September 5, 2025 • 12 mins
After an extensive career in Hollywood and beyond as the star of blockbusters like The Hobbit and TV series like BBC’s Spooks, Richard Armitage has pivoted.
He’s turned his hand to the written word, releasing his first novel ‘Geneva’ in 2023, his second novel, ‘The Cut’ released just this month.
The story is inspired by a conversation he had in a cemetery, and the novel is unique in that it’s designed to be an audiobook before a physical text.
Writing for performance is slightly different to writing for reading, Armitage explained to Jack Tame.
“The way I work on it is to visualise it as a piece of cinema or television, and then I write it down in a sort of visceral way.”
“It’s slightly more pared back,” he said.
“And I’m kind of leaning into atmosphere.”
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Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Team podcast
from News Talks at Me. After a lengthy career in
Hollywood and beyond as the star of blockbusters like The
Hobbit and the revered BBC series Spooks, Richard Armitage has pivoted.
The actor known for his brooding scowl, has turned his
hand to the written word instead. Richard's second novel has
(00:31):
just been published. It's called The Cut, and Richard is
with us this morning.
Speaker 2 (00:34):
Kilder kyodah, very good.
Speaker 1 (00:38):
Thank you. You nailed the Kyoda spoken like someone who's
saying for the first time in their life.
Speaker 2 (00:44):
Yeah, abs in my life.
Speaker 1 (00:46):
Yeah yeah. It is great to be speaking with you.
Thank you so much for your time. I'm going to
start with a really basic question. Can you just give
us a little bit of context you tell us about
The Cut.
Speaker 3 (00:56):
So, The Cut is my second novel. It was inspired
by a real conversation I had in the cemetery and
it's it's the story of a group of teenagers at
their graduation from high school. They're in celebration mode. One
of the girls tragically dies and one of her classmates
(01:19):
goes to prison. And then in the present day, a
filmmaker comes back to that village to make a found
footage horror movie.
Speaker 2 (01:30):
But the horror movie.
Speaker 3 (01:31):
Is not quite what it seems, And that's me trying
not to give spoilers away.
Speaker 1 (01:35):
No, you did very well. I mean I think I
think you probably had all of us at the moment.
You see. This is inspired by a real conversation I
had in a symmetry. Yeah, yeah, it sounds well. I
mean it does sound slightly macab, but yeah, yeah, I
think you've nailed the balance and not giving and not
giving too much away. Talk to us then, about this
(01:55):
kind of process you've been on over the last couple
of years, because obviously storytelling is in your blood, but
you have seen a bit of a professional transition of sorts.
Speaker 3 (02:05):
I have, And it's interesting because I've worked a lot
with Audible. I've been narrating a lot of other author's
incredible work and quite a diverse range of work. And
then Audible asked me if I'd be interested in writing
a crime thriller of my own, and I immediately said yes.
And then they talked about ghost writing, and I absolutely
(02:25):
said no, no, no, If I'm going to write this and
if I'm going to narrate this. These are going to
be my own words, and it's amazing. I hadn't quite
realized how many kind of stories I had plotted somewhere
in my head, and stories that kind of leap out
of things like a conversation in a cemetery. But yeah,
the books are audible audio first, so they're written for audio,
(02:50):
and then the print version is like a bonus extra
that I never expected.
Speaker 1 (02:53):
And so how different is the writing process for a
book that is designed to be listened to rather than
in a book that is, you know, initially designed to
be read with ice.
Speaker 3 (03:04):
Well, the way I work on it is to visualize
it as a piece of cinema or television, and then
I write it down in as sort of visceral way
as I can, focusing on dialogue and how it sounds
rather than what it looks like.
Speaker 2 (03:20):
So for example, I.
Speaker 3 (03:21):
Don't need to say he said with his Scottish accent
because the man you're going to hear the Scottish accent.
So it's slightly more pared back, and I'm kind of
leaning into atmosphere and I'm working with order. But at
the moment on book three, and we're trying to get
in a bit more soundscape, so it's a sort of
immersive experience at first.
Speaker 1 (03:39):
It's interesting, it's almost it sort of harks back to
the good old days of radio plays and that kind
of thing.
Speaker 2 (03:44):
Right exactly.
Speaker 3 (03:46):
And I've I did an adaptation of Clarissa with Alison
Stedman years ago, and I miss radio plays. I mean,
I don't think any or I mean, I guess people
don't really listen to radio plays so much anymore. But
audio books have become a massive.
Speaker 1 (04:04):
Industry, of course, I mean a phenomenon in such a
such a pleasurable way to kind of, you know, weave
a bit more storytelling in your life, into your life.
So do you think that, like, what, don't take this
the wrong way? What an audible se in you when
they came to you and said, would you like to
write a crime thriller? And this is what lead to
(04:25):
Geneva right at your first book? Yeah, Like, did they
know that you would be able to pull this off?
Because it's quite I mean it's quite a yeah, it's
quite a complex skill.
Speaker 3 (04:36):
Yeah, well I didn't know I could pull it off.
I'd never written anything longer than an essay for my
English A level, but I had written biography of character,
and you know, we did it in incrementally, so they said, look,
send us a story outline, send us a sample of
your writing before they actually approved it, and gain and
contracted me. But it turns out that I do have
(04:58):
a half decent turn of phrase. And I think I've
picked that up from working on, as I said, other audiobooks,
but also screenplay, just you know, looking at adaptation and
looking at listening to a lot of producers and directors
and editors and what works and what doesn't work. I
think I've got a bit of a toolkit, now.
Speaker 1 (05:18):
Yeah, I mean it's funny though, with a screenplay, I
suppose when you are creating a story, and whether it's
a whether it's a showrunner or a director or a
DP or whatever, they are storyboarding and visualizing how a
story is going to look, and then they are creating
that visual whereas the process for you is that you
(05:41):
are visualizing how a story might look, but then using
only words and sound to create that image. Right.
Speaker 3 (05:48):
Yeah, I storyboard the entire book really in my head.
That's what the outline is. It's I mean, it's not
pictures necessarily, but it's definitely the same the same process.
I mean, at the moment, I'm working on a character
who's a journalist, and it's a way of sort of
unraveling this story for the listener. But there's a problem
(06:09):
with it at the moment because I'm bored with this
character and I had to work out why am I
struggling to write this character? And I thought to myself, well,
how would you deal with this if you were an
actor a dealing, you know, trying to play this role
that is terribly tedious. And I realized that I hadn't
thrown enough obstacles in her path. And these are the
(06:29):
things that you pick up as an actor, Like a scene.
Something has to happen in a scene in order for
it to be interesting. So yeah, I'm playing all of
those rules.
Speaker 1 (06:39):
So do you think this is a new genre of
sorts in the stories specifically written for audio books rather
than novels that have then been read out on it
or addicted into audiobooks.
Speaker 3 (06:52):
I think if you ask Audible that question, they'd say absolutely,
because you know, the marketplace is very competitive. You know,
lots of people are now broadcasting audiobooks, So anything which
comes to the platform as an original is you know,
a great piece of IP. So, but I'm very grateful
(07:13):
to Audible for believing in me.
Speaker 1 (07:14):
So what is the process like when you have to
get into the both and record a whole book? Is
it quite a daunting experience?
Speaker 3 (07:22):
Well, in a way, they say to me, You've got
to have the finished manuscript before you start recording, and
I'm like, yeah, yeah, yeah. But then when I get
in there, I'm like, oh, that doesn't sound very good,
and I need to correct. There's a bit of flex,
you know, because sometimes things sound very different.
Speaker 2 (07:38):
When you actually get in there.
Speaker 1 (07:40):
Yeah. Of course, if you're doing real time eat it sometimes.
Speaker 2 (07:44):
Yeah, yeah, yeah, I'm doing.
Speaker 3 (07:46):
And what's lovely is listening to because you often there's
more than one reader, and listening to another reader read
your words and realizing how skillful actors can be when
they make it sound better than it looks on the page.
Speaker 1 (07:59):
Yeah.
Speaker 2 (07:59):
Yeah.
Speaker 1 (07:59):
And and how about the actual kind of logistics of
getting in a both, protecting your voice to the point
that you can read out and entire novels worth of content,
and then do it again several times over in your case,
how do you find it?
Speaker 3 (08:16):
It sounds like the easiest thing in the world to
sit down in front of a microphone and read nine
and a half to ten hours of story. But actually
I think the concentration getting it absolutely correct. And I
have a problem because I'm quite a mobile person. I'm
quite physical as an actor, and so I'm constantly being
told by the sound editor in the other room, like,
(08:37):
you can't You've got to sit still. You can't jump
them down, you can't wave your arms around. If there's
a fight sequence, stop punching the mic. So, because I
tend to start acting it out, and it's really hard
to just sit there very still and focus on the voice.
Speaker 1 (08:51):
And presumably, I mean presumably you make little eras and
scuffs and things from time to time and you have
to go backwards and correct things. But that must take
a lot. I mean, I'm just thinking, I'm reading my
eight year old Famous five at the moment, and I
can barely get through a paragraph with that confusing you know,
dick and to me or something like that. It must
it must actually take a lot of concentration.
Speaker 2 (09:13):
Yeah, I do quite a lot of prep.
Speaker 3 (09:15):
I'll do a couple of passes on a book and
I'll mark it up very clearly so that you know
you don't stumble, especially if it's really long sentences.
Speaker 2 (09:22):
But yeah, you can. You can correct it and it
will all come out perfect in the end.
Speaker 1 (09:25):
Yeah. How how do you feel about this form of
storytelling versus all of the on screen stuff or versus
all the on screen stuff that you've done over the years.
Speaker 3 (09:34):
Well, I mean they're all feeding each other and what's
really amazing And I haven't quite got to the to
the realization of it yet, but both Geneva and The
Cut have been optioned for adaptations, So you know, the
dream come true would be to be on set on
the very first day of filming of Geneva or The
Cut and just think I created this story, I'm the
(09:57):
architect of this and now I'm stepping into my own universe.
Speaker 2 (10:01):
So yeah, it's it's.
Speaker 3 (10:03):
It's amazing, but it's I do have a very vivi
visual imagination, so creating the world that I'm going to
write about has always been quite easy for me, and
I thank Peter Jackson for that, if I'm honest.
Speaker 2 (10:15):
Yes, Segue.
Speaker 3 (10:17):
Yeah, when we were working on The Hobbit and we'd
work on a pure green screen set, he would come
in with his amazing, childlike imagination and start describing everything
that we were seeing around us. And of course I
was triggered by that, but I realized his attention to
detail is everything.
Speaker 1 (10:36):
So yeah, ah, fantastic. How do you reflect on that
experience film in the Hobbit?
Speaker 2 (10:41):
It was amazing.
Speaker 3 (10:42):
And you know, one of the things I really remember
is the guy and I've forgotten his name, but the
guy who sculpted the prosthetic for Thorn's face, because we
did I think they had to do about fourteen or
fifteen different sculpts. And he told me that he had
earplugs in every day and he would listen to ten
or eleven audiobooks a week while sculpting this face. And
(11:05):
that's when I thought, oh my goodn this this is
a This is a really useful tool storytelling to the
man who's sculpting Thorign's face. So I think about him
every time I sit down in front of a microphone. No,
it was a life changing experience for me. I left
my heart in New Zealand, fell in love with the place,
started looking at the possibility to live there.
Speaker 1 (11:24):
You know, Richard will take you any day. You know.
Speaker 3 (11:28):
I have a theory about quis though I always think,
you know, they're desperate to travel the world, and then
they do, and they go all over the planet and
realize what they were missing, that the world is a
bit of a shithole and I better go home pretty quick.
Speaker 1 (11:43):
Yeah, there's some. There's some like t s Elliott quite
or something. The more you travel, the more you actually
come to appreciate the place you're from, I think. And yes,
in New Zealand. Yeah, yeah, Look, congratulations on the cat
and thank you so much for giving us your time.
We really appreciate it. And like I say, I'm sure
we will gladly take you anytime.
Speaker 2 (12:02):
Richard, I will come back in a heartbeat. Please we
can do it for.
Speaker 1 (12:08):
We would love that. Thank you so much, Richard Armitage.
He is the author of the cut. We'll make sure
all the details are up on the News Talks. He'd
be website for more from Saturday Morning with Jack Tame.
Listen live to news Talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio.
You're listening to the Saturday Morning with Jack Team podcast
from News Talks at Me. After a lengthy career in
Hollywood and beyond as the star of blockbusters like The
Hobbit and the revered BBC series Spooks, Richard Armitage has pivoted.
The actor known for his brooding scowl, has turned his
hand to the written word instead. Richard's second novel has
(00:31):
just been published. It's called The Cut, and Richard is
with us this morning.
Speaker 2 (00:34):
Kilder kyodah, very good.
Speaker 1 (00:38):
Thank you. You nailed the Kyoda spoken like someone who's
saying for the first time in their life.
Speaker 2 (00:44):
Yeah, abs in my life.
Speaker 1 (00:46):
Yeah yeah. It is great to be speaking with you.
Thank you so much for your time. I'm going to
start with a really basic question. Can you just give
us a little bit of context you tell us about
The Cut.
Speaker 3 (00:56):
So, The Cut is my second novel. It was inspired
by a real conversation I had in the cemetery and
it's it's the story of a group of teenagers at
their graduation from high school. They're in celebration mode. One
of the girls tragically dies and one of her classmates
(01:19):
goes to prison. And then in the present day, a
filmmaker comes back to that village to make a found
footage horror movie.
Speaker 2 (01:30):
But the horror movie.
Speaker 3 (01:31):
Is not quite what it seems, And that's me trying
not to give spoilers away.
Speaker 1 (01:35):
No, you did very well. I mean I think I
think you probably had all of us at the moment.
You see. This is inspired by a real conversation I
had in a symmetry. Yeah, yeah, it sounds well. I
mean it does sound slightly macab, but yeah, yeah, I
think you've nailed the balance and not giving and not
giving too much away. Talk to us then, about this
(01:55):
kind of process you've been on over the last couple
of years, because obviously storytelling is in your blood, but
you have seen a bit of a professional transition of sorts.
Speaker 3 (02:05):
I have, And it's interesting because I've worked a lot
with Audible. I've been narrating a lot of other author's
incredible work and quite a diverse range of work. And
then Audible asked me if I'd be interested in writing
a crime thriller of my own, and I immediately said yes.
And then they talked about ghost writing, and I absolutely
(02:25):
said no, no, no, If I'm going to write this and
if I'm going to narrate this. These are going to
be my own words, and it's amazing. I hadn't quite
realized how many kind of stories I had plotted somewhere
in my head, and stories that kind of leap out
of things like a conversation in a cemetery. But yeah,
the books are audible audio first, so they're written for audio,
(02:50):
and then the print version is like a bonus extra
that I never expected.
Speaker 1 (02:53):
And so how different is the writing process for a
book that is designed to be listened to rather than
in a book that is, you know, initially designed to
be read with ice.
Speaker 3 (03:04):
Well, the way I work on it is to visualize
it as a piece of cinema or television, and then
I write it down in as sort of visceral way
as I can, focusing on dialogue and how it sounds
rather than what it looks like.
Speaker 2 (03:20):
So for example, I.
Speaker 3 (03:21):
Don't need to say he said with his Scottish accent
because the man you're going to hear the Scottish accent.
So it's slightly more pared back, and I'm kind of
leaning into atmosphere and I'm working with order. But at
the moment on book three, and we're trying to get
in a bit more soundscape, so it's a sort of
immersive experience at first.
Speaker 1 (03:39):
It's interesting, it's almost it sort of harks back to
the good old days of radio plays and that kind
of thing.
Speaker 2 (03:44):
Right exactly.
Speaker 3 (03:46):
And I've I did an adaptation of Clarissa with Alison
Stedman years ago, and I miss radio plays. I mean,
I don't think any or I mean, I guess people
don't really listen to radio plays so much anymore. But
audio books have become a massive.
Speaker 1 (04:04):
Industry, of course, I mean a phenomenon in such a
such a pleasurable way to kind of, you know, weave
a bit more storytelling in your life, into your life.
So do you think that, like, what, don't take this
the wrong way? What an audible se in you when
they came to you and said, would you like to
write a crime thriller? And this is what lead to
(04:25):
Geneva right at your first book? Yeah, Like, did they
know that you would be able to pull this off?
Because it's quite I mean it's quite a yeah, it's
quite a complex skill.
Speaker 3 (04:36):
Yeah, well I didn't know I could pull it off.
I'd never written anything longer than an essay for my
English A level, but I had written biography of character,
and you know, we did it in incrementally, so they said, look,
send us a story outline, send us a sample of
your writing before they actually approved it, and gain and
contracted me. But it turns out that I do have
(04:58):
a half decent turn of phrase. And I think I've
picked that up from working on, as I said, other audiobooks,
but also screenplay, just you know, looking at adaptation and
looking at listening to a lot of producers and directors
and editors and what works and what doesn't work. I
think I've got a bit of a toolkit, now.
Speaker 1 (05:18):
Yeah, I mean it's funny though, with a screenplay, I
suppose when you are creating a story, and whether it's
a whether it's a showrunner or a director or a
DP or whatever, they are storyboarding and visualizing how a
story is going to look, and then they are creating
that visual whereas the process for you is that you
(05:41):
are visualizing how a story might look, but then using
only words and sound to create that image. Right.
Speaker 3 (05:48):
Yeah, I storyboard the entire book really in my head.
That's what the outline is. It's I mean, it's not
pictures necessarily, but it's definitely the same the same process.
I mean, at the moment, I'm working on a character
who's a journalist, and it's a way of sort of
unraveling this story for the listener. But there's a problem
(06:09):
with it at the moment because I'm bored with this
character and I had to work out why am I
struggling to write this character? And I thought to myself, well,
how would you deal with this if you were an
actor a dealing, you know, trying to play this role
that is terribly tedious. And I realized that I hadn't
thrown enough obstacles in her path. And these are the
(06:29):
things that you pick up as an actor, Like a scene.
Something has to happen in a scene in order for
it to be interesting. So yeah, I'm playing all of
those rules.
Speaker 1 (06:39):
So do you think this is a new genre of
sorts in the stories specifically written for audio books rather
than novels that have then been read out on it
or addicted into audiobooks.
Speaker 3 (06:52):
I think if you ask Audible that question, they'd say absolutely,
because you know, the marketplace is very competitive. You know,
lots of people are now broadcasting audiobooks, So anything which
comes to the platform as an original is you know,
a great piece of IP. So, but I'm very grateful
(07:13):
to Audible for believing in me.
Speaker 1 (07:14):
So what is the process like when you have to
get into the both and record a whole book? Is
it quite a daunting experience?
Speaker 3 (07:22):
Well, in a way, they say to me, You've got
to have the finished manuscript before you start recording, and
I'm like, yeah, yeah, yeah. But then when I get
in there, I'm like, oh, that doesn't sound very good,
and I need to correct. There's a bit of flex,
you know, because sometimes things sound very different.
Speaker 2 (07:38):
When you actually get in there.
Speaker 1 (07:40):
Yeah. Of course, if you're doing real time eat it sometimes.
Speaker 2 (07:44):
Yeah, yeah, yeah, I'm doing.
Speaker 3 (07:46):
And what's lovely is listening to because you often there's
more than one reader, and listening to another reader read
your words and realizing how skillful actors can be when
they make it sound better than it looks on the page.
Speaker 1 (07:59):
Yeah.
Speaker 2 (07:59):
Yeah.
Speaker 1 (07:59):
And and how about the actual kind of logistics of
getting in a both, protecting your voice to the point
that you can read out and entire novels worth of content,
and then do it again several times over in your case,
how do you find it?
Speaker 3 (08:16):
It sounds like the easiest thing in the world to
sit down in front of a microphone and read nine
and a half to ten hours of story. But actually
I think the concentration getting it absolutely correct. And I
have a problem because I'm quite a mobile person. I'm
quite physical as an actor, and so I'm constantly being
told by the sound editor in the other room, like,
(08:37):
you can't You've got to sit still. You can't jump
them down, you can't wave your arms around. If there's
a fight sequence, stop punching the mic. So, because I
tend to start acting it out, and it's really hard
to just sit there very still and focus on the voice.
Speaker 1 (08:51):
And presumably, I mean presumably you make little eras and
scuffs and things from time to time and you have
to go backwards and correct things. But that must take
a lot. I mean, I'm just thinking, I'm reading my
eight year old Famous five at the moment, and I
can barely get through a paragraph with that confusing you know,
dick and to me or something like that. It must
it must actually take a lot of concentration.
Speaker 2 (09:13):
Yeah, I do quite a lot of prep.
Speaker 3 (09:15):
I'll do a couple of passes on a book and
I'll mark it up very clearly so that you know
you don't stumble, especially if it's really long sentences.
Speaker 2 (09:22):
But yeah, you can. You can correct it and it
will all come out perfect in the end.
Speaker 1 (09:25):
Yeah. How how do you feel about this form of
storytelling versus all of the on screen stuff or versus
all the on screen stuff that you've done over the years.
Speaker 3 (09:34):
Well, I mean they're all feeding each other and what's
really amazing And I haven't quite got to the to
the realization of it yet, but both Geneva and The
Cut have been optioned for adaptations, So you know, the
dream come true would be to be on set on
the very first day of filming of Geneva or The
Cut and just think I created this story, I'm the
(09:57):
architect of this and now I'm stepping into my own universe.
Speaker 2 (10:01):
So yeah, it's it's.
Speaker 3 (10:03):
It's amazing, but it's I do have a very vivi
visual imagination, so creating the world that I'm going to
write about has always been quite easy for me, and
I thank Peter Jackson for that, if I'm honest.
Speaker 2 (10:15):
Yes, Segue.
Speaker 3 (10:17):
Yeah, when we were working on The Hobbit and we'd
work on a pure green screen set, he would come
in with his amazing, childlike imagination and start describing everything
that we were seeing around us. And of course I
was triggered by that, but I realized his attention to
detail is everything.
Speaker 1 (10:36):
So yeah, ah, fantastic. How do you reflect on that
experience film in the Hobbit?
Speaker 2 (10:41):
It was amazing.
Speaker 3 (10:42):
And you know, one of the things I really remember
is the guy and I've forgotten his name, but the
guy who sculpted the prosthetic for Thorn's face, because we
did I think they had to do about fourteen or
fifteen different sculpts. And he told me that he had
earplugs in every day and he would listen to ten
or eleven audiobooks a week while sculpting this face. And
(11:05):
that's when I thought, oh my goodn this this is
a This is a really useful tool storytelling to the
man who's sculpting Thorign's face. So I think about him
every time I sit down in front of a microphone. No,
it was a life changing experience for me. I left
my heart in New Zealand, fell in love with the place,
started looking at the possibility to live there.
Speaker 1 (11:24):
You know, Richard will take you any day. You know.
Speaker 3 (11:28):
I have a theory about quis though I always think,
you know, they're desperate to travel the world, and then
they do, and they go all over the planet and
realize what they were missing, that the world is a
bit of a shithole and I better go home pretty quick.
Speaker 1 (11:43):
Yeah, there's some. There's some like t s Elliott quite
or something. The more you travel, the more you actually
come to appreciate the place you're from, I think. And yes,
in New Zealand. Yeah, yeah, Look, congratulations on the cat
and thank you so much for giving us your time.
We really appreciate it. And like I say, I'm sure
we will gladly take you anytime.
Speaker 2 (12:02):
Richard, I will come back in a heartbeat. Please we
can do it for.
Speaker 1 (12:08):
We would love that. Thank you so much, Richard Armitage.
He is the author of the cut. We'll make sure
all the details are up on the News Talks. He'd
be website for more from Saturday Morning with Jack Tame.
Listen live to news Talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio.
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On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com