stomps onto screens.   Ted Season 2 – The foul-mouthed teddy returns for more misadventures.   Young Sherlock – A new take on the early life of the legendary detective arrives.   Daredevil: Born Again Season 2 – Matt Murdock continues his gritty return to the MCU streets.   Project Hail Mary – The sci-fi survival epic blasts into theaters this March.   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua has been laughing his way through Bloom County Boys, the new comic strip by Berke Breathed, a continuation of some of his characters from the classic strip. Available now on Patreon. Jay dove into Killing Floor by Lee Child, the first Jack Reacher novel. He's enjoying the stripped-down, gritty storytelling and the quiet intensity that makes Reacher such a compelling drifter-hero.     Sci-Fi Saturdays -  This week on Sci-Fi Saturdays Jay looks at a forgotten story from 2017, What Happened to Monday. In a future where strict population control laws allow only one child per family, seven identical sisters secretly share a single identity to survive under government scrutiny. When one of them disappears, the others must unravel a dangerous conspiracy while staying one step ahead of authorities determined to enforce the rules. Jay especially enjoyed the strong performances and the gripping dystopian premise. Read his article on RetroZap.com. And make sure to play around with the interactive map on MCULocationScout.com. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU.   Enjoy Trivia!  This week, Jay and Shua lace up their mental sneakers and compete in the first ever Trivia-lympics, using a retro 80s/90s trivia game picked up at the legendary "World's Largest Truck Stop" in Iowa. With five categories, Movies, Music, TV, Sports, and Pop Culture, the battle for two correct answers in each category sparks laughs, debates, and plenty of questionable memory recall. It's a fast-paced, nostalgia-fueled showdown that invites listeners to play along at home and see if they've still got that championship-level brain power.   How did you do with the questions? Let us know! First person that emails me with the subject line, "I'll take retro trivia for 1,000" will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

Throwback Thursday time!This week, we are taking you back to a chat with another one of our brilliant guests. Back in 2022, we sat down with the wonderful Matt Green to discuss a film of his choosing, Jack Reacher.Give it a listen to hear our thoughts!Original air date: 22/02/2022· Please note, this is an un-altered release of the original episode. All references and content are accurate and relevant as of the original release date but may now be out of date.Links to the pod and our social media can be found here. Just select your link of choice!https://linktr.ee/justfilmsandthatpodIf you'd like to get in touch for anything or even suggest a film for us to look at, the email is filmsandthatpod@gmail.comWe're on all the usual social media platforms if just search for Just Films and that and you should find us. Alternatively, all out social media is also linked above!Give us a follow on Letterboxd!https://letterboxd.com/justfilms_that/If you want to hear more from Matt then click the link below and check out his brilliant stuff!· https://www.mattgreencomedy.com/If you want to support us then you can do so via our Kofi page which is linked below:https://ko-fi.com/justfilmsthatAnything you donate to us will be massively appreciated and will go straight back into the cost of running and growing the podcast!Cheers!The Just Films & That team Hosted on Acast. See acast.com/privacy for more information.

pWotD Episode 3212: Robert Duvall Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,675,134 views on Monday, 16 February 2026 our article of the day is Robert Duvall.Robert Selden Duvall (; January 5, 1931 – February 15, 2026) was an American actor and filmmaker. With a career spanning seven decades, he is regarded as one of the greatest actors of all time. He received an Academy Award, a BAFTA Award, four Golden Globe Awards, two Primetime Emmy Awards, and a Screen Actors Guild Award.Duvall began his career on television with minor roles in the 1960s on The Defenders, Playhouse 90, and Armstrong Circle Theatre. He made his Broadway debut in the play Wait Until Dark in 1966. He returned to the stage in David Mamet's play American Buffalo in 1977, earning a Drama Desk Award for Outstanding Actor in a Play nomination. He made his feature film debut portraying Boo Radley in To Kill a Mockingbird (1962). His other early roles included Captain Newman, M. D. (1963), Bullitt (1968), True Grit (1969), M*A*S*H (1970), THX 1138 (1971), Joe Kidd (1972), and Tomorrow (1972), the last of which was developed at the Actors Studio and was his personal favorite.Duvall won the Academy Award for Best Actor for his performance as an alcoholic former country music star in Tender Mercies (1983). His other Oscar-nominated roles included The Godfather (1972), Apocalypse Now (1979), The Great Santini (1979), The Apostle (1997), A Civil Action (1998), and The Judge (2014). His other notable films included The Outfit (1973), The Godfather Part II (1974), The Conversation (1974), Network (1976), True Confessions (1981), The Natural (1984), Colors (1988), Days of Thunder (1990), Rambling Rose (1991), Falling Down (1993), The Paper (1994), Sling Blade (1996), Gone in 60 Seconds (2000), Deep Impact (1998), Open Range (2003), Crazy Heart (2009), Get Low (2010), Jack Reacher (2012), Widows (2018), and Hustle (2022).Throughout his career, Duvall also starred in numerous television productions. He won the Primetime Emmy Award for Outstanding Limited Series and Outstanding Lead Actor in a Limited Series for the AMC limited series Broken Trail (2006). His other Emmy-nominated roles included the CBS miniseries Lonesome Dove (1989), the HBO film Stalin (1992), and the TNT film The Man Who Captured Eichmann (1996).This recording reflects the Wikipedia text as of 04:38 UTC on Tuesday, 17 February 2026.For the full current version of the article, see Robert Duvall on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Russell.

Nick Petrie: whiskey on the rocks  Nick reveals the sage advice CJ Box gave him at the reception for the Edgar Awards that he's held onto ever since, explains how his work as a building inspector meeting veterans who were buying a first home became a driving force for his debut novel, tells the meaning behind the character name Peter Ash, identifies the key differences between being a full-time or part-time writer, names the two possessions of each writer.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This episode is brought to you by Basecamp, the world's simplest, most effective project management platform. Check them out at https://basecamp.com and tell them David Perell sent you. Lee Child, the man behind the "Jack Reacher" series, has sold more than 200 million books. It is the best-selling series of all time on Amazon in the UK. More than Harry Potter, which is crazy! A new book is sold on average every nine seconds. So how does he do it? How does he write it? How does he come up with the ideas? That's what we're going to find out. About the host Hey! I'm David Perell and I'm a writer, teacher, and podcaster. I believe writing online is one of the biggest opportunities in the world today. For the first time in human history, everybody can freely share their ideas with a global audience. I seek to help as many people publish their writing online as possible. Follow me Apple: https://podcasts.apple.com/us/podcast/how-i-write/id1700171470 YouTube: https://www.youtube.com/@DavidPerellChannel Spotify: https://open.spotify.com/show/2DjMSboniFAeGA8v9NpoPv X: https://x.com/david_perell Learn more about your ad choices. Visit megaphone.fm/adchoices

** Come see us record in New York! January 24 & 26! Tell everyone you know! **Politics, high fashion, and trivia– it must be Go Fact Yourself!Ashly Burch is a YouTuber and voice actor, who was a recent guest on episode 177 of Go Fact Yourself. She joins us as guest co-host.Al Madrigal is an actor and comedian. He's known for sitcoms like “Lopez vs. Lopez” and his many appearances as Senior Latino Correspondent on “The Daily Show.” He'll tell us about some of the scrutiny that title came with. Everything he does now is a big step up from one of his first jobs, where he was forced to fire people on a regular basis.Mary Lynn Rajskub is a comedian and actor, previously seen in “24.” She'll tell us about the triumphs – and difficulties – of the show. These days, she's seen on the Netflix series “North of North” – an incredibly important showcase of Inuit culture; and her son says she's perfect on the show as “the white lady.”Areas of Expertise:Al: U.S. Latino politicians, San Francisco's Mexican restaurants, and Jack Reacher.Mary Lynn: The city of Iqaluit, Canada, the movie The Florida Project, and Cybill Shepherd's wardrobe in “Moonlighting.”What's the Difference: Flying SaucerWhat's the difference between an Unidentified Flying Object (UFO) and an Unidentified Anomalous Phenomenon (UAP)?What's the difference between gravy and sauce?With Guest Experts:Blanca Pacheco: Former mayor, city councilwoman, and current member of the California State Assembly.Glenn Gordon Caron: Award-winning writer, producer, and director who created the show “Moonlighting.”Hosts: J. Keith van StraatenAshly BurchCredits:Theme Song by Jonathan Green.Maximum Fun's Senior Producer is Laura Swisher.Co-Producer and Editor is Julian Burrell.Additional editing by Valerie Moffat.Seeing our next live-audience shows by YOU!

Lee Child is a writer who is best known for his series of bestselling novels featuring Jack Reacher. Reacher is an enigmatic 6ft 5in, 17-stone ex-military police major who rights wrongs before disappearing off into the sunset. The books have sold in their millions around the world and have inspired two films starring Tom Cruise and a television series.Lee Child was born James - Jim - Grant in 1954 and grew up in Birmingham. He studied Law at the University of Sheffield and then joined the presentation department at Granada Television where he was a shop steward and became a thorn in the side of the management. At 40 he was made redundant and sat down to write his first Reacher novel Killing Floor. He found himself an agent and the novel was published in March 1997 - the franchise was up and running. In the UK Lee outsells both Stephen King and John Grisham and worldwide he sells between 12 and 15 million copies a year.In 2020 Lee announced that he was handing over the Reacher franchise to his younger brother Andrew Grant. The two brothers have worked on several novels since then and the thirtieth Reacher title features both brothers' names on the cover.Lee Child was appointed CBE in the 2019 Queen's Birthday Honours. He lives in the Lake District with his wife Jane. They have one daughter.DISC ONE: She Loves You - The Beatles DISC TWO: (I Can't Get No) Satisfaction - The Rolling Stones DISC THREE: So What - Miles Davis DISC FOUR: Tchaikovsky: Piano Concerto No. 1 in B-Flat Minor, Op. 23: I. Allegro non troppo e molto maestoso – Allegro con spirito. Performed by Stephen Hough (piano) and Minnesota Orchestra, conducted by Osmo Vänskä DISC FIVE: Joe's Blues - Joe Pass DISC SIX: The Lemon Song - Led Zeppelin DISC SEVEN: Für Elise (Bagatelle No. 25 in A minor) Composed by Ludwig Beethoven and performed by Lang Lang DISC EIGHT: Delibes: Lakmé / Act 1: "Sous le dôme épais" (Flower Duet) Performed by Renée Fleming (soprano), Susan Graham (mezzo soprano), Philharmonia Orchestra, conducted by Sebastian Lang-Lessing BOOK CHOICE: Killing Floor by Lee Child LUXURY ITEM: A mechanical wind-up watch CASTAWAY'S FAVOURITE: So What - Miles Davis Presenter: Lauren Laverne Producer: Paula McGinley

Andrew Child is the co-author of the Jack Reacher series, one of the most successful and recognizable modern thriller franchises in the world. Working alongside his brother Lee Child, Andrew became responsible for continuing and evolving a character known for discipline, restraint, moral clarity, and decisive action. Before joining the Reacher universe, Andrew spent years developing his own voice as a novelist and journalist, with a background that shaped his approach to structure, clarity, and storytelling. Stepping into an already iconic series required understanding not just the character, but the values and principles that made Jack Reacher resonate with millions of readers globally. Andrew now carries the responsibility of maintaining the integrity of a cultural archetype — a lone figure guided by competence, accountability, and an uncompromising sense of right and wrong. His work has helped ensure the Jack Reacher series remains relevant, grounded, and consistent while continuing to grow its audience across books, television, and film. Today's Sponsors: Black Rifle Coffee: https://www.blackriflecoffee.com Helix: Go to https://www.helixsleep.com/clearedhot for 27 percent off Sitewide. Brunt: https://www.bruntworkwear.com Use code "clearedhot" for 10 dollars off at checkout 

Jack Reacher maakt vandaag drie tussenstops. Maar ze zijn niet allemaal gepland… Uitgegeven door Luitingh Sijthoff Spreker: Jeroen Tjepkema

Exit Strategy by Lee Child and Andrew Child. Jack Reacher is back - this time in Baltimore, where he inadvertently gets himself caught up in corrupt goings on at the local Port. He walks into a coffee shop, and someone brushes against him - only later does he realise that a note was slipped into his pocket at that moment, from someone asking for help and requesting a late night rendezvous. The note was clearly intended for someone else but Jack heads along to the meeting anyway, just to see what's going on. This is classic Reacher - he's about to dispense a lot of vigilante justice and stand up for the good guys, before he gets onto another Greyhound bus and heads off for who knows where. Good Things Come and Go by Josie Shapiro. Josie is an Auckland writer whose first book I loved - Everything is Beautiful and Everything Hurts. This is her second, and it's equally good - about Penny and Riggs living in LA where things have gone terribly wrong for them, and the chance for Penny to come back to Auckland and hold a solo art exhibition is too good to ignore. They head back to Waiheke Island (and into the midst of complicated family dynamics) and reconnect with an old friend who's down on his luck. The rekindling of that childhood friendship brings serious undercurrents, with long held secrets to be reckoned with. Josie is a terrific writer and I hope will be bringing us books for years to come. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Exit Strategy is the thirtieth thriller in the Jack Reacher novels and once again this addictive series continues. Some of us, just cannot get enough of Reacher, the all-American hero created and written by a bloke from Coventry. Guests Lee and Andrew Child chatted to Pat about the new book.

The Jack Carr Book Club November 2025 Selection: EXIT STRATEGY by #1 New York Times bestselling author Lee Child & Andrew Child.Jack Reacher will make three stops today. Not all of them were planned.In EXIT STRATEGY, the blockbuster new Jack Reacher thriller from #1 New York Times bestselling authors Lee Child and Andrew Child, Reacher once again finds himself in the crosshairs of a mystery that only he can unravel. A suspicious brush in a Baltimore coffee shop. A forgotten coat in a store. And a handwritten note tucked into his pocket—a desperate plea for help that sets him on a collision course with danger, deception, and “the best villain yet” (USA Today).Lee Child is the author of twenty-five New York Times bestselling Jack Reacher novels, with sixteen reaching the #1 position, along with the #1 bestselling short story collection No Middle Name. Andrew Child, who also writes as Andrew Grant, is the author of RUN, FALSE POSITIVE, FALSE FRIEND, FALSE WITNESS, INVISIBLE, and TOO CLOSE TO HOME. This month's conversation explores the evolution of Jack Reacher, the craft behind maintaining one of the world's most iconic heroes, and how Lee and Andrew continue to push the Reacher universe forward with fresh energy and a deep respect for the character's legacy. We dig into their collaborative process, the precision behind Reacher's moral compass, and what readers can expect as the series continues to evolve.FOLLOW LEEInstagram - @jackreacherbooks Facebook - @JackReacherOfficialX - @LeeChildReacherWebsite - https://www.jackreacher.com/us/ FOLLOW ANDREWFacebook - @andrewgrantauthorX - @andrew_grant Website - https://andrewgrantbooks.com/ FOLLOW JACKInstagram - @JackCarrUSA X - @JackCarrUSAFacebook - @JackCarr YouTube - @JackCarrUSA SPONSORSCRY HAVOC – A Tom Reece Thriller https://www.officialjackcarr.com/books/cry-havoc/Bravo Company Manufacturing - BCM Stock MOD3:https://bravocompanyusa.com/bcm-stock-mod-3-black/  and on Instagram @BravoCompanyUSATHE SIGs of Jack Carr:Visit https://www.sigsauer.com/ and on Instagram @sigsauerinc Jack Carr Gear: Explore the gear here https://jackcarr.co/gear

We unpack why a 43‑day shutdown ended with the same extension Democrats rejected, and how the fallout hit workers, flyers, and families. From Hollywood scolding to Berkeley arrests, media editing scandals, clan politics in Minneapolis, and a rising socialist bench, we track where power actually moved.• the extension through January 2026 and the seven plus one votes• lost October data and the lag to restore pay, travel, and benefits• celebrity outrage contrasted with working families' reality• free speech confrontations at Berkeley and TPUSA events• the BBC editing controversy and looming legal risk• generational turnover in Congress and a socialist surge• Somali clan dynamics shaping Minneapolis outcomes• bioethics debate over pet cloning and cultural consequencesGo to Amazon, search my name, and you'll find it. If you're a fan of action fiction, Jack Ryan, Jack Reacher, Jason Bourne type novels, Terry Davis is your guy. This is the third book in the series, again titled Rebellous.Support the showElsa's AMAZON STORE Elsa's FAITH & FREEDOM MERCH STORE Elsa's BOOKSElsa Kurt: You may know her for her uncanny, viral Kamala Harris impressions & conservative comedy skits, but she's also a lifelong Patriot & longtime Police Wife. She has channeled her fierce love and passion for God, family, country, and those who serve as the creator, Executive Producer & Host of the Elsa Kurt Show with Clay Novak. Her show discusses today's topics & news from a middle class/blue collar family & conservative perspective. The vocal LEOW's career began as a multi-genre author who has penned over 25 books, including twelve contemporary women's novels. Clay Novak: Clay Novak was commissioned in 1995 as a Second Lieutenant of Infantry and served as an officer for twenty four years in Mechanized Infantry, Airborne Infantry, and Cavalry units . He retired as a Lieutenant Colonel in 2019. Clay is a graduate of the U.S. Army Ranger School and is a Master Rated Parachutist, serving for more th...

In literature or in movies, the antihero is a flawed major character who, nevertheless, provokes some sympathy from the audience. Think of Han Solo or Professor Snape, Jack Reacher or Captain Jack Sparrow. In 1 Samuel 25, we see a different side of David. Instead of nobly suffering the injustices done to him by Saul, David seems petty and harsh, quick-tempered and prone to violence. What does "David as antihero” teach us about Old Testament characters and their need for the redemptive work of Jesus? How does the real hero of this particular chapter of David's life point us to the hope of the gospel? All that and more this week as we turn to the story of David, Nabal, and Abigail in 1 Samuel 25.

Een vermoordde FBI-agent, een mysterieus bericht van de daders en een spoor dat terugleidt naar het verleden van Jack Reacher én Lauren Pauling. Uitgegeven door Luitingh Sijthoff Spreker: Hylke van Sprundel

Nick welcomes music journalist Jim Ryan from Forbes.com back to the show for a deep dive into music, madness, and metal. They preview this year's Rock & Roll Hall of Fame induction ceremony and trade stories from Jim's recent interviews with legends like Rob Halford of Judas Priest — including Halford's hilarious tale about the best massage he's ever had in Chicago's Boys Town — plus Marky Ramone, Emo Phillips, and the chaotic geniuses of GWAR. Jim also recaps Riot Fest, Judas Priest, Alice Cooper, and more, while he and Nick swap some wild and heartfelt Shane MacGowan memories. Then, Esmeralda Leon joins Nick to break down Hollywood's strangest casting choices, from Angelina Jolie somehow playing Colin Farrell's mother to Tom Cruise trying to fill the massive boots of Jack Reacher. Turns out, suspension of disbelief only stretches so far. [Ep 396]

In Season Two, Episode Two of REACHER on Netflix, Jack Reacher and two surviving members of his former Army investigative unit, Frances and David, continue their investigation into the murder of three members of the unit. They discover the NYPD police are trailing them. They need a new vehicle. So, they engage the help of another investigator, Karla Dixon, who's finished an undercover assignment. They all travel to Atlantic City, where the trail leads them to see who's skimming millions of dollars off one of the gambling casinos. Reacher and Karla wonder if they can trust anyone. When the mysterious villain orders his henchmen to kill them, a violent showdown occurs.

Hello, movie maniacs! Mary and David continue McQuarrying this week as Christopher McQuarrie is freed from director jail and given the reins of Paramount's newest cash cow franchise Jack Reacher with a star hot off the hit film Mission: Impossible – Ghost Protocol. He may not be as tall as the titular hero, but could […]

We're excited to present the multi-million selling author and creator of Jack Reacher, Lee Child, as our guest today. And this is a brilliant episode. Lee is a master storyteller - painting a vivid picture of his childhood in Birmingham, his well-meaning but cold parents, his early forays into relationships with girls, and his days working at Granada Television. He also tells Gyles about his writing routine. This is a funny, fascinating and evocative episode with one of the best selling writers of all time.If you're a Rosebud fan, you can join our new Facebook community: just search Rosebud Reflections on Facebook: https://www.facebook.com/groups/782397874458836. You can also follow us on Instagram at https://www.instagram.com/therosebudpodcast/. Hosted on Acast. See acast.com/privacy for more information.

Send us a textSPECIAL NOTE: SEASON 15 OF THE GOOD, THE POD AND THE UGLY CELEBRATES THE USE OF THE PRACTICAL AND DIGITAL EFFECT KNOWN AS THE SQUIB. IRL GUN VIOLENCE IS INTOLERABLE AND RENOUNCED BUT... CINEMATIC VIOLENCE WILL BE CELEBRATED IN A WAY THAT MAY DISTURB SOME LISTENERS.  Yo, put the da bomb rap-rock mix CD on the Walkman, brush off your fly three-button boxy suit, and get your pre-9/1l cool on fo' shizzle, home skillet, as TGTPTU breaks with its patent-pending temporal pincer movement to cover THE WAY OF THE GUN (2000).   Before he (strike as appropriate: ruined / renewed / continued) the Mission Impossible film franchise but after winning the Best Original Screenplay Oscar for 1995's The Usual Suspects, Christopher McQuarrie would write and direct this (strike as appropriate: possible war crime / secret masterpiece / neo-Western action-thriller satire), and land in director jail. Unlike a highly successful sequel he'd write and produce two decades later also with “gun” in the title, McQuarrie's directorial debut was not “top,” nor would it receive any Academy noms for Orig Screenplay or Best Pic. Instead, it would be twelve years before McQuarrie would direct again when he'd write and direct Jack Reacher (the one ((strike as appropriate: starring / miscast)) with Tom Cruise).   The Way of the Gun was purportedly McQuarrie's attempt to unmake the antihero criminal movie popular by the late-90s by going further than other films had in making its felonious buddy protagonists not just unlikeable but reprehensible. Selected for the job, after many turned down the role, Ryan Phillippe who got a haircut and adopted a voice for the role of Parker (no relation to the Richard Stark series) and the always magnetic Benicio del Toro as Longbaugh. These two petty but also not-so-petty criminals happen upon a scheme during their brief road trip's peeing in bottles, punching women, and distributing sperm to banks for quick cash, a plan involving kidnapping for ransom a surrogate mother named Robin (played by Juliette Lewis) who SPOILER ALERT whose baby doctor is her baby daddy who, despite having a different last name, is SPOILER the son of the expected father of the embryo that didn't take and the plot gets (strike as appropriate: purposively complex / even dumber / more twisted / majorly buggin') from there. Another Lewis, pod favorite and Juliette's father Geoffrey, is introduced (strike as appropriate: losing / winning) at a complex variation of Russian roulette as part of James Caan's Members-only posse who mount up for the film's squibbiest moment, a finale at a Mexican cantina and whorehouse.  O.G. host Ken casts Jonah Hill as Jonah Hex in a McG remake of the film while hosts Thomas and Ryan introduce Natural Born Killers into the chat, wondering if it not The Friends of Eddie Coyle for the 90s. Guest host Jack defends the movie's inclusion in Season 15 as all that and a bag of chips and not wiggity wiggity wack. Next week is Robocop. Psych! My bad. That's in the pairing after next. Follow and subscribe if you want the 411. Also, send an electronic mail down the information superhighway to thegoodthepodandtheugly@gmail.com if you want Thomas's copy on DVD. We outtie.THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gLetterboxd (follow us!):Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

Theo Delaney's guest is Lee Child one of the most successful authors in the world whose Jack Reacher books have sold around 200 million copies. His latest book, just out, is the autobiographical ‘Reacher - The Stories Behind The Stories'. Among the ardent Aston Villa fans memories in this, part one of two, are going to games at Villa Park on his own from the age of seven and the teams finest hour, 1982's European Cup triumph. Throughout September Life Goals is supporting CALM the brilliant suicide prevention charity and its STAY TUNED campaign and offering you the chance to be a guest on Life Goals.  Find out more here: https://tiltify.com/@theo-delaney/stay-tuned-2025-life-goals-fundraiser-for-calm @LeeChildReacher@theCALMzone@LifeGoalsTD@theodelaney https://www.jackreacher.com/uk/https://www.thecalmzone.net/https://www.theodelaney.com/life-goals-links

Frosty by Mark Winterbottom The incredible true story of the boy from Doonside who became a Bathurst king. Mark Winterbottom's story is unlike any other in motorsport. It's not about privilege or million-dollar sponsors - it's the tale of a working-class kid with a dream so big it defied the odds. Frosty's story is a motorsport fairy tale that is also proof that with heart, hustle and an unyielding will to succeed, you can achieve greatness. Mark went on to win 10 Australian national kart titles and 25 state championships before transitioning into Formula Ford in 2001. His meteoric rise continued in 2003 when he clinched the Konica V8 Supercar Series Championship and was honoured with the Mike Kable Young Gun Award. Mark would also become one of Ford's most famous drivers when he broke through to beat Craig Lowndes and Jamie Whincup by winning the 2015 Supercars Championship in his flying Falcon. Frosty is more than a story of fast cars, chequered flags and brushes with some of motorsport's greats, including Lewis Hamilton and Peter Brock. It's about resilience, family and overcoming life's biggest challenges. In this inspiring memoir, Mark shares the raw truth of his hardest battles: the irreparable fallout with his father, supporting his mother through cancer, and pushing forward when most would have given up. From the streets of western Sydney to the summit of Mount Panorama, Mark Winterbottom's story is a powerful reminder that impossible dreams can be chased - and won. Reacher: The Stories Behind The Stories by Lee Child From global bestseller and creator of Jack Reacher, comes Lee Child's first-ever autobiographical collection. From urgently scribbling out his debut Killing Floor in pencil (the stub of which he still owns), to taking a step back with Blue Moon, and everything in between, here are 24 fascinating personal reflections on his life and work, crafted across decades. Whether it is through Lee's moving account of meeting a fan years after her mother brought her to a book signing, to facing his first computer and the coming of the internet, to writing about New York just before – and just after – 9/11, to later seeing his novels adapted for the big screen . . . each riveting piece deftly evokes where he was, psychologically and physically, when he wrote each novel. Lee has clearly felt unwavering gratitude for his readers since 1997. And these honest, witty and wise reflections were originally designed for fans of Reacher who may be interested in a ‘behind-the-scenes' – or, in Lee's words: ‘why the books turned out the way they did'. But this collection is also so much more. It is the story of a man who once put pencil to paper in an attempt to turn his luck around . . . and who made every word count. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Award-winning and globally bestselling creator of Jack Reacher, Lee Child has published his first-ever autobiographical book. 

Howdy folks of the interwebs! Welcome back for another shenanigan infused journey into the mind of this particular Garbage Can Dood!Tonight's discussion is an Occult and/or Esoteric review of the 2012 cinematic masterpiece "Jack Reacher"!Star'n Scientology's galactic overlord Xenu's favorite Hollywood actor & my favorite actor to watch play a tall man who knows how to fight - Tom Cruise!And tonight's film review is chocked full of parapolitics, esoteric understandings, and includes - arguably - one of Tom Cruise's best performances as a tall man, who knows how to fight!Anyhow, folks of the interwebs thank for join'n me to get a lil GCD! An Occult and/or Esoteric Review of the 2012 cinematic masterpiece "Jack Reacher"! w/Troublemaker Jonah, Landon (host of the Daily Dissident), and MKane Ultra (host of Kane B's The Purge Youtube channel)!Enjoy the show! Links for Landon - https://podcasts.apple.com/us/podcast/thedailydissident/id1794019618https://www.instagram.com/landon__1414/Links for Troublemaker Jonah - https://x.com/TroublemkrJonahLinks for MKane Ultra - https://www.youtube.com/@KanebsThePurgeLinks for JJ - https://linktr.ee/operationgcdhttps://www.patreon.com/c/OperationGCD

#1 Sunday Times bestselling author Stuart MacBride spoke to me about playing god, why there are no shortcuts for writers, and his latest Logan McRae novel THIS HOUSE OF BURNING BONES. Stuart MacBride is the Sunday Times No.1 bestselling author of the Logan McRae and Ash Henderson novels. He's also published standalones, novellas, short stories, and a “... slightly twisted children's picture book.” His latest novel, THIS HOUSE OF BURNING BONES, is the 13th in the popular Logan McRae series. “A gritty police procedural that perfectly blends dry humor and psychological elements, this brand-new installment in the Logan McRae series celebrates 20 years since the beloved detective's first appearance in Cold Granite (2005).” The Washington Post wrote of the book, "Though part of a series, this novel stands successfully on its own, its characters fleshed out and in full possession of their idiosyncrasies." Lee Child, New York Times bestselling author of the Jack Reacher series, said, "Stuart MacBride is an automatic must-read for me . . . always fast, hard, authentic – and different."  [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Stuart MacBride and I discussed: Why your first novel will definitely be crap How finally getting his first agent went sideways The decision to have his protagonist age in real time Taking a five-year hiatus from the popular DI Logan McRae series Why he writes his novels as screenplays first And a lot more! Show Notes: stuartmacbride.com This House of Burning Bones (Logan McRae, 13) by Stuart MacBride (Amazon) Stuart MacBride Amazon Author Page Stuart MacBride on Facebook Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Dev Game Club, where this week we continue our series on empathy games, returning to discuss a little more about Papers, Please before digging into Cart Life a bit. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: A bit more of Papers, Please and a little bit of Cart Life Issues covered: thanks for the interview, a bit about Twin Suns Corp, showing earlier versions of the game, a vertical slice with all the game play, getting fired, building up through the systems, was this my run, tactility in games, citations and the space they take, space economy, inventory management by comparison, encumbrance, restriction on space, card games and space, making citations bigger, where's the money coming from, thinking about decisions, the save system, leveraging the save system to have space for warnings, a generous save system, you have to make the whole game, the spread of subversion, not playing through multiple times, an unfortunate bug, GDC and the IGF, festival games on the show floor, a history of game issues, the two storylines we're playing, a dark story of divorce, differences between the cart stories, more adventure game than expected, having a hard time getting a cart and also being too late to pick up your daughter, difficulty and opacity, a film equivalent, Brett's fantasy recs, Papers Please and authenticity, controlling your population in authoritarian regimes, stereotypes in games. Games, people, and influences mentioned or discussed: CalamityNolan, BioStats, Kaeon, KyleAndError, Project Octavia, Harley Baldwin, Republic Commando, Choose Your Own Adventure, Mark Garcia, The Room, SpaceTeam, Gorogoa, The Elder Scrolls, Marvel: Snap, Magic: The Gathering, Yu-Gi-Oh, Netrunner, Prince of Persia: Sands of Time, The Last Express, Nier: Automata, Spelunky, The Walking Dead, Richard Hofmeier, howling dogs, Porpentine, itch.io, Ad Hoc, Telltale, The Wolf Among Us, Adventure Game Studio, The Sims, Tow, Rose Byrne, Max, Chronicles of Thomas Covenant the Unbeliever, Raymond Feist, Riftwar saga, Piers Anthony, The Belgariad, David Eddings, Wheel of Time, Robert Jordan, Song of Ice and Fire, George R.R. Martin, Dave Duncan, Ursula K. LeGuin, Tales of Earthsea, Robert Jackson Bennett, Divine Cities trilogy, Founders trilogy, Terry Pratchett, Discworld, Adrian Tchaikovsky, Shadows of the Apt, Robin Hobb, Farseer trilogy, Martha Wells, Murderbot Diaries, Books of the Raksura, Lois McMaster Bujold, Vorkosigan saga, J. R. R. Tolkien, The Hobbit, The Lord of the Rings, John LeCarré, Lee Child, Jack Reacher, Claudiu, Chernobyl, Outer Wilds, Kirk Hamilton, Aaron Evers. Next time: More Cart Life Oops: What I was going to say at the end there is that This War of Mine caught some flak for not accurately representing how people would come together in times of strife (though generally the critical reception was very positive) Links: First look stream of Project Octavia  Twitch: timlongojr and Twin Suns Corp  Discord  DevGameClub@gmail.com 

Hey writers! Sarina here! I have never been quiet about how much I enjoy Karin Slaughter's work. So when the opportunity arose for me to read her brand new book, We Are All Guilty Here, and then interview her about it, I raised my hand faster than an extra in a deodorant ad. The new book is a series starter with a kickass female heroine, and I could not have loved it more! Join as as I quiz Karin on: * How to write a sweeping series starter* Small towns as a setting. How small is too small?* The difference between a procedural and psychological suspense* Character development and much more! Karin is incredibly smart and such an important voice in suspense. You won't want to miss this one!Other favorite's of Karin's that we discussed include:Pieces of Her The Grant County seriesHey, Jess here to talk to you about a series I have created just for supporters of the #AmWriting Podcast.I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that has a place in the market. It's timely. She's the perfect person to write it, and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast.So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry, she knows very little about how one goes about writing a book—so essentially, this is as I mentioned before, from soup to nuts, From Authority to Author, and hopefully we'll get her there.But really, whether or not this book ends up selling, whether after this book she ends up having a speaking career, this is about the process of preparing to do that. I hope you'll join us.This series is for supporters only, so if you are a free subscriber right now, consider upgrading. Remember, if you upgrade, you'll also get the ability to submit for our First Pages Booklab, and lots of other fun stuff that we put out just for supporters—So come join us. It's a lot of fun.Transcript below!EPISODE 461 - TRANSCRIPTJess LaheyHey, Jess here to talk to you about a new series I have created just for supporters of the Hashtag AmWriting Podcast. I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that—it has a place in the market, it's timely, she's the perfect person to write it—and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast. So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry. She knows very little about how, you know, one goes about writing a book. And so she—essentially, this is, as I mentioned before, From Soup to Nuts, From Authority to Author, and hopefully we'll get her there. But really, whether or not this book ends up selling, whether this book—she ends up having a speaking career—this is about the process of preparing to do that. How do you write a book? How do you prepare to become a speaker on the back of that book? So I hope you join us. This is a series for supporters only, so if you are a free supporter—or if you're a free subscriber right now—consider upgrading. Remember, if you upgrade, you'll also get access to the ability to submit for our First Pages Booklab and lots of other fun stuff that we put out just for supporters. So come join us. It's a lot of fun.Multiple SpeakersIs it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Sarina BowenHello, my name is Sarina Bowen, and you're listening to the AmWriting Podcast. This is the podcast about writing all the things—short things, long things, fictional things, non-fictional things, pitches and proposals—in short, this is the podcast about sitting down and getting the work done. I am alone today with an interview that I could not be more excited about. I don't know how I drew the long straw here, but today I have the pleasure of interviewing Karin Slaughter. She is the author of more than 20 instant New York Times best-selling novels, including the Edgar-nominated Cop Town and standalone novels The Good Daughter, Pretty Girls, and Girl Forgotten. That's actually an amazing one, by the way—go read it. She's published in 120 countries, with more than 40 million copies sold across the globe. She also has a number one Netflix series and another long-running series. She has hit all the bells and checked all the boxes in thriller land, and she is also just one of my favorite writers. So happy to be here. Welcome, Karin Slaughter.Karin SlaughterIt's my pleasure. Thank you.Sarina BowenWe're here to talk about your August release, which is called We Are All Guilty Here. I received this ARC a few months ago—actually read it immediately—because I love your suspense, and I also was really excited to see that it was clear as day on the release. So you owe me now that it's a series starter.Karin SlaughterIt is, yeah. It was a lot of fun planning it out.Sarina BowenOh, good, yeah. And I want to hear a little bit about that, but I'm just going to read the very short flap copy for We Are All Guilty Here so we all know what we're talking about.[Reads flap copy]The first thrilling mystery in the new North Falls series from Karin Slaughter. Welcome to North Falls—a small town where everyone knows everyone. Or so they think. Until the night of the fireworks, when two teenage girls vanish and the town ignites. For Officer Emmy Clifton, it's personal. She turned away when her best friend's daughter needed help—and now she must bring her home. But as Emmy combs through the puzzle the girls left behind, she realizes she never really knew them. Nobody did. Every teenage girl has secrets. But who would kill for them? And what else is the town hiding?So, flap copy very much pitched as a thriller. Here is the problem here—you know, we're wanting the solution, but I would argue that your novels are always, always about bigger than the problem and its solution. So how did you conceive of this town, and what does North Falls mean to you as you were getting into it?Karin SlaughterWell, I mean, North Falls is a very small town inside of a larger county. So it's rural, but it's not tiny like my Grant County Series. And I think that I learned some lessons in Grant County—mainly, make it a larger town so there's more people you can kill, because at a certain point, why would anyone live in this tiny town? But also, I knew going into it that it was going to be a series. And so, you know, unlike Grant County and Will Trent—which I was hoping would be series, but I wasn't sure, and I was at a different point in my writing life—you know, I'm pretty sure, 25 books in, that they're going to publish at least two or three more of my books. So I thought, let me set this up as a series, and let me do this world building that can carry on into several books, and let's make this town. You know, North Falls is the seat of the county, but it's also in a county called Clifton County. And the main narrator you meet is called Emmy Clifton, and she's a sheriff's deputy. Her father, Gerald Clifton, is the sheriff of this county. There are Cliftons everywhere—there are rich Cliftons and poor Cliftons—and so you have this family saga potential. But also, it gave me the opportunity to plant a lot of different seeds that will later grow into novels. So I was really happy about that, but I definitely structured the county in a way where there's plenty of space to tell stories.Sarina BowenRight. So I noticed, and when I read a book like this, I am reading it as a reader, but also as a writer.Karin SlaughterYes.Sarina BowenAnd so I really noticed how long the character count in this book is—by which I mean how many characters there really are, how many named characters. There's so many of them, and that felt really fearless to me, you know, like you weren't sitting there at your keyboard wondering if you were going to ask your reader to remember this other family member, but you just went for it. And is that something that you ever try to balance? Like, you're not taking it easy on us here, and ultimately, I loved every word of it. But do you ever worry about that? Like, do you let that voice from other books past into your brain to say, like, well, that one time…Karin SlaughterNot really. You know, I think a writer's job is to trust the reader, and it's certainly my job to tell a story that is gripping and that makes sense and that pulls them into the world. And so what I was thinking about as I was writing this was, I need to write these characters in such a way that you care about them; otherwise, you won't care what happens. And, you know, Emmy is in a pretty universal position for a lot of millennial women. She's in a marriage that's not a great marriage. She's trying to raise her son. Her parents are starting to get older—you know, they're failing a little bit—so she's noticing that. And in the middle of this, she has this horrific crime happen where these two girls are abducted. And because they are in this small town, she knows one of these girls, who's actually a stepdaughter of her best friend—her best friend since kindergarten—and so just that one thing happening blows her world apart. To me, that's what the hook is. You know, there's this greater mystery of what happened to these girls, what's going to happen, who took them—all those things—but there's also something that I rely on a lot in my books, which is the mystery of character, and people wanting to know more about how does Emmy navigate this. What happens to her brother and her sister-in-law, and this handsome guy who is the school resource officer? You know, how does this all play out? And that, to me, is the job of the writer—to make these characters interesting and make the plot and the balance of the character stories fit together in a way that, you know, when there's not a car chase or a gunfight or whatever, you still want to keep reading because you're involved in the mystery of the character.Sarina BowenYeah, and we sure are. And Emmy is just the beating heart of this book, but she is not your only point of view character. And how—is that something you really have to fiddle with as you go, like, do you try on other point of view characters and then pick the winners as you go?Karin SlaughterYeah... I never have, you know, I think that I'm a very opinionated writer. I have a very firm sense of point of view. And so I knew that Emmy was going to get the bulk of the first part of the story. And then I knew that Jude was going to come in when she came in, and that I would have to build out, like, just drop the reader in this unfamiliar, new world, right in San Francisco, with like, a completely different character, and you don't know what's going on, and you make assumptions about her based on what she does for a living and all this other stuff. And you know, I knew that was coming all along and that the book would be told from these two women's points of view. I never felt—other than the early part with Madison, one of the girls who is abducted—I never really felt like anyone else could tell these stories.Sarina BowenOkay! And you mentioned that you learned some things from writing your Grant County Series that informed your choice of the size and milieu of what you chose for North Falls and for Clifton County. What do you think? How did it feel to start a series in 2025 versus starting one, you know, a decade ago? Like, is there anything about the world that made your choices different, or is it all, um, you know, coming from what you've learned as an author?Karin SlaughterYeah, I think it's cumulative. I mean, the point of being an author with a 25-year career is to learn from each book, and I never want to feel like when I finish a book, oh, that's perfect. I can't do better than that. I always, you know, want to learn something, and then the next book I want to try something new. I mean, I could have just kept writing Will Trent novels and occasionally standalones for the rest of my life. I mean, and I am going to write more Will Trent novels interspersed with North Falls. It's really important to me to—I love that character, I love Sara Linton, and I want to keep telling those stories. And I actually have another idea for a standalone I want to do. But, you know, the point of being a writer is to get better at it. I think anybody who loves writing and the challenge of writing, and feels a calling, wants to be better with each story—to hone certain skills, to do novel things (to use a pun there) in their writing that challenge them and make the work more interesting—and that's what I try to do with every book. So starting North Falls this far into my career was a leap, but I think, hopefully, it's one that has paid off for me as a writer, just to have the ability to tell new stories and kind of prove that I've got more stories in me.Sarina BowenYeah, I confess that I regularly have moments where I stop myself and ask, have I said this before this way? Have I done this little thing before? And what would you tell me about that—like, to just, like, get over myself? Or, you know, what happens when you come to a moment like that in your own story craft?Karin SlaughterWell, I mean, in polite terms, you could think of it as an homage to yourself. I mean, honestly, I'm writing about murder. I'm writing about violence against women. I mean, I do write about men dying, but no one seems to care—so sorry, guys. You know, I had one book where I killed, like, six men, and then the next one I killed one woman, and they were like, wow, this return to violence. I'm like, come on, guys. But yeah, you know? So I think how you do it is you have to think of it through the lens of the character, and that's a choice I made in Grant County and Will Trent—was that they were going to be affected by what happened in the previous book, right? So, you know, you don't have a situation—you know, I love series novels, but there are some where… and Jack Reacher is an exception because I love Jack Reacher, and every Reacher book is: he gets to a new town, people are doing bad s**t, and he shoots a lot of people, and he makes it right, you know. And I love Jack Reacher. But, you know, some writers do write the same thing over and over again—they have the same concept or the same gimmick—and that's never been a career that I'm interested in. For me, I want to tell new stories and do new things. And, you know, after a while you run out of crimes that are new crimes. You know, I've written about abduction before, I've written about abuse before, but it's the character—the way the character sees a story, and the connection, the emotional connection the character has—that makes a difference. And, you know, in many ways, it's harder to write a novel in North Falls, where Emmy has a personal connection to the crimes that are occurring, as opposed to writing a Will Trent novel set in Atlanta, where, you know, it's a stranger to them. And so I have to...Sarina BowenIf Will Trent knew—yeah, if Will Trent knew every dead person, that would just seem weird.Karin SlaughterYeah, exactly, yeah. And so I have to find a way into the story, and with Will and Sara, for instance, it's a little more difficult than something where, okay, there's this immediate emotional connection, because I'm writing in North Falls more psychological thrillers, as opposed to Will Trent, which is more procedural.Sarina BowenOkay, can I poke you about that a little bit? Because, um, these words are used a lot. Procedural, to me, I've always understood to be a professional character. So Emmy Clifton is a law enforcement officer—she's a pro—so in strictly, strict definition, this is a procedural novel. But how do you feel the difference between psychological versus procedural functions in those two series?Karin SlaughterWell, you know, I think absolutely, if you want to be strictly by definition, it would be procedural. But, you know, the thing about thrillers is they're all things now, right? I mean, you could call it domestic—a domestic thriller, or domestic mystery, or whatever—you could call it, you know, a family story. And I think of it more as a saga, because it is about a family spanning generations, and this town spanning generations. But, you know, yeah, there's a procedural element. There's also—like, it's very emotionally tied into the character. There's a darkness to it, so it's psychologically, you know, you're very close to the bone on it. And I think that's why I would call it more of a psychological thriller, as opposed to Will Trent where, you know, it's very led by the investigatory steps, right? Like, you know, if Will Trent is going to be there, they're going to talk to witnesses, they're going to talk to suspects, they're going to, you know, have to fill in with their boss. There are just different parts of that that, in one way, the structure makes it easier to write than something like We Are All Guilty Here. But, you know, with this in particular, where you have it talking about not just the crime, but how f*****g hard it is to grow yourself into a woman, as Emmy says, and friendships and relationships and family and dealing with aging parents and, you know, siblings and that sort of stuff—that, to me, is what makes it more in the realm of psychological.Sarina BowenOkay. I've actually really admired the way that you sometimes walk the line on this. For example, I really enjoyed Girl Forgotten, which is the character that is first introduced in Pieces of Her, where she is not a professional. And then in Girl Forgotten, she has joined a law enforcement agency, but it's still her first day on the job—which is just such a wonderfully fun way to throw things at that character—because then it becomes both a procedural and not. Like, she is technically a professional, but she doesn't know what the heck she's doing, and not everybody there is willing to help her. So to me, that was a fantastically fun way of making both things true at once. And when I was reading that book, and of course then this one, I wonder—how you get the legal—the law enforcement stuff? So, like, how did…I know that by now, at this point in your career, you must have many people you can talk to about this, but how did you start that? Like, how did you inform yourself of what you didn't know so that you could fix it and not get those things wrong?Karin SlaughterYeah, you know, when I wrote my second book, I had met a guy who's a doctor, and he is married to a pediatrician, and his brother works on a body farm in Texas. So this is, like, the perfect family for me for what I'm doing to make Sara the smartest doctor on the entire planet. Because, you know, it might take my friend David, who advises me, four days to come up with a solution, but Sara has to do it in half a paragraph. So she's definitely the doctor you want if anything very unusual happens. I mean, her career would be the subject of scholarly articles forever.Sarina BowenZebra is not horses for her.Karin SlaughterExactly, yeah. And so I am…I have them—I have a lot of police officers I speak to, a lot of retired GBI officers. One of them was very helpful in this novel because, you know, the GBI—it escalates, you know, crimes in the state of Georgia escalate completely when there's a child involved, just because, you know, somebody who's in Fulton County can't jump to Acworth, for instance, as far as policing, but the GBI is in charge of the entire state—Georgia Bureau of Investigation—so they handle a lot of kidnappings and abductions. And most of the time, you know, it's statistically…there's a 1% chance it's going to be a stranger. Usually it's a parent or “Uncle Bob,” or, you know, the youth pastor, or someone like that who has access to a child. And so she hooked me into the Center for Missing and Exploited Children, which is a remarkable resource. And, I mean, I think they're just amazing in what they do. But, you know, the thing is, as much as I know about this stuff, I always check my work because I'm not a professional. And, you know, it's very rare these days, I think, for people to say, hey, I'm not an expert in this, let me talk to someone who is and has spent 20 years becoming an expert. But it's really important to me to get those details as correct as I can. Now, they're not always going to be 100% accurate because I'm telling a story, you know? If putting in a chest tube takes 20 different steps…Sara's going to do it, you know, in like a sentence.Sarina BowenRight.Karin SlaughterSo I have to—but I feel like I need to know the rules and I need to know the facts before I fudge them so that I can still give them a sense of believability. I'm writing…not writing textbooks, I'm writing fiction, but I want to be as accurate as possible, and I think that's really important, you know? And I know that a lot of my readers are very immersed in true crime and podcasts and all these sorts of things. And sometimes you can get the accurate information from those. A lot of times you don't. And I want them to say, wait a minute, you know, on “Murder Death Podcast”, they said this would never happen, and if they look it up, or they talk to an expert, they'll be like, ha, “Murder Death Podcast” was wrong. You know, maybe I shouldn't trust this guy or gal who's doing a podcast out of the backseat of her car for my forensic knowledge. So that's my job as a writer—to get it as factually accurate as I can.Sarina BowenYeah, and there are areas, um, where readers care more. Like, when I ask readers, um, what do you—what drives you nuts in research? It's the nurses are really, like, um, triggered by bad medicine. But…Karin SlaughterYeah.Sarina BowenBut there are some areas, you know, like technology, and there are some places where, you know, less accuracy—or more creative accuracy—is more excusable than if you do the nurse thing wrong, because they will come for you.Karin SlaughterYeah, yeah, they will. Or guns…Sarina BowenRight.Karin SlaughterYou know? And it's really because the armorer for the GBI—I actually confirmed some details with him in a book—and, like, some guy in, I don't know, Idaho sent me this angry email saying I got it wrong. And I'm like, talk to the armorer, right? I mean, people…people just want to fight sometimes. But yeah, nurses can be brutal when they come for you. It's like, come on, man. It's funny that you mentioned doctors, actually; doctors are like, you know, people get it wrong, but nurses are like, no, you got this wrong, you need to apologize.Sarina BowenIt's funny that you mentioned the guns, because I heard last year Gregg Hurwitz speak, and he said, “Don't get the guns wrong. The gun people will come for you. And don't hurt the cat, because the cat people will come for you.”Karin SlaughterTrue. It's true. I would say the cat people are more brutal than the gun people.Sarina BowenYeah.Karin SlaughterAs it should be. You should never hurt an animal in a book.Sarina BowenRight. So back to the idea of a series again. I was so excited to see that this will be a series, and I—the expansiveness of the first book makes a lot of sense series-wise. What do you think is actually harder about writing a series versus a standalone, or the reverse?Karin SlaughterWell, you know, in a standalone, the stakes can be much higher because you're not going—you can damage these characters. I mean, you can kill the characters. You can kill them all by the end of the book, you know? So the sense of jeopardy is always heightened in a standalone, at least in my standalones, because I'm not precious with people, even if they're narrators. But, you know, I think it's really important to—no matter what you're writing—just keep in mind that there's someone out there who has experienced the crimes you're writing about. And, you know, a case of gender violence is happening right now, and right now, right now, and right now, right? So it's like every second of the day in the world, it's happening somewhere. And I keep that in mind when I'm writing, and I want to make it matter. I don't want to use it for effect—it's not titillating or sexualized, or any of those things. So, you know, when I'm writing—whether it's a standalone or a series—I want to set up that world where the lives of these people matter, and you understand that the loss of life is felt in the community, and by the family, and the characters, and the investigators, and everyone there. And so, you know, the challenge with the standalone is finding that world, building that world, and then leaving that world, right? It's a lot of work, as opposed to in a series where you know you're going to carry it on. So you have to be a little careful about how you structure things, and you don't want to leave your character in a place where the next book you don't know how they're going to go on, also. And so you have to have some sense of hope, or some sense of closing that one chapter and moving on to the other. I mean, I use a lot of humor in my books. I get a lot of questions about the violence, but I never get questions about the humor. I think it's really important to have that lightness among the darkness. I mean, my grandmother used to say, “You can't fall off the floor,” and I'm a big proponent of that. I think at some point, you know, you have to have some relief from it. And in a standalone, you know, you have a very short runway to do that, but in a series, you have a longer…you know, you can trust the reader, as they get to know these characters, that they have a little more empathy and sympathy with what they're going through.Sarina BowenYeah, so you mentioned darkness, and I've been thinking a lot about this. And your books have some very dark topics and themes, as they must, because you are carrying storylines that are, um, can be very dramatic and have very high stakes. One thing I've noticed about your books, and why I like them so much, is that even in the year of our Lord 2025, when I pick up a Karin Slaughter book, it could be dark as anything, but I know from at least chapter one and a half who I am rooting for and who I care about. So Emmy is a wonderful example of this. Ten minutes into my journey with her, I know that she's my girl. You know, I'm very invested in her, even though that does not mean she has to be perfect, that she isn't flawed, or that she even knows what's going on—but I know, because of the cues that you've given me, that I'm supposed to care about her, and I do instantly. So when I began reading lots and lots of suspense three or four years ago, as I was writing my own, I very quickly sorted all of the suspense in the world that's selling right now into two pots, without trying to—which is the books where I know who I'm supposed to root for immediately, and the books where you don't. And I noticed that that second category is awfully popular now, and maybe is sort of on an upswing, like where the mystery, the story, might be very beautifully rendered, but I don't necessarily care about any of the people, or I'm not sure who to pull for. And that's not because these books aren't well written, but because that's a mood, and I wonder if you've noticed that, and, um, and how you feel about it, just from a writerly perspective. Like, what is going on there? Like, why is there so much darkness in the reader's perspective, and, you know, not just in the themes right now?Karin SlaughterWell, I mean, I think it's where we are, just in the world, right? You had a lot of that before 9/11, and then there was a need after—I mean that, and I speak to 9/11 because that's…my first book was published a few days after 9/11, so…Sarina BowenOh, wow.Karin SlaughterAnd there was this idea, like, you saw it in the TV show 24, where there's good and bad, and there's, you know, black and white. It's very—and then we've moved definitively toward grays. But, you know, I like books where you know where you stand. And I have written books with unreliable narrators at times, and, you know, Gillian Flynn did it best and kicked that off. But, you know the thing about an unreliable narrator or an antagonist being your narrator is, I prefer a Tom Ripley, right? I mean, Tom Ripley, Patricia Highsmith's character, is decidedly a bad guy. He murders and steals and, you know, but you're rooting for him, even not to get caught, you know. And a lot of the tension comes from him making really stupid mistakes, and you're cringing as a reader and thinking, God, how's he going to get out of this? And I don't want him to get arrested, even though he's this bad guy. And I love books that play against that. I think sometimes we have books where people—I mean, what you're saying about not knowing who to root for—I mean, if they're a good antagonist or they're a good foil, like a Moriarty…I mean, a lot of times you're not rooting for Sherlock, you're rooting for Moriarty. It just depends on how it's drawn. But for me, I just felt like, you know, this is sort of a return to Grant County, which is…I started writing Grant County, and, you know, you believe that Jeffrey and Sara and Lena, for the most part, were always trying to do the right thing. And I think we've lost the benefit of the doubt for a lot of people—particularly police officers have lost the benefit of the doubt—which is very troubling, because they police with our consent. And we need to understand who we're giving consent to. And we need to understand—you know, “defund the police” has been, like, a buzz…buzzword, phrase, whatever, for a while now, but rural areas, particularly in smaller states, have been defunding the police for years. And it's not a movement or anything; it's just not paying people enough money to live off of, right? So we've got police officers who have two or three jobs, rather than professionals who have one job, and that pays their bills, and they can take care of their responsibilities with that. So we've been defunding them. We don't give them enough training, and we're just seeing an erosion of that. And so it's something that I'm going to talk about a little bit in this next novel—is that defunding of police and how it's been, like, a nationally…it's been a real issue. We're seeing a deterioration in police forces because of it, and particularly in retention. And so that's definitely something I want to talk about, but I think you have to put it in context and take the politics out of it, because it's not politics. It's just people not having money to pay, or choosing not to pay for services that they really need.Sarina BowenRight. Or it is politics. It's just not party politics. It's just…Karin SlaughterExactly, yeah, yeah.Sarina BowenIt's just bad politics.Karin SlaughterYeah, well, it's bad social engineering.Sarina BowenYes.Karin SlaughterBasically. So it's there…if you could look at it from a sociological standpoint, it's just a really bad idea. And, you know, you don't retain good officers. So what do you have when that's over? You know, and not to say, like, paint entire police forces as bad because they're just not making money—but, you know, it takes…all it takes is a few bad cops, and a police force is in jeopardy.Sarina BowenRight, like, would you rather live in a state where the cops and the teachers were paid well, or a state where they weren't and…?Karin SlaughterYeah, yeah.Sarina BowenWell, I really appreciate you taking the time to talk with us today about all of these story craft problems that were mired in all week along. If listeners want to find you, where is the best place for them to look, besides the bookstore, where this this book is coming?Karin SlaughterWell, I I'm all over social media. All you have to do is search for me. You see a little black cat with gorgeous green eyes. That's my baby boy, Dexter. So that gives you an indication of it. You're in the right place, or Facebook, obviously, but yeah, I'm all over the place.Sarina BowenWonderful! Thank you so much for being with us today, and listeners, until next week—keep your butts in the chair and your heads in the game.Jess LaheyThe Hashtag AmWriting Podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

On this week's show we ask what ever happened to the Ring Indoor Security Drone and we take a look at the Top Ten Streaming shows for the first half of 2025. We also read your emails and take a look at the week's news. News: DirecTV tests convenient new feature for streaming customers Google Home speaker debacle worsens with more failures Social platforms and streamers battle for the living room What Ever Happened to the Ring Indoor Security Drone? I was thinking about all the cool stuff that had been introduced at CES over the years and remembered one that I really wanted to use, the Ring Indoor Security Drone. It's perfect for those who own a home and may want to check in on parts of it without placing cameras everywhere. So what happened to it? Amazon's Ring Always Home Cam, a $249.99 indoor security drone announced in 2020, remains unreleased with no confirmed launch date. Initially planned for 2021 and showcased at CES 2023, it was part of an invite-only U.S. program, now discontinued. Ring's CEO confirmed ongoing development in 2024, citing challenges with mirrors, windows, and cost. Privacy concerns, technical limitations like a five-minute flight time and inability to navigate stairs, and user frustration on forums suggest delays. A July 2025 report hints at a possible limited release, but Ring's focus seems to have shifted to AI features and other products. Top 10 Streaming Shows of the First Half of 2025 The first half of 2025 has delivered an exciting lineup of streaming shows that have captivated audiences across platforms. From gritty dramas to thrilling action series, here's a breakdown of the top 10 streaming shows that dominated screens, as highlighted by The Streamable. Landman S1 (Paramount+) 14.44B min watched: A gritty drama following an oil field worker navigating the high-stakes world of the Texas oil boom.   1923 S2 (Paramount+) 13.29B min watched: The Dutton family faces new challenges in the early 20th century as they fight to protect their Montana ranch during turbulent times.   The Night Agent S2 (Netflix) 8.66B min watched: FBI agent Peter Sutherland dives deeper into a web of conspiracies, balancing loyalty and danger in a high-octane thriller.   MobLand S1 (Paramount+) 8.04B min watched: A crime drama exploring the gritty underworld of organized crime in a small, corrupt town.   Love Island USA S7 (Peacock) 8.01B min watched: A group of singles navigate romance, drama, and challenges in a tropical villa to find love and win a cash prize.   Ginny & Georgia S3 (Netflix) 6.32B min watched: The mother-daughter duo faces new secrets and struggles as they adjust to life in a small town with a dark past.   The Pitt S1 (HBO Max) 6.24B min watched: A high-intensity medical drama set in a Pittsburgh hospital, focusing on the personal and professional lives of its staff.   The Residence S1 (Netflix) 6.06B min watched: A comedic murder-mystery centered on a quirky staff navigating scandals and secrets in the White House.   Zero Day S1 (Netflix) 5.97B min watched: A tense political thriller about a cyberattack that triggers global chaos, led by a retired operative seeking answers.   Reacher S3 (Prime Video 5.96B min watched): Jack Reacher tackles a new conspiracy, using his brute strength and sharp mind to unravel a dangerous mystery. Netflix led with four titles, while Paramount+ had three. The Streamable notes that HBO's The Last of Us and The White Lotus would have made the list if non-originals were included. The data underscores the competitive streaming landscape, with platforms like Paramount+ and Apple TV+ gaining ground against Netflix

WHO is Keyser Soze?It was one of the more intriguing questions posted within cinemas in the Summer of 1995 and for good reason.  Identifying this mysterious spectral crime boss whom EVERY ONE else on screen was afaid of became the central mystery of this small indie crime thriller from a couple of relatively untested fimmakers with a very electic cast.  The director was Bryan Singer (X-Men Days of Future Past, Bohemian Rhapsody) and the Oscar-winning screenplay was by Christopher McQuarrie (Mission Impossible Fallout, Jack Reacher).  The stacked ensemble cast included Gabriel Byrne, Benicio Del Toro, Stephen Baldwin, Kevin Pollack, Chazz Palminteri, Giancarlo Esposito, Dan Hedaya, Suzy Amis, and Kevin Spacey who also won an Oscar for his memorable performance as Verbal Kint...or was it some one else? ;)  This twisty action drama became one of the most talked about films of that year and eventually one of the more beloved, influential films of the 1990's.  Now approaching its 30th Anniversary, it's time to head back to the docks of San Pedro and find out if there actually IS any dope on that boat......  Host & Editor: Geoff GershonEditor: Ella GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

It's the ultimate action movie showdown — JOHNS vs JACKS!

It's the ultimate action movie showdown — JOHNS vs JACKS!

Welcome to another episode of Death Don't Do Fiction, the AIPT Movies podcast! The podcast about the enduring legacy of our favorite movies! It's June, so that means it's time for our “Junesis” series! Where we cover movies based on/revolving around video games! In this week's episode, Alex, Tim, and returning guest K-Tron discuss Jean-Claude Van Damme and Capcom's misguided 1994 attempt to capitalize off the 90s video game craze, Street Fighter!Comical shirt-removal! Unpaid Russian labor! Bison bucks! Bisonopolis! Food court design! A playful arms deal! DNA Mutagens! Godzilla sound effects! Fake chest hair and poorly drawn-on tattoos! Serial Killer artwork! A bone chandelier and a skull fireplace! Cool looking evil soldiers! Bizarre Capcom product placement! Clever use of arcade game buttons! Questionable Hawaiian music! A hostage pit! A fascist dictator attempting to be seductive! Not that much street fighting! An early example of an antagonistic Zoom meeting! A scenery-chewing cast that includes Ming-Na Wen, a hilarious Andrew Bryniarski, Byron Mann, Kylie Minogue, Wes Studi, a blonde Jean-Claude Van Damme, and Raul Julia in his final film role! A troubled production where most of the budget was spent on its two main stars, that ends with one of the most awkward freeze frames in movie history!In addition, K-Tron shares some spoiler-free thoughts on V/H/S/Beyond, 1959's Some Like It Hot, and 1965's Faster, Pussycat! Kill!, while Alex does the same for 28 Years Later, Predator: Killer of Killers, 1991's Naked Gun 2.5, and the 2012 Tom Cruise action-thriller, Jack Reacher!You can find Death Don't Do Fiction on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The Death Don't Do Fiction podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris and Tim Gardiner, the show gives you a peek behind the scenes from three filmmakers with oddly nonexistent filmographies. You can find Alex on Twitter, Bluesky, or Letterboxd @actionharris. You can follow K-Tron on Letterboxd @puddingtaco. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the Death Don't Do Fiction crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter or Instagram @aiptmoviespod.Theme song is “We Got it Goin On” by Cobra Man.

On The Other Side of Midnight, Lionel starts off the show talking about barbecue, Jack Reacher, hot hospitals and cool streets. Lionel later talks about the unexpected result coming out of the NYC democratic primary election, believing fake news through history, the death of the FedEx founder and much more. Lionel starts the third hour talking about the wonders and challenges of marriage. He later examines children bullying each other and the concerning behavior that parents should be vigilant of to make sure they aren't raising a psychopath. Lionel wraps up the show talking about candy addictions. He later touches on the anniversary of the death of General Custer, his disdain for Jeff Bezos and President Trump going on a new tirade against fake news. Learn more about your ad choices. Visit megaphone.fm/adchoices

On The Other Side of Midnight, Lionel starts off the show talking about barbecue, Jack Reacher, hot hospitals and cool streets. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us this week as we invite actor Jai Courtney (Suicide Squad) and director & writer Sean Bryne (The Loved Ones) onto The Filmmakers Podcast to chat about their latest feature film Dangerous Animals which is out in cinemas on the 6th June! Giles Alderson sits and has a great natter with Jai Courtney about acting on the sea, why he takes parts, filming in Australia, what he looks for in a director and shooting Dangerous Animals. Then he talks to director Sean Bryne about genre filmmaking, action, stunts. How he made his debut The Loved Ones. Issues on set and overcoming obstacles as an indie filmmaker and the importance of prep and storyboarding. Jai Courtney's breakthrough came with the role of Varro in the Starz historical drama series "Spartacus: Blood and Sand" and he quickly followed that up with roles in Tom Cruise's "Jack Reacher" and Jack McClane Jr., in "A Good Day to Die Hard" with Bruce Willis. He played Eric Coulter in the "Divergent" film series (2014-2016) and portrayed Kyle Reese in "Terminator Genisys" (2015), and in Stuart Gatt's Catching Dust. One of his most recognizable roles came in 2016 when he joined the DC Extended Universe as Captain Boomerang in David Ayer's "Suicide Squad," a role he reprised with critical acclaim in James Gunn's "The Suicide Squad" (2021). Sean Byrne first gained international acclaim with his 2009 debut feature, "The Loved Ones." The darkly comedic horror film captivated audiences and critics alike, winning the People's Choice Award in the Midnight Madness category at the Toronto International Film Festival. He followed up with "The Devil's Candy" in 2015, a heavy metal-infused horror film. DANGEROUS ANIMALS is in CINEMAS on the 6th JUNE! OTHER LINKS DIRTY BOY Premiere at Raindance tickets https://raindance.eventive.org/schedule/dirty-boy-68234eda5e47ea122831f7f4 FOOD FOR THOUGHT documentary out NOW | Watch it HERE. A documentary exploring the rapid growth and uptake of the vegan lifestyle around the world. - And if you enjoyed the film, please take a moment to share & rate it on your favourite platforms. Every review & every comment helps us share the film's important message with more people. Your support makes a difference! PODCAST MERCH Get your very own Tees, Hoodies, onset water bottles, mugs and more MERCH. https://my-store-11604768.creator-spring.com/   COURSES Want to learn how to finish your film? Take our POST PRODUCTION COURSE https://cuttingroom.info/post-production-demystified/   PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on film-making? Join our Patreon for bonus episodes, industry survival guides, and feedback on your film projects!   SUPPORT THE PODCAST Check out our full episode archive on how to make films at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is written, edited and produced by Giles Alderson @gilesalderson Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ethan Hunt (Tom Cruise) and the rest of the IMF crew are back for ONE last mission....to save the world from The Entity, a massive artificial intelligence collective which has spread so far it is now on the verge of taking over every major nuclear weapons arsenal.  And the President (Angela Bassett) is running out of options as Ethan still has possession of ONE key item which our AI overlord still needs....a cruciform key.  As this is a direct continuation of the previous Mission: Impossible sequel (Dead Reckoning) from a couple of years ago, most of that film's key cast returns including series stalwarts Ving Rhames and Simon Pegg, along with Hayley Atwell, Pom Klementieff, Henry Czerny, and Esai Morales as the villainous Gabrial.  Also returning is director Oscar-winning writer/director Chris McQuarrie (The Usual Suspects, Jack Reacher) who has now helmed his fourth Mission:Impossible film in a row.  Once again, the stunts gets crazier and The Cruise Missile seems to put his life on the line even more for the sake of pulling them off-screen - this leads to crazy action both underwater and up in the air!  Host & Editor: Geoff GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Kids, the story of how I met your mother includes a drifter with no phone and a body count Now Playing Podcast has a bonus Friday episode, free for all listeners! This time, the hosts take aim at Jack Reacher: Never Go Back, the 2016 Tom Cruise action sequel. Does the second Reacher film live up to the first, or should it have followed its own advice and stayed away? Find out in this all-new review, available now!

He's an expert at finding a parking spot in Pittsburgh. Which is no easy feat, let me tell you! In this week's new podcast, we're taking aim at Jack Reacher. Tom Cruise stars as the mysterious drifter and former military investigator in this gritty action thriller. It also marks the first time Cruise teamed up with director Christopher McQuarrie, a partnership that would lead to several Impossible films to come. Does this adaptation of Lee Child's popular novel One Shot hit the mark? Listen now as our hosts break down the action, the performances, and whether Jack Reacher stands tall or falls short.

Justin and William witness the Chromebook Challenge, Jack Reacher not asking girls to dance, and ChatGPT-Induced Psychosis. Justin also reviews Clown in a Cornfield.

It's been a real run of long-term champions recently and that continues anew this week as we say goodbye to Liam Starnes and hello to Ben Ganger, who puts together an impressive 4-game win streak. We also get a trifecta of hilarious Final Jeopardy! answers, a contestant tries valiantly to pronounce "Nate Bargatze", and friend of the show Alison Betts' innocuous comment on a Reddit post gets the J! fans fuming. Plus, we dive deep on Lee Child's creation, "Jack Reacher". Support the show! Head on over to patreon.com/jeopardypodcast, where your $5 donation will get you access to our entire back catalogue, access to our Discord, and access to our Masters coverage, which will join our usual monthly bonus episode this month (and that bonus episode is a DOOZY with a VERY special celebrity guest!). Help keep the show going and get more glorious content! Everyone wins! SOURCE: The Guardian: "Sacked at 40 and On the Scrapheap. Now Brummie Tops the US Book Charts" by David Smith; January Magazine: "The Persuasive Lee Child" by Ali Karim; Grantland: "The Curious Case of Lee Child" by Bryan Curtis Special thank you as always to the J-Archive and The Jeopardy! Fan. This episode was produced by Producer Dan. Art by Max Wittert. Music by Nate Heller.

Today we're headed back in the time machine to before the pandemic when everyone but us read this one m/m hockey book and lost their collective minds! Heated Rivalry is one of those books that romance lovers place high up on their keeper shelf, and we're talking about why, about how it really knocks sports romance out of the park (yes, we're aware that there is no knocking out of parks in hockey), and how it might be one of the books that launched a thousand hockey ships. We're talking about erotica vs. erotic romance vs. romance, about sexy secrets, about first names and about why it's always sexy when people say "I love you" in a foreign language. If you want more Fated Mates in your life, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.The BooksHeated RivalryThe Long GameNotesVisit the Fated Mates Collections Department for great romance recommendations organized by micro tropes, characteristics, subgenres, or things like Virgin Heroes. Check out Jen's collection Hoop! (There It Is) and listen to the 1993 hit song, Whoomp! (There It Is) by Tag Team.Barnes & Noble and Amazon holding sales during Independent Bookstore day felt super icky. If you missed it this year, maybe you can find a great indie to visit next year. It's always the last Saturday in April. Alan Ritchson is Jack Reacher, Alan Rickman is not.On the road to the NHL, the World Juniors is pretty important. Professional sports are notably homophobic, especially the NHL despite its history of hosting pride nights.

Jack Reacher may be one of the most iconic action book heroes of all time. Over 100 million copies of author Lee Child’s books have been sold. But the author who has taken over the series is perhaps a little less well known. Andrew Child, who also writes under the name Andrew Grant, is now carrying on the legacy of Jack Reacher for his older brother. He came to Portland for the 2024 Portland Book Festival to talk about the 29th book in the series, “In Too Deep.” 

Alan Ritchson is best known for playing Jack Reacher, an ex-military nomad who negotiates suspicious and dangerous situations. But in his new film, “Ordinary Angels,” Alan plays a father whose brawn is of little use in the face of his young daughter's illness. Last year, the actor joined Tom Power to talk about playing a dad desperate to save his child, what it's like to do a scene with an Oscar winner when you can tell she's not sure about you, and why he wrote a letter to Tom Cruise when he booked “Reacher.”

Jackie and MJ are back again for a Second Helpin'! This week, HILARIA berates her husband publicly in an attempt to be cute but definitely comes off pompous and MEAN, then she uses the 15 year old sister of her daughter's friend to let the world know her dropping the accent is Code Switching. Geoff introduced Jackie to Jack Reacher with 3 words 'Big Beefy Boys', and keeping with the theme of masculinity, MJ is trying the British police procedural  'Adolescents' and it's not fun. at all. TLC is dropping trailers for a new show called 'Poly Family' but it's not out until April! MJ also checked out 'Heretic', warns all airport travelers they will too, and MJ attempts to sell Jackie on 'Disco Foot' much to Bully Jackie's chagrin, plus even more!  Want even more Page 7? Support us on Patreon! Patreon.com/Page7Podcast  Subscribe to SiriusXM Podcasts+ to listen to new episodes of Page 7 ad-free.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

You may not immediately recognize the names, Lee and Andrew Child, but I bet you know the name, Jack Reacher. Lee is the creator of Jack Reacher and Andrew is now the man who will carry on the legacy of the man who all of us want to be like. Today, I am joined by the iconic and legendary duo and authors of the Jack Reacher series. We talk about so much including the nature of men, the power of good storytelling (whether you're a fictional author or just want to be a good dad), the “Robin Hood Myth,” the future of good literature in modern times, and how much individual personality goes into creating a character who will last.   SHOW HIGHLIGHTS 00:40 - The Power of 'J' in Protagonist Names 01:35 - Why 'J' Names Dominate Thriller Heroes 02:51 - The Science Behind Compelling Character Names 03:28 - Sherlock Holmes vs. Jack Reacher 04:52 - How Film Adaptations Alter Characters 06:20 - The Challenge of Casting Jack Reacher 07:32 - Tom Cruise vs. Alan Ritchson as Reacher 08:42 - Creating the Physical Presence of Reacher 09:53 - Transitioning the Jack Reacher Series 11:01 - The Natural Evolution of a Character 12:52 - How Personal Experiences Shape Fictional Characters 15:22 - The Organic Transition of Writing Reacher 16:45 - How Readers Shape Character Perceptions 18:54 - Balancing Character Description and Reader Imagination 20:13 - The Power of Storytelling in Fiction 22:07 - The Evolutionary Purpose of Storytelling 23:21 - Showing Virtue Through Action in Fiction 25:09 - Fiction as a Release Valve for Frustrations 27:00 - The Role of Storytelling in Managing Emotions 29:12 - Vigilantism, Justice, and Society's Reaction 31:45 - The Modern Robin Hood Myth 33:01 - Exploring Moral Ambiguity in Fiction 35:05 - Why Flawed Heroes Are More Compelling 36:33 - Reacher's Moral Code and the Power of Choice 37:44 - What Sets Reacher Off? 39:12 - Why Not Let Reacher Die? 40:40 - The Author's Duty to the Readers 42:30 - Balancing Creativity and Reader Expectations 45:03 - How Reader Trends Have Changed Over 30 Years 46:55 - Predicting Cultural Trends in Thriller Novels 49:03 - The Enduring Theme of the Underdog vs. the Bully 51:37 - Avoiding Heavy-Handed Messaging in Fiction 54:01 - Respecting the Reader's Intelligence 56:11 - The Economic Unfairness Theme in Modern Fiction 58:19 - The Robin Hood Story Still Resonates Today 01:00:17 - Writing Convincing Villains 01:02:29 - Lee Child on Letting Go of Reacher 01:04:26 - Andrew's Perspective on Taking Over the Series 01:06:39 - The Blue-Collar Work Ethic in Writing 01:07:08 - Final Thoughts and Farewell Battle Planners: Pick yours up today! Order Ryan's new book, The Masculinity Manifesto. For more information on the Iron Council brotherhood. Want maximum health, wealth, relationships, and abundance in your life? Sign up for our free course, 30 Days to Battle Ready  

In creating the Jack Reacher character, Lee Child launched a series of books that now boast 100 million copies in print and have been turned into movies and a popular Amazon streaming series.Today on the show, I talk to Lee about what makes Reacher so compelling and much more. We first discuss how Lee didn't get started with writing until he was almost forty, and what prompted him to change careers. We then unpack the Reacher character, discussing the ancient, archetypal roots of this vigilante, drifter detective, what he has in common with the knight errant, and the enduring appeal of the lone wolf. We also talk about Lee's writing process, why midlife is the best time to write, and why, after writing more than two dozen Reacher novels, he's chosen to hand off the series to his brother and fellow writer, Andrew.Resources Related to the PodcastThe latest Reacher novel: In Too DeepThe Reacher streaming series Jack Reacher website