August 30, 2025 • 15 mins
Since the late 90s Lee Child’s name has been synonymous with Jack Reacher.
The books selling over 100 million copies worldwide and Reacher becoming one of the most loved and enduring fictional characters.
Lee has now handed over the Reacher series to his brother Andrew but has released his first ever autobiographical collection, giving insight behind the scenes of his novels.
He told Francesca Rudkin that he has compiled a series of limited-edition personal introductions and turned them into a collection, creating a treasure trove for Jack Reacher fans.
LISTEN ABOVE
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudgin
from News Talks EDB.
Speaker 2 (00:12):
Since the late nineties, Lee Child's name has been synonymous
with Jack Reacher, the book selling over one hundred million
copies worldwide and Reacher becoming one of the most loved
and enduring fictional characters. Lee has now handed over the
Reacher series to his brother Andrew, but has released his
first ever autobiographical collection, giving insights behind the scenes of
(00:33):
his novels. The book is Reacher The Stories Behind the Stories,
and Lee Child joins me now from the UK.
Speaker 1 (00:39):
Good evening, Hello, how are you.
Speaker 2 (00:41):
I'm really good, lovely to have you with us. This
new book, Reacher. It's a little bit of a treasure
trow for Reacher fans, isn't it.
Speaker 3 (00:51):
It's the weirdest thing from my point of view, because
these were introductions to a series of special editions that
a guy in New York wanted to do in my books.
But they were limited editions. There were only one hundred
twenty six of each title ever made. And you know
what collectors are like. They're not even going to open
(01:13):
the book. They're buying it as a sort of treasure
or an investment or something, and they're sticking it on
the shelf. So I figured, okay, one hundred and twenty six,
of which maybe ten people will actually read the introduction.
So I put in all kinds of things. I mean,
it was like a personal diary. That's literally what it was.
(01:33):
Where I was, what I was doing, what I was thinking,
how I was feeling while I was writing that particular book.
And it feels totally weird now that they've all been
collected into one volume and lots of people are going
to see them, not just ten.
Speaker 2 (01:50):
So many little things caught my attention. I've got to start, though,
with the fascinating fact that you would sit down to
write a book with no plan, no theory, no structural approach,
and no overarching intentions. As you wrote in one of
those foods, it's worked very well for you. Why why
that approach or was it just because it works so
(02:11):
well for the first book you carried on with them?
Speaker 3 (02:14):
It worked great for the first book, and I, you know,
the first book came out really good and it got
my career going, and I didn't really want to think
about how I'd done it in case I sort of
burst the bubble or something. So I just thought, you know,
I'll just do it again and again, and it makes
(02:34):
you nervous, you know, no plan, no outline. In the end,
I was saying to myself, Look, it's worked ten times before,
so it's going to work again. Or it's worked twenty
times before. I was still nervous about it. But really,
I think, I mean, why do we want books, Why
do we watch movies, why do we watch TV? We
(02:54):
love story and that's what I do. I love story.
And if I planned it out and outlined it and
knew the shape of it and knew what happened at
the end, then I've told myself that story. I'm ready
for the next story. If I had to sit there
and type it out, I think I would find it
a bit boring, and I think that would show through somehow.
(03:16):
So for me, I'm exactly like I hope the readers
are going to be. You know, I imagine a reader getting
home from work and picking up the book saying, oh man,
I can't wait to find out what happens next. That's me.
Every time I sit down to write that chapter, I
have no idea, and I'm really excited. What is going
to happen.
Speaker 2 (03:35):
I love the story. I think it was for the
book Make Me We're By. An academic asked if he
could come and watch you write, which initially sounded like
quite an odd request, but he wanted he wanted to
prove I think to himself that this is actually the
way you did approach writing. Yeah.
Speaker 3 (03:54):
I mean I've said that, you know, you described it perfectly.
I sit down with no plan and I've said that
all along because it's true. But nobody believes it, because
they think that, you know, a long, intricately plotted story
must require a lot of pre planning, and it really doesn't.
But nobody believed it. And this guy, yeah, sure, he
(04:16):
kind of said he wanted to just study the act
of creation, you know, like academics speak. But yeah, I
bet you he was really secretly wanting to see did
I consult a written plan when I was writing? And
you know, he was literally there for practically every word.
And now I make it up as I go along.
Speaker 2 (04:39):
Do ideas generally always flow? You know, it's interesting to
read where little bits of inspiration came from, whether it's
from books or history or travel.
Speaker 3 (04:50):
Yeah, you know, from the outside of the writing world.
People imagine that it's hard to get ideas. You know,
it's one of the most frequent questions we get where
to get your ideas? Well, you know, just being alive
every day you get twenty ideas. You know, you get
up in the morning, you read the news, you talk
to people, you go somewhere. You're going to find five
(05:12):
ten ideas. It's not a problem finding the idea. The
problem is which idea, you know, which is still going
to be interesting next year when the book comes out,
and which two other ideas can you blend with it
to make a stronger, more durable story. So, yeah, and
I several times in this new book you'll find I
(05:35):
just accidentally stumbled across something that was so fascinating it
had to be a book.
Speaker 2 (05:42):
There are some reoccurring characters in Reacher's stories. But why
in general, why don't you like reoccurring supporting characters?
Speaker 3 (05:51):
Well, I do, you know, as a consumer of story
and so on, I do like them. I love them.
You know. Soap opera is one of the most powerful
narrative engines in the world. You know, people talk about
soap opera is quite but actually they're incredibly sophisticated and
so powerful, and the audience is fairly sophisticated too, you know,
(06:15):
they can remember plot lines that from a month ago
or something like that, and so everybody does it because
it is so powerful. And that was my problem. I
didn't want to do what everybody else was doing, because
why compete with people who are already doing a thing
so well. I thought, I've got to find different, almost
(06:37):
the opposite, so I stand out, so that Reacher is
different than anybody else. You know, most heroes are cops
or something in a particular city, with superiors, with colleagues,
with juniors. They have a house, they have a bar,
maybe they've got a teenage daughter who hates them, something
(06:59):
like that. You know, I wanted none of that. I
wanted no repertory cast, no soap opera, one guy alone.
And that's basically how he has been. You're right. There
have been a couple of repeating characters now and then,
only because I really liked them too, and so I thought, yeah,
I got to bring them back.
Speaker 2 (07:20):
It's interesting reading too. You sort of describe as the
success and as it builds and things in the first
book sold solid numbers and the contracts rolled in. When
do you think the books skyrocketed, and why was it
bad Luck and Trouble being the first number one in
the US or was sort of an accumulation of the
books growing in popularity.
Speaker 3 (07:43):
It was a global thing that happened at different times
in different places. And I found that really fascinating how
some countries, some culture has just really grabbed it right
from the beginning. And you know, New Zealand was actually
the very first. New Zealand is the world capital of
Reacher madness because I think the book number three got
(08:05):
to number one in New Zeand and it's like everybody
buys a copy. Probably the sheet buy a copy too.
I mean, it's fantastic for me in New Zealand. I
just wish it had a much bigger population.
Speaker 2 (08:18):
Do you think an author today has the luxury of
letting their books, you know, slowly become popular or do
you think they need hits straight away?
Speaker 3 (08:29):
Oh? Yeah, I mean it is so different now. I think,
I say in the in this new book that I
started out in the Jurassic era of publishing. I mean
it was a million years ago in terms of how
it's developed. And I had in various you know, in America,
in Britain, it was eight books or nine books even
(08:53):
before I became, you know, a reliable number one bestseller,
and then probably another five years before I became a
kind of household name. And that is a long term
investment from everybody concerned. You know, the publisher loses money
the first many years and then reaps the benefit later.
(09:14):
Your agent works like crazy at the beginning for very
small deals, few and far between, and the investment used
to be five years or even ten years. And now
you're right, you've got to that's never going to happen again.
You know, you need, you need to have some kind
of success within a couple of books, and if they
(09:36):
are massive hits, all the better. But that is so rare.
Speaker 2 (09:41):
You mentioned in the chapter on Why, which was released
in nineteen ninety seven, the publishers are always gloomy about
the industry. What would you say about now?
Speaker 3 (09:50):
Well, funnily enough, you know they're so embattled now this
has been going on for so long that they're kind
of quite cheerful about it. I mean, it's an immense
challenge with during my career. You know, the Internet basically
did not exist at the beginning. I mean it did technically,
you know, it was a scientific thing and a few
(10:11):
nerds had heard of it. But now everything is online
and everything is about social media and online opinion, which
is incredibly fragmented. So the technique of getting through to
all the people at once is no longer possible. They
have to work so hard through a hundred different channels,
(10:34):
you know, to get the word out, and it's far
harder now. But they're kind of more cheerful, simply because
I don't know, maybe they've got to be crazy to
even try it.
Speaker 2 (10:44):
What is it about publishers and titles? It just seemed
to be a constant bettle what the title of the
book was going to be? Are they right? Are they
generally right?
Speaker 3 (10:53):
You know? That's what's really annoying about it is yes,
sometimes they are. And it's a very collaborative thing. I mean,
you write the book entirely alone, that's just you. But
then it's a really phase and you know, there's no
hostility from publishers. They love their authors and they dream
(11:14):
that every author will be a big success, and they
want every book to do as well as it possibly can,
and so they do. They sweat the small stuff. They
worry about every detail, the feel of the jacket, let alone,
the look of it and the colors and everything, the
quality of the paper, the typeface. They worry about everything,
(11:35):
and of course title is a massive thing. It's the
first thing that the potential reader ever sees.
Speaker 2 (11:42):
You're incredibly disciplined. You're very impressed that it was such
a long period of time. You would sit down on
the first of September and start a new book, and
you would write a book a year. Are you making
Andrew sit down on the first of September and start
writing to reach a book?
Speaker 3 (11:58):
It's interesting to me that, you know, we're very close
to each other and very similar, but actually also very
different in that you know, Andrew feels a little more
comfortable with a little bit more of a plan than
I did, so he will probably start planning it around then,
but he does a little planning first before he starts writing,
(12:20):
so I can't say that he honors that date in
the way that I did, which I did because it
was practical common sense. You know, you've got to do
a book a year, so you can't let it get
away from you. You've got to treat it like a job,
you know, like a school teacher turns up for work.
In September and then works until the next summer. And
(12:41):
so every job requires discipline, and writing is lovely, it's
the greatest thing. It's an art and a craft and
all that good noble stuff. But it's also a job
and you've got to do it.
Speaker 2 (12:55):
So how what's your relationship with Reaching? Like now, are
you hands off? Do you have involvement? Do you read
first drafts? What's your input with Andrew?
Speaker 3 (13:06):
It's mainly talking, you know, we just we talk in
the same way that any two fans. Would you know,
what would Richer do about that? Or you know, see
something in the news, well, what would reacha do? You know?
So a lot of it is just throwing ideas back
and forth and hammering it into some kind of narrative line,
(13:29):
you know that could be really interesting. An example was,
do you remember a few years ago where there were
all kinds of quite high status, well dressed Russian businessmen
suddenly falling to their deaths from high windows, nice one
after the other. And I thought, wow, that is a
(13:49):
great story. We've got to use that somehow. And so
I go to see Andrew and I'm about to say that,
and he says, oh, did you hear about these Russian guys.
We've got to do that, you know. So it's about
finding the nugget that is going to produce the good story.
Speaker 2 (14:06):
So what is life like for you post Reacher? Is
it a retirement or does a shift in direction? There've
been some short stories.
Speaker 3 (14:14):
Yeah, it's you know, retirement never quite totally happened, partly
because of the pandemic. You know. I sort of technically
retired just before the pandemic, but then it hit and
the book trade was in terrible trouble because obviously nobody
could go to a bookstore or anything. And so we
(14:34):
started a thing where we did online book events on
Zoom and it grew huge. Everybody was doing them all
the time, and somehow I became the go to guy
to be the host and the interviewer for dozens hundreds
of these things. And so that kind of didn't produce
(14:55):
a definitive end. You know, I hadn't really retired. I
was now doing a different thing. Plus at that time,
the Amazon TV thing started up, and so I was
getting heavily involved than that. And I'm feeling good, you know,
I'm doing a lot. I'm feeling good. I might even
write another Reacher. Who knows. It's just you know, I've
(15:17):
had a break, so why not?
Speaker 2 (15:18):
Wow? Who knows? To wait and see Lee Child. It's
been a delight to talk to you. Thank you so
much for your time.
Speaker 3 (15:25):
Oh, real pleasure. Always a pleasure to be in contact
with New Zealand. One of my favorite.
Speaker 2 (15:30):
Places and we appreciate it. That was Lee Child, a
bit of a hint of a return there watch the space.
His new book, Read to the Stories Behind the Stories
is out now.
Speaker 1 (15:41):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks It'd be from nine am Sunday,
or follow the podcast on iHeartRadio.
You're listening to the Sunday Session podcast with Francesca Rudgin
from News Talks EDB.
Speaker 2 (00:12):
Since the late nineties, Lee Child's name has been synonymous
with Jack Reacher, the book selling over one hundred million
copies worldwide and Reacher becoming one of the most loved
and enduring fictional characters. Lee has now handed over the
Reacher series to his brother Andrew, but has released his
first ever autobiographical collection, giving insights behind the scenes of
(00:33):
his novels. The book is Reacher The Stories Behind the Stories,
and Lee Child joins me now from the UK.
Speaker 1 (00:39):
Good evening, Hello, how are you.
Speaker 2 (00:41):
I'm really good, lovely to have you with us. This
new book, Reacher. It's a little bit of a treasure
trow for Reacher fans, isn't it.
Speaker 3 (00:51):
It's the weirdest thing from my point of view, because
these were introductions to a series of special editions that
a guy in New York wanted to do in my books.
But they were limited editions. There were only one hundred
twenty six of each title ever made. And you know
what collectors are like. They're not even going to open
(01:13):
the book. They're buying it as a sort of treasure
or an investment or something, and they're sticking it on
the shelf. So I figured, okay, one hundred and twenty six,
of which maybe ten people will actually read the introduction.
So I put in all kinds of things. I mean,
it was like a personal diary. That's literally what it was.
(01:33):
Where I was, what I was doing, what I was thinking,
how I was feeling while I was writing that particular book.
And it feels totally weird now that they've all been
collected into one volume and lots of people are going
to see them, not just ten.
Speaker 2 (01:50):
So many little things caught my attention. I've got to start, though,
with the fascinating fact that you would sit down to
write a book with no plan, no theory, no structural approach,
and no overarching intentions. As you wrote in one of
those foods, it's worked very well for you. Why why
that approach or was it just because it works so
(02:11):
well for the first book you carried on with them?
Speaker 3 (02:14):
It worked great for the first book, and I, you know,
the first book came out really good and it got
my career going, and I didn't really want to think
about how I'd done it in case I sort of
burst the bubble or something. So I just thought, you know,
I'll just do it again and again, and it makes
(02:34):
you nervous, you know, no plan, no outline. In the end,
I was saying to myself, Look, it's worked ten times before,
so it's going to work again. Or it's worked twenty
times before. I was still nervous about it. But really,
I think, I mean, why do we want books, Why
do we watch movies, why do we watch TV? We
(02:54):
love story and that's what I do. I love story.
And if I planned it out and outlined it and
knew the shape of it and knew what happened at
the end, then I've told myself that story. I'm ready
for the next story. If I had to sit there
and type it out, I think I would find it
a bit boring, and I think that would show through somehow.
(03:16):
So for me, I'm exactly like I hope the readers
are going to be. You know, I imagine a reader getting
home from work and picking up the book saying, oh man,
I can't wait to find out what happens next. That's me.
Every time I sit down to write that chapter, I
have no idea, and I'm really excited. What is going
to happen.
Speaker 2 (03:35):
I love the story. I think it was for the
book Make Me We're By. An academic asked if he
could come and watch you write, which initially sounded like
quite an odd request, but he wanted he wanted to
prove I think to himself that this is actually the
way you did approach writing. Yeah.
Speaker 3 (03:54):
I mean I've said that, you know, you described it perfectly.
I sit down with no plan and I've said that
all along because it's true. But nobody believes it, because
they think that, you know, a long, intricately plotted story
must require a lot of pre planning, and it really doesn't.
But nobody believed it. And this guy, yeah, sure, he
(04:16):
kind of said he wanted to just study the act
of creation, you know, like academics speak. But yeah, I
bet you he was really secretly wanting to see did
I consult a written plan when I was writing? And
you know, he was literally there for practically every word.
And now I make it up as I go along.
Speaker 2 (04:39):
Do ideas generally always flow? You know, it's interesting to
read where little bits of inspiration came from, whether it's
from books or history or travel.
Speaker 3 (04:50):
Yeah, you know, from the outside of the writing world.
People imagine that it's hard to get ideas. You know,
it's one of the most frequent questions we get where
to get your ideas? Well, you know, just being alive
every day you get twenty ideas. You know, you get
up in the morning, you read the news, you talk
to people, you go somewhere. You're going to find five
(05:12):
ten ideas. It's not a problem finding the idea. The
problem is which idea, you know, which is still going
to be interesting next year when the book comes out,
and which two other ideas can you blend with it
to make a stronger, more durable story. So, yeah, and
I several times in this new book you'll find I
(05:35):
just accidentally stumbled across something that was so fascinating it
had to be a book.
Speaker 2 (05:42):
There are some reoccurring characters in Reacher's stories. But why
in general, why don't you like reoccurring supporting characters?
Speaker 3 (05:51):
Well, I do, you know, as a consumer of story
and so on, I do like them. I love them.
You know. Soap opera is one of the most powerful
narrative engines in the world. You know, people talk about
soap opera is quite but actually they're incredibly sophisticated and
so powerful, and the audience is fairly sophisticated too, you know,
(06:15):
they can remember plot lines that from a month ago
or something like that, and so everybody does it because
it is so powerful. And that was my problem. I
didn't want to do what everybody else was doing, because
why compete with people who are already doing a thing
so well. I thought, I've got to find different, almost
(06:37):
the opposite, so I stand out, so that Reacher is
different than anybody else. You know, most heroes are cops
or something in a particular city, with superiors, with colleagues,
with juniors. They have a house, they have a bar,
maybe they've got a teenage daughter who hates them, something
(06:59):
like that. You know, I wanted none of that. I
wanted no repertory cast, no soap opera, one guy alone.
And that's basically how he has been. You're right. There
have been a couple of repeating characters now and then,
only because I really liked them too, and so I thought, yeah,
I got to bring them back.
Speaker 2 (07:20):
It's interesting reading too. You sort of describe as the
success and as it builds and things in the first
book sold solid numbers and the contracts rolled in. When
do you think the books skyrocketed, and why was it
bad Luck and Trouble being the first number one in
the US or was sort of an accumulation of the
books growing in popularity.
Speaker 3 (07:43):
It was a global thing that happened at different times
in different places. And I found that really fascinating how
some countries, some culture has just really grabbed it right
from the beginning. And you know, New Zealand was actually
the very first. New Zealand is the world capital of
Reacher madness because I think the book number three got
(08:05):
to number one in New Zeand and it's like everybody
buys a copy. Probably the sheet buy a copy too.
I mean, it's fantastic for me in New Zealand. I
just wish it had a much bigger population.
Speaker 2 (08:18):
Do you think an author today has the luxury of
letting their books, you know, slowly become popular or do
you think they need hits straight away?
Speaker 3 (08:29):
Oh? Yeah, I mean it is so different now. I think,
I say in the in this new book that I
started out in the Jurassic era of publishing. I mean
it was a million years ago in terms of how
it's developed. And I had in various you know, in America,
in Britain, it was eight books or nine books even
(08:53):
before I became, you know, a reliable number one bestseller,
and then probably another five years before I became a
kind of household name. And that is a long term
investment from everybody concerned. You know, the publisher loses money
the first many years and then reaps the benefit later.
(09:14):
Your agent works like crazy at the beginning for very
small deals, few and far between, and the investment used
to be five years or even ten years. And now
you're right, you've got to that's never going to happen again.
You know, you need, you need to have some kind
of success within a couple of books, and if they
(09:36):
are massive hits, all the better. But that is so rare.
Speaker 2 (09:41):
You mentioned in the chapter on Why, which was released
in nineteen ninety seven, the publishers are always gloomy about
the industry. What would you say about now?
Speaker 3 (09:50):
Well, funnily enough, you know they're so embattled now this
has been going on for so long that they're kind
of quite cheerful about it. I mean, it's an immense
challenge with during my career. You know, the Internet basically
did not exist at the beginning. I mean it did technically,
you know, it was a scientific thing and a few
(10:11):
nerds had heard of it. But now everything is online
and everything is about social media and online opinion, which
is incredibly fragmented. So the technique of getting through to
all the people at once is no longer possible. They
have to work so hard through a hundred different channels,
(10:34):
you know, to get the word out, and it's far
harder now. But they're kind of more cheerful, simply because
I don't know, maybe they've got to be crazy to
even try it.
Speaker 2 (10:44):
What is it about publishers and titles? It just seemed
to be a constant bettle what the title of the
book was going to be? Are they right? Are they
generally right?
Speaker 3 (10:53):
You know? That's what's really annoying about it is yes,
sometimes they are. And it's a very collaborative thing. I mean,
you write the book entirely alone, that's just you. But
then it's a really phase and you know, there's no
hostility from publishers. They love their authors and they dream
(11:14):
that every author will be a big success, and they
want every book to do as well as it possibly can,
and so they do. They sweat the small stuff. They
worry about every detail, the feel of the jacket, let alone,
the look of it and the colors and everything, the
quality of the paper, the typeface. They worry about everything,
(11:35):
and of course title is a massive thing. It's the
first thing that the potential reader ever sees.
Speaker 2 (11:42):
You're incredibly disciplined. You're very impressed that it was such
a long period of time. You would sit down on
the first of September and start a new book, and
you would write a book a year. Are you making
Andrew sit down on the first of September and start
writing to reach a book?
Speaker 3 (11:58):
It's interesting to me that, you know, we're very close
to each other and very similar, but actually also very
different in that you know, Andrew feels a little more
comfortable with a little bit more of a plan than
I did, so he will probably start planning it around then,
but he does a little planning first before he starts writing,
(12:20):
so I can't say that he honors that date in
the way that I did, which I did because it
was practical common sense. You know, you've got to do
a book a year, so you can't let it get
away from you. You've got to treat it like a job,
you know, like a school teacher turns up for work.
In September and then works until the next summer. And
(12:41):
so every job requires discipline, and writing is lovely, it's
the greatest thing. It's an art and a craft and
all that good noble stuff. But it's also a job
and you've got to do it.
Speaker 2 (12:55):
So how what's your relationship with Reaching? Like now, are
you hands off? Do you have involvement? Do you read
first drafts? What's your input with Andrew?
Speaker 3 (13:06):
It's mainly talking, you know, we just we talk in
the same way that any two fans. Would you know,
what would Richer do about that? Or you know, see
something in the news, well, what would reacha do? You know?
So a lot of it is just throwing ideas back
and forth and hammering it into some kind of narrative line,
(13:29):
you know that could be really interesting. An example was,
do you remember a few years ago where there were
all kinds of quite high status, well dressed Russian businessmen
suddenly falling to their deaths from high windows, nice one
after the other. And I thought, wow, that is a
(13:49):
great story. We've got to use that somehow. And so
I go to see Andrew and I'm about to say that,
and he says, oh, did you hear about these Russian guys.
We've got to do that, you know. So it's about
finding the nugget that is going to produce the good story.
Speaker 2 (14:06):
So what is life like for you post Reacher? Is
it a retirement or does a shift in direction? There've
been some short stories.
Speaker 3 (14:14):
Yeah, it's you know, retirement never quite totally happened, partly
because of the pandemic. You know. I sort of technically
retired just before the pandemic, but then it hit and
the book trade was in terrible trouble because obviously nobody
could go to a bookstore or anything. And so we
(14:34):
started a thing where we did online book events on
Zoom and it grew huge. Everybody was doing them all
the time, and somehow I became the go to guy
to be the host and the interviewer for dozens hundreds
of these things. And so that kind of didn't produce
(14:55):
a definitive end. You know, I hadn't really retired. I
was now doing a different thing. Plus at that time,
the Amazon TV thing started up, and so I was
getting heavily involved than that. And I'm feeling good, you know,
I'm doing a lot. I'm feeling good. I might even
write another Reacher. Who knows. It's just you know, I've
(15:17):
had a break, so why not?
Speaker 2 (15:18):
Wow? Who knows? To wait and see Lee Child. It's
been a delight to talk to you. Thank you so
much for your time.
Speaker 3 (15:25):
Oh, real pleasure. Always a pleasure to be in contact
with New Zealand. One of my favorite.
Speaker 2 (15:30):
Places and we appreciate it. That was Lee Child, a
bit of a hint of a return there watch the space.
His new book, Read to the Stories Behind the Stories
is out now.
Speaker 1 (15:41):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks It'd be from nine am Sunday,
or follow the podcast on iHeartRadio.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.