March 14, 2026 • 15 mins
Australian author Charlotte McConaghy’s novel Wild Dark Shore has been widely reviewed as one of the must read books of 2025.
It also saw McConaghy named on the longlist for the Women’s Prize for Fiction.
Ahead of her appearance at the Auckland Writers Festival, she's opened up about the creative journey behind her iconic work.
"I was concerned that my sort of level of immersion into my writing was so different than what it had been in the past, and I was worried that it was going to sort of translate into the book and into the writing - they're very normal doubts to have as a writer."
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Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks EDB.
Speaker 2 (00:12):
It's straying an author. Charlotte mcconnachie's novel Wild Duck Show
has been widely reviewed as one of the must read
books of twenty twenty five. Last week, it also saw
Charlotte named on the long list for the Women's Prize
for Fiction. I've read it, I absolutely loved it, and
I was so excited this week to say that Charlotte
has been announced as one of the authors for this
year's Auckland Writers Festival, and she joins me now from Australia.
(00:35):
Good morning, Charlotte, good morning. First the congratulations for making
it onto the long list for the Women's Prize in Fiction.
This book has been so well received, it's on the
Time magazines one hundred must Read Books of twenty twenty five.
And did you know writing it that you were onto
(00:55):
a winner? Can you sense it as an author?
Speaker 3 (00:58):
Oh no, no, no, no, definitely not. My sort of
writing process for this book was just fraud with doubt
and uncertainty. It was a It was a really difficult
book to write, and I think not least of all,
because I had two very young children, well, one baby
(01:21):
and another one on the way when I was actually
writing the first draft and then sort of editing it
through my second child's infancy, and so there was a
lot of I felt I was concerned that my sort
of level of immersion into my writing was so much,
(01:44):
it was so different than what it had been in
the past, and I was worried that, you know, it
was going to sort of translate into the book and
into the writing. And I think, you know, that's their
very normal doubts to have as a writer. I don't
I don't know any writers that don't have those kinds
of doubts. So it's been really kind of amazing to
see that, you know, there's if you can kind of
(02:07):
put your heart and soul into something, it will connect
with readers, despite how sort of you know, stolen, those
moments of writing feel when you're writing it.
Speaker 2 (02:18):
I read that you wrote and deleted the first twenty
five thousand words of this book four times. Is that right?
Speaker 3 (02:24):
Yeah?
Speaker 2 (02:25):
That must have been heartbreaking. Was that frustrated?
Speaker 4 (02:30):
Yeah? It was frustrating.
Speaker 3 (02:32):
It's definitely not heartbreaking, though, I think it's you just
have to have I mean, I guess I now have
quite a lot of experience under my belt. I've been
writing books since I was fourteen years old, so I sort.
Speaker 4 (02:45):
Of knew that.
Speaker 3 (02:46):
Even though it did you could look at that as
you know, hugely wasted time, it wasn't at all. It
was part of what I needed to do to uncover
what the real story was and who the real characters were.
And yeah, while it does seem like a really kind
of maddening way to write a book, it was just,
(03:07):
unfortunately what this book needed from me. I had to
experiment and explore before I found the truth of it.
Speaker 2 (03:15):
It must be rewarding to know, though, how much your
books are loved. I mean, so many accolades, and not
just for this book, but your previous two books, Migrations
and Once there Were Wolves, and it obviously those accolades
that open up a whole new audience. I mean, you
are truly global, now, aren't you.
Speaker 3 (03:31):
Yeah, yeah, I mean it is. Yeah, it's a very
profound experience. I it's a funny thing. I sort of
you have moments where people reach out to you and
it feels very special and it feels sort of like
why you do what you do.
Speaker 4 (03:49):
Because you are connecting.
Speaker 3 (03:51):
You're writing something that connects with people, and that's in
a sense, why we write, why we tell stories, it's
to connect with each other. And so there's a sense
of just a deep fulfillment around around that. I think
when when when you know that your book is reaching
a really wide audience and having a really lovely kind
(04:13):
of response.
Speaker 4 (04:14):
But there's also an element of.
Speaker 3 (04:19):
I don't like to sort of get too carried away
with all of it. I just want to like, right now,
this is kind of a wild year for me. I
actually thought this was just going to be a year
of writing my next book, but it's actually turned because
you know a million. I never thought for a second
that there would be awards or you know, long lists
(04:40):
or short lists or whatever it may be, and so
it's there's there is an element of not not wanting
to sort of let that crowd crowd the actual creativity
of what I'm trying to do with the next one,
and not letting the pressure sort of.
Speaker 4 (04:57):
Outweigh, you know, a sense of play with the new work.
It's just a balancing thing. I think.
Speaker 2 (05:07):
The book follows a family on a remote island in
the Southern Ocean, they're responsible for a seed bank nestled
in a cave and protected by the perma frost, and
it starts with the body of a woman washing up
on shore. She's alive, that she's severely injured. It's a thriller,
it's a mystery, it's a family drama. It's a poetic
ode to the power of nature. It's a warning about
our natural world. And all this comes together so cohesively
(05:30):
it really is remarkable.
Speaker 5 (05:32):
How do you describe the book, Ah, I usually sort
of explain that it is the story of a father
and his three children living on a very remote.
Speaker 3 (05:47):
And wild island down near Antarctica, halfway between New Zealand
and Antarctica, which is based on my visit to the
real Macquarie Island. And they are the last inhabitants of
this island because it's become too dangerous to live on.
They're packing up to leave until the night of a
(06:10):
particularly bad storm washes a woman on shore and they
are sort of They quickly rush to help her and
try to nurse her back to life, but it becomes
clear that she is keeping some pretty big secrets from
them about why she's there, what she's doing, and she
quite quickly discovers that they have some hidden.
Speaker 4 (06:33):
Truths as well. She discovers things like.
Speaker 3 (06:37):
Sabotaged radio systems and a freshly dug grave.
Speaker 4 (06:42):
So it is.
Speaker 3 (06:43):
It's a Gothic romantic mystery and an eco thriller, and
it's about the interconnectedness of all living things and this
the difficult and potentially new responsibilities of raising children in
(07:04):
a time of ecological crisis.
Speaker 2 (07:06):
You have a strong interest in the natural world, and
we see it in your the previous two books as
well the places you write about it. I like a
character in the book. Where does this respect and love
for the natural world come from?
Speaker 4 (07:20):
Yeah, good question, I'm not sure. I mean, I.
Speaker 3 (07:25):
Grew up in a really beautiful part of Australia, which
is the south coast of New South Wales. I grew
up moving around a lot and experiencing lots of different places.
I used to as a young person, I wrote these
big epic fantasy series because I wanted to have experiences.
I wanted to sort of live a bigger life. I
(07:47):
think that's why I wrote these big stories. And then
I sort of reached my mid twenties and was wanting
to explore my own heritage and history, and so I
was sort of roaming around the UK and Ireland and
I just sort of, I don't know, something. It struck
me the beauty of these kind of natural spaces, and
(08:10):
so I wanted to sort of write my way into them.
So I started writing these characters who were deeply wild
and deeply connected to their wildness as a way of
finding my own wildness.
Speaker 4 (08:23):
But I think what happened.
Speaker 3 (08:24):
Was that you can't really write about our connection to
the natural world without writing about what's happening to the
natural world. And so this sort of dawning awareness of
our barreling towards catastrophe kind of awoke in me, and
I think I've just been writing with a sense of
(08:46):
urgency about it ever since.
Speaker 4 (08:48):
My three novels are kind.
Speaker 3 (08:50):
Of they are love letters to the natural world, but
they're also exploring climate change through three sort of slightly
different emotional lenses. Migrations was a book about sadness and loss,
the species Loss Once a Wolves was a book about anger.
It was my anger about the way we were treating
(09:11):
wild places and wild creatures and each other. And then
this book Wild Duck Show, I think, is a book
about fear, and particularly particularly the fear of raising children
in a really dangerous environment.
Speaker 2 (09:26):
Can we please talk about the trip to Macquarie Island.
Shearwater Island in the book is based on this sub
Antarctic island that you visited. How crucial is being there
and experiencing that setting to writing it?
Speaker 3 (09:39):
Well, Yeah, so I think one of the reasons I
was struggling so hard at the beginning was I had
chosen this spot because I'd been fascinated with it for
a long time. I'd heard about it from friends who'd
been there, scientists who'd briefly stopped there on the way
to Antarctica and done a stint there, and I was
(10:01):
just really interested in it.
Speaker 4 (10:02):
So I wanted to fictionalize my own version of it.
Speaker 3 (10:04):
But I was very dis connected from and I couldn't
quite get a sense of it. And I think there
was a lot of writing and rewriting because I just
couldn't feel the tone of the book, because I couldn't
feel the tone of the place. But as I said,
I had just had a baby. There's one boat that
goes down there at one time of year. I did
not think it was the sort of thing you could
(10:26):
do with.
Speaker 4 (10:27):
A one year old.
Speaker 3 (10:30):
But I realized that that, you know, it was kind
of make or I was getting to the point where
it was make or break. I had to at least
pursue whether or not I could get there, or sort
of almost give up on the book at that point.
So I reached out to them and they said, well,
they've never had a baby there before, but let's give
it a go.
Speaker 4 (10:49):
So we headed.
Speaker 3 (10:50):
Down you depart, We made our way to Queenstown and
then you head down to the very bottom of the
South Island and take.
Speaker 4 (10:59):
Off on the boat from there.
Speaker 3 (11:00):
And I just remember walking up to the sort of
leader of the expedition with my little baby in his
puffy life vest, and she took one look at us
and said, oh, we told them not to let you come,
which struck terror into my heart. It was very scary,
But actually we had the most wonderful trip. It was
(11:23):
so calm, the seas were incredibly good to us. He
had a great time, he was totally fine on the boat.
And I just remember kind of arriving at Macquarie. You
get this very short visit. You can only visit Mcquarie
for two days, and you can't sleep on the island.
Of course, there's no it's uninhabited apart from a science base.
(11:47):
So you're on the boat, you step you head onto
the island for a couple of short visits. I had
this immense pressure growing, you know that I would not
have enough time to actually get this right. Everything sort
of relied on these short hours on this place. But
I stepped off onto this black seat and beach and
(12:07):
there was a wall of sound that hit me. It
was thousands and thousands of seabirds just all around me.
Speaker 4 (12:14):
There were penguins waddling up to my feet.
Speaker 3 (12:17):
There were huge elephant seal pups fighting in the water,
albatross flying low overhead.
Speaker 4 (12:24):
It was extraordinary.
Speaker 3 (12:26):
I just had no idea that places like this still existed,
where the animals would be so untouched and unafraid of people.
It was truly kind of a beautiful experience. But the
flip side of Macquarie Island is that it's got a
really dark underbelly, which is due to its historical experiences
(12:53):
with the oil exploitation trade. So the sealers and the
whalers went down in droves in the eighteen hundreds, and
because of the richness of the wildlife they just kind
of decimated it. They threw the penguins into these huge, huge,
rusting barrels in order to squeeze their oils out.
Speaker 4 (13:09):
It's very, very grim, dark time in this island's history.
Speaker 3 (13:13):
The wildlife was nearly completely wiped out, and the remnants
of that are still there. The barrels are still sitting
on the beaches, surrounded now by penguins, and so it
has this you know, you can sort of feel the
hauntedness of this place hanging in the air there. And
that was something I did not expect. And suddenly it
(13:34):
was like it unlocked this book for me. I just
all the doubt and concern fell away. I knew exactly
what it was. It would be a gothic story about
a haunted family on a haunted island.
Speaker 2 (13:46):
Well, I am so grateful that you and the one
year old made the two weeks down there, because and
I'm sure that anybody else who's read the book would agree,
like you draw us into these worlds so beautifully, I think,
because you do know them so well that I find
when I read one of your books, I'm always dashing
off to research something you've got me thinking about. I
ended up doing the virtual tour of the Norwegian Suite
(14:08):
the seed Bank. Oh wow, yeah, you know, and then
I sort of found myself researching about the introduction of
wolves in the Yellowstone National Park.
Speaker 3 (14:15):
You know.
Speaker 2 (14:15):
I mean it's quite lovely as well that you put
a book down, but actually what you get from it
can be more than just emotional, since you're off on
sort of lots of different tangents.
Speaker 3 (14:25):
Oh that's lovely. That's really nice to know. I mean,
one of the things I always try to do is
just let you enjoy and learn about something that you
may not already have enjoyed, you know, in the natural world,
to just sort of remind us or that there are
these glorious treasures still out there that are worth fighting for.
Speaker 2 (14:43):
You're looking forward to coming to Auckland.
Speaker 3 (14:45):
Yes, absolutely, I can't wait. I've never been to Auckland.
I've been to the South Island, but not the North
and so I'm really, really, really excited.
Speaker 4 (14:55):
I've got a little bit of research for my new
book to do as well.
Speaker 2 (14:58):
Of course you do.
Speaker 3 (15:01):
That.
Speaker 2 (15:01):
It's been a delight to talk to you. Thank you
so much for.
Speaker 4 (15:04):
The book, Thank you, thanks for having me.
Speaker 2 (15:06):
Charlotte is attending the Auckland Writers Festival this May. The
full program is available now. Just go to writers Festival
dot co dot nz.
Speaker 1 (15:15):
For more from the Sunday session with Francesca Rudkin, Listen
live to News Talks A B from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks EDB.
Speaker 2 (00:12):
It's straying an author. Charlotte mcconnachie's novel Wild Duck Show
has been widely reviewed as one of the must read
books of twenty twenty five. Last week, it also saw
Charlotte named on the long list for the Women's Prize
for Fiction. I've read it, I absolutely loved it, and
I was so excited this week to say that Charlotte
has been announced as one of the authors for this
year's Auckland Writers Festival, and she joins me now from Australia.
(00:35):
Good morning, Charlotte, good morning. First the congratulations for making
it onto the long list for the Women's Prize in Fiction.
This book has been so well received, it's on the
Time magazines one hundred must Read Books of twenty twenty five.
And did you know writing it that you were onto
(00:55):
a winner? Can you sense it as an author?
Speaker 3 (00:58):
Oh no, no, no, no, definitely not. My sort of
writing process for this book was just fraud with doubt
and uncertainty. It was a It was a really difficult
book to write, and I think not least of all,
because I had two very young children, well, one baby
(01:21):
and another one on the way when I was actually
writing the first draft and then sort of editing it
through my second child's infancy, and so there was a
lot of I felt I was concerned that my sort
of level of immersion into my writing was so much,
(01:44):
it was so different than what it had been in
the past, and I was worried that, you know, it
was going to sort of translate into the book and
into the writing. And I think, you know, that's their
very normal doubts to have as a writer. I don't
I don't know any writers that don't have those kinds
of doubts. So it's been really kind of amazing to
see that, you know, there's if you can kind of
(02:07):
put your heart and soul into something, it will connect
with readers, despite how sort of you know, stolen, those
moments of writing feel when you're writing it.
Speaker 2 (02:18):
I read that you wrote and deleted the first twenty
five thousand words of this book four times. Is that right?
Speaker 3 (02:24):
Yeah?
Speaker 2 (02:25):
That must have been heartbreaking. Was that frustrated?
Speaker 4 (02:30):
Yeah? It was frustrating.
Speaker 3 (02:32):
It's definitely not heartbreaking, though, I think it's you just
have to have I mean, I guess I now have
quite a lot of experience under my belt. I've been
writing books since I was fourteen years old, so I sort.
Speaker 4 (02:45):
Of knew that.
Speaker 3 (02:46):
Even though it did you could look at that as
you know, hugely wasted time, it wasn't at all. It
was part of what I needed to do to uncover
what the real story was and who the real characters were.
And yeah, while it does seem like a really kind
of maddening way to write a book, it was just,
(03:07):
unfortunately what this book needed from me. I had to
experiment and explore before I found the truth of it.
Speaker 2 (03:15):
It must be rewarding to know, though, how much your
books are loved. I mean, so many accolades, and not
just for this book, but your previous two books, Migrations
and Once there Were Wolves, and it obviously those accolades
that open up a whole new audience. I mean, you
are truly global, now, aren't you.
Speaker 3 (03:31):
Yeah, yeah, I mean it is. Yeah, it's a very
profound experience. I it's a funny thing. I sort of
you have moments where people reach out to you and
it feels very special and it feels sort of like
why you do what you do.
Speaker 4 (03:49):
Because you are connecting.
Speaker 3 (03:51):
You're writing something that connects with people, and that's in
a sense, why we write, why we tell stories, it's
to connect with each other. And so there's a sense
of just a deep fulfillment around around that. I think
when when when you know that your book is reaching
a really wide audience and having a really lovely kind
(04:13):
of response.
Speaker 4 (04:14):
But there's also an element of.
Speaker 3 (04:19):
I don't like to sort of get too carried away
with all of it. I just want to like, right now,
this is kind of a wild year for me. I
actually thought this was just going to be a year
of writing my next book, but it's actually turned because
you know a million. I never thought for a second
that there would be awards or you know, long lists
(04:40):
or short lists or whatever it may be, and so
it's there's there is an element of not not wanting
to sort of let that crowd crowd the actual creativity
of what I'm trying to do with the next one,
and not letting the pressure sort of.
Speaker 4 (04:57):
Outweigh, you know, a sense of play with the new work.
It's just a balancing thing. I think.
Speaker 2 (05:07):
The book follows a family on a remote island in
the Southern Ocean, they're responsible for a seed bank nestled
in a cave and protected by the perma frost, and
it starts with the body of a woman washing up
on shore. She's alive, that she's severely injured. It's a thriller,
it's a mystery, it's a family drama. It's a poetic
ode to the power of nature. It's a warning about
our natural world. And all this comes together so cohesively
(05:30):
it really is remarkable.
Speaker 5 (05:32):
How do you describe the book, Ah, I usually sort
of explain that it is the story of a father
and his three children living on a very remote.
Speaker 3 (05:47):
And wild island down near Antarctica, halfway between New Zealand
and Antarctica, which is based on my visit to the
real Macquarie Island. And they are the last inhabitants of
this island because it's become too dangerous to live on.
They're packing up to leave until the night of a
(06:10):
particularly bad storm washes a woman on shore and they
are sort of They quickly rush to help her and
try to nurse her back to life, but it becomes
clear that she is keeping some pretty big secrets from
them about why she's there, what she's doing, and she
quite quickly discovers that they have some hidden.
Speaker 4 (06:33):
Truths as well. She discovers things like.
Speaker 3 (06:37):
Sabotaged radio systems and a freshly dug grave.
Speaker 4 (06:42):
So it is.
Speaker 3 (06:43):
It's a Gothic romantic mystery and an eco thriller, and
it's about the interconnectedness of all living things and this
the difficult and potentially new responsibilities of raising children in
(07:04):
a time of ecological crisis.
Speaker 2 (07:06):
You have a strong interest in the natural world, and
we see it in your the previous two books as
well the places you write about it. I like a
character in the book. Where does this respect and love
for the natural world come from?
Speaker 4 (07:20):
Yeah, good question, I'm not sure. I mean, I.
Speaker 3 (07:25):
Grew up in a really beautiful part of Australia, which
is the south coast of New South Wales. I grew
up moving around a lot and experiencing lots of different places.
I used to as a young person, I wrote these
big epic fantasy series because I wanted to have experiences.
I wanted to sort of live a bigger life. I
(07:47):
think that's why I wrote these big stories. And then
I sort of reached my mid twenties and was wanting
to explore my own heritage and history, and so I
was sort of roaming around the UK and Ireland and
I just sort of, I don't know, something. It struck
me the beauty of these kind of natural spaces, and
(08:10):
so I wanted to sort of write my way into them.
So I started writing these characters who were deeply wild
and deeply connected to their wildness as a way of
finding my own wildness.
Speaker 4 (08:23):
But I think what happened.
Speaker 3 (08:24):
Was that you can't really write about our connection to
the natural world without writing about what's happening to the
natural world. And so this sort of dawning awareness of
our barreling towards catastrophe kind of awoke in me, and
I think I've just been writing with a sense of
(08:46):
urgency about it ever since.
Speaker 4 (08:48):
My three novels are kind.
Speaker 3 (08:50):
Of they are love letters to the natural world, but
they're also exploring climate change through three sort of slightly
different emotional lenses. Migrations was a book about sadness and loss,
the species Loss Once a Wolves was a book about anger.
It was my anger about the way we were treating
(09:11):
wild places and wild creatures and each other. And then
this book Wild Duck Show, I think, is a book
about fear, and particularly particularly the fear of raising children
in a really dangerous environment.
Speaker 2 (09:26):
Can we please talk about the trip to Macquarie Island.
Shearwater Island in the book is based on this sub
Antarctic island that you visited. How crucial is being there
and experiencing that setting to writing it?
Speaker 3 (09:39):
Well, Yeah, so I think one of the reasons I
was struggling so hard at the beginning was I had
chosen this spot because I'd been fascinated with it for
a long time. I'd heard about it from friends who'd
been there, scientists who'd briefly stopped there on the way
to Antarctica and done a stint there, and I was
(10:01):
just really interested in it.
Speaker 4 (10:02):
So I wanted to fictionalize my own version of it.
Speaker 3 (10:04):
But I was very dis connected from and I couldn't
quite get a sense of it. And I think there
was a lot of writing and rewriting because I just
couldn't feel the tone of the book, because I couldn't
feel the tone of the place. But as I said,
I had just had a baby. There's one boat that
goes down there at one time of year. I did
not think it was the sort of thing you could
(10:26):
do with.
Speaker 4 (10:27):
A one year old.
Speaker 3 (10:30):
But I realized that that, you know, it was kind
of make or I was getting to the point where
it was make or break. I had to at least
pursue whether or not I could get there, or sort
of almost give up on the book at that point.
So I reached out to them and they said, well,
they've never had a baby there before, but let's give
it a go.
Speaker 4 (10:49):
So we headed.
Speaker 3 (10:50):
Down you depart, We made our way to Queenstown and
then you head down to the very bottom of the
South Island and take.
Speaker 4 (10:59):
Off on the boat from there.
Speaker 3 (11:00):
And I just remember walking up to the sort of
leader of the expedition with my little baby in his
puffy life vest, and she took one look at us
and said, oh, we told them not to let you come,
which struck terror into my heart. It was very scary,
But actually we had the most wonderful trip. It was
(11:23):
so calm, the seas were incredibly good to us. He
had a great time, he was totally fine on the boat.
And I just remember kind of arriving at Macquarie. You
get this very short visit. You can only visit Mcquarie
for two days, and you can't sleep on the island.
Of course, there's no it's uninhabited apart from a science base.
(11:47):
So you're on the boat, you step you head onto
the island for a couple of short visits. I had
this immense pressure growing, you know that I would not
have enough time to actually get this right. Everything sort
of relied on these short hours on this place. But
I stepped off onto this black seat and beach and
(12:07):
there was a wall of sound that hit me. It
was thousands and thousands of seabirds just all around me.
Speaker 4 (12:14):
There were penguins waddling up to my feet.
Speaker 3 (12:17):
There were huge elephant seal pups fighting in the water,
albatross flying low overhead.
Speaker 4 (12:24):
It was extraordinary.
Speaker 3 (12:26):
I just had no idea that places like this still existed,
where the animals would be so untouched and unafraid of people.
It was truly kind of a beautiful experience. But the
flip side of Macquarie Island is that it's got a
really dark underbelly, which is due to its historical experiences
(12:53):
with the oil exploitation trade. So the sealers and the
whalers went down in droves in the eighteen hundreds, and
because of the richness of the wildlife they just kind
of decimated it. They threw the penguins into these huge, huge,
rusting barrels in order to squeeze their oils out.
Speaker 4 (13:09):
It's very, very grim, dark time in this island's history.
Speaker 3 (13:13):
The wildlife was nearly completely wiped out, and the remnants
of that are still there. The barrels are still sitting
on the beaches, surrounded now by penguins, and so it
has this you know, you can sort of feel the
hauntedness of this place hanging in the air there. And
that was something I did not expect. And suddenly it
(13:34):
was like it unlocked this book for me. I just
all the doubt and concern fell away. I knew exactly
what it was. It would be a gothic story about
a haunted family on a haunted island.
Speaker 2 (13:46):
Well, I am so grateful that you and the one
year old made the two weeks down there, because and
I'm sure that anybody else who's read the book would agree,
like you draw us into these worlds so beautifully, I think,
because you do know them so well that I find
when I read one of your books, I'm always dashing
off to research something you've got me thinking about. I
ended up doing the virtual tour of the Norwegian Suite
(14:08):
the seed Bank. Oh wow, yeah, you know, and then
I sort of found myself researching about the introduction of
wolves in the Yellowstone National Park.
Speaker 3 (14:15):
You know.
Speaker 2 (14:15):
I mean it's quite lovely as well that you put
a book down, but actually what you get from it
can be more than just emotional, since you're off on
sort of lots of different tangents.
Speaker 3 (14:25):
Oh that's lovely. That's really nice to know. I mean,
one of the things I always try to do is
just let you enjoy and learn about something that you
may not already have enjoyed, you know, in the natural world,
to just sort of remind us or that there are
these glorious treasures still out there that are worth fighting for.
Speaker 2 (14:43):
You're looking forward to coming to Auckland.
Speaker 3 (14:45):
Yes, absolutely, I can't wait. I've never been to Auckland.
I've been to the South Island, but not the North
and so I'm really, really, really excited.
Speaker 4 (14:55):
I've got a little bit of research for my new
book to do as well.
Speaker 2 (14:58):
Of course you do.
Speaker 3 (15:01):
That.
Speaker 2 (15:01):
It's been a delight to talk to you. Thank you
so much for.
Speaker 4 (15:04):
The book, Thank you, thanks for having me.
Speaker 2 (15:06):
Charlotte is attending the Auckland Writers Festival this May. The
full program is available now. Just go to writers Festival
dot co dot nz.
Speaker 1 (15:15):
For more from the Sunday session with Francesca Rudkin, Listen
live to News Talks A B from nine am Sunday,
or follow the podcast on iHeartRadio
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