David Nicholls is a critically acclaimed author and BAFTA-winning screenwriter - and he's set to make an appearance at this year's upcoming Auckland Writers Festival.
His bestselling book One Day sold millions of copies and went on to become a successful hit series on Netflix.
Off the back of his latest hit novel, You Are Here, Nicholls plans to address Kiwi fans - and open up about the pressures of success.
"I've written a lot of books set in the past and a lot of books with quite a large time scale - and this is like a little delicate chamber piece, even though it takes place against all these mountains and lakes and rivers. It's a character study."
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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):
David Nichols is a critically acclaimed author and Bafter winning screenwriter.
You may best know him through his best selling book
One Day. It was a huge success. It sold millions
of copies and he also turned it into a major
Netflix show. David's latest release is a book absolutely delightful.
It's called You Are Here, and off the back of
that release, he's heading here for the Auckland Writers' Festival.
(00:35):
He joins me now from his home in London. David Nichols,
good morning.
Speaker 3 (00:39):
Hello, Hi, lovely to talk to you. Hey.
Speaker 2 (00:41):
Congratulations on your latest book, You Are Here. It's been
a huge success, shortlisted for the Bollinger Everyman Woodhouse Prize
for Comic Fiction and it's a fabulous read.
Speaker 3 (00:53):
Oh, thank you very much. This was a real neighbor
of love this book. I had a great time writing it,
which isn't always the case, but I did love doing
this one.
Speaker 2 (01:02):
You were going to write a big London novel and
then the pandemic and lockdowns came along and like so
many of us, kind of altered plans a little bit.
How did that period inspire this book?
Speaker 3 (01:13):
Well, you know, it was a terrible time to write.
I wanted to write about the present day, and there
was there was so much uncertainty about what the future held.
And also I found that, you know, like so many people,
I was stuck indoors, not saying my friends, kind of
forgetting how to relate to other people and how to
(01:33):
talk to people. And when it finally lifted, I found
it very difficult to get back out into the world.
Created so many routines and habits to make lockdown bearable.
And I saw this in my friends as well, that
we'd all become a little bit nervous, a bit wary
around each other. And my friends who were living alone,
I think they had a particularly difficult time. And I
had to write about that, really about me, but how
(01:56):
rewarding ultimately it could be. And well, so I missed,
I missed the countryside, I missed going for my long
walks in the country. So I wanted to write about
that as well, and the two ideas came together and
became you are here.
Speaker 2 (02:09):
It's interesting you mentioned that you wanted to write in
the present, because you often use time in the passing
of time to tell your stories. But this is very
much a book about living in the moment, appreciating the present.
Speaker 3 (02:22):
Yes, absolutely, I wanted it to be a little kind
of chamber piece to follow two people's conversation over just
a matter of days. The journey they go on is epic,
it's a two hundred mile bike all the way across
the north of England. But it's very much a kind
of close up novel. It's very much about the details,
the tiny details of their interaction and their relationships. I've
(02:45):
written a lot of books, as you say, set in
the past, and a lot of books with quite a
large timescale, but this is like a little delicate, little
chamber piece, even though it takes place against all these
mountains and lakes and rivers. It's a character study really.
Speaker 2 (03:00):
It doesn't reflect also sort of your approach to life
these days as well, you know, taking time to enjoy
the now.
Speaker 3 (03:06):
I suppose so. I think it's very much a book
about friendship and the formation of a friendship and a
friendship that may turn into a relationship, a love affair.
But certainly it's hard is about opening up conversation the
two characters, getting to learn more about each other and
thinking about the future and really relishing each other's company.
(03:32):
And I guess that's something I feel more and more
as I get older. Yes, that my early books are
kind of quite noisy comedies at about dating and relationships,
and this one is a little bit maybe a bit gentler,
a bit wiser, a little bit more mature than some
of the other things I've written.
Speaker 2 (03:49):
David, what comes to you first? Is it the characters,
the location, sort of the premise around the narrative.
Speaker 3 (03:55):
I think it's often the premise for me, you know,
I wanted to write, Yeah, a love story that takes
place on a long walk. That was the premise. And
then you start to ask yourself questions to you, who
are these people different to each other? What kind of
conflict might there be in their relationship? What's their relationship
to this landscape? Do they want to be there? I then,
(04:17):
of course had to do the walk, this famous walk,
the Coast to Coast, which is a two hundred mile
walk from the west coast of England to the east,
and along the way there was a certain amount of improvisation,
responding to the landscape, responding to the rain and the
cold and the terrible hotels and wondering who might be
in that place. And it's a bit like an actor
(04:38):
preparing for a role, you know. I think a lot
about the characters' background, the tone of voice, their physicality,
and I make a lot of notes before I start
writing the novel. So the novel there's a kind of
improvisation in character. It's a very slow process. But with
this book, I so enjoyed the experience of the landscape
and actually making the same journey as the characters that
(05:00):
it was a real joy.
Speaker 2 (05:01):
I'm very impressed that you did the walk. I was
going to ask you that because I noticed at the
end of the book you sort of said a note
on the journey and you mentioned how you were assisted
by a few guides, and I thought, hmm, I wonder
if David actually did this walk himself.
Speaker 3 (05:16):
I am very agreed.
Speaker 2 (05:18):
But you do warn people because people will. I mean,
I'm a wanderer. I love a walk. So I read
this and I love the relationship and the story, but
I also love the journey that you took me on,
and I would love to hit out the door and
go and do this walk. But we if you know,
I love the way you warned people that you did
make up certain you know b and bs and places
that they stayed and in things just in case people
(05:40):
go off to sort of reenact this journey.
Speaker 3 (05:43):
Yes, it's very much a novel rather than a travel guide.
The landscape is absolutely real, and I did the whole
walk and stood everywhere the characters stood. But sometimes you
want your characters to have a fantastic time and sometimes
you want them to be miserable, so everywhere they stay
is fictional, but the mountains and the rivers are all
(06:06):
real and very much firsthand experience. It's an amazing walk.
I think there are more beautiful walks in England. But
there's a kind of symbolism to this idea of walking
all the way across the country, and there's a there's
a kind of mythology to it as well. You meant
to pick up a pebble on the beach in Cumbria
and carry it all the way to Yorkshire and throw
it in the sea. And it's a walk that very
(06:28):
much has three acts. The lakes and the dales and
the moors and all of that really informed at.
Speaker 2 (06:34):
The novel, and I love the way you know the
quirks of trampers or hikers that those you know, how
they have those seemingly gentle and yet quietly competitive conversations
about how far are you walking and where have you
come from? You know, I loved all that details.
Speaker 3 (06:50):
That you hear. Yeah, whether you take the high root
or the low route, the easy way of the hard way,
and yes, endless conversations about the weather and the distance
you've traveled.
Speaker 2 (07:00):
Yep, there are many funny lines and observations money users
who worked to get through a lot of situations in
her life. Does that wit come flying out of you
and onto the page once you have your character or
do you have to work hard at nailing the guma?
Speaker 3 (07:16):
Oh I wish it did come flying out. No, it's
very laborious. But you know what you have. You have
this great luxury as a writer of time. You know,
you can spend three years making a character as funny
as they can possibly be, and that process is quite detailed,
you know. I spend a lot of time polishing the dialogue,
working out whether it needs a dash or a full stop,
(07:38):
working out the precise language the characters use. And at
the same time, dialogue is the thing that I'm happy
is writing it is again akin to being an actor
and improvising. Once I know who the characters are, I
can write pages and pages and pages of dialogue, which
then gets polished and cut down and shaped into the
(07:58):
dialogue you read in the book. It's it's the part
of the process I love the most, and yet it's
also it's it Often comedy is about absolutely the right
word or the rhythm of a sentence, and all that
takes many, many months to do.
Speaker 2 (08:15):
So do you find it easy to be funny through
writing than an everyday conversation.
Speaker 3 (08:19):
Oh? Yeah, definitely. I'm completely deathly in conversation. I can't
tell a joke. I'm not particularly witty, you know, I
kind of I can't. I don't like a dinner parties.
But if you give me something to write with and
give me time, I can usually think of something. It
just takes a long long time.
Speaker 2 (08:40):
David, you write characters that people resonate with, they recognize,
and they fall in love with, and therefore can become
quite protective over them and their stories. Do you mind
that people's opinion on your characters or maybe the outcome
of a book.
Speaker 3 (08:53):
No, I'm fascinated by it. I don't always know how
it's going to go. You know. Often I write characters
so I think are wonderful that I really love and
they don't quite land and other characters that I that
I I'm more wary of, you know, just as you
would be with meeting people in real life. There are
characters I adore, and I mean Marnie in this novel
(09:15):
was a real joy to write because she's so sharp
witted and smart and sardonic, and I loved loved writing her.
But you never quite know our people. It's a bit
like introducing friends. You never quite know how it's going
to go. I've definitely written characters who were a real
pleasure and I felt very fondly towards and people were
(09:39):
less forgiving of their actions than I thought they'd be.
Speaker 2 (09:42):
You started your career in television. Has screenwriting impacted your
approach to writing fiction and vice versa. Has writing novels
impacted your screenwriting in any way?
Speaker 3 (09:52):
Well, definitely, the screenwriting sped into the fiction. You know,
people are very The screenwriting process is very tough. You
throw a lot of things away. There's a lot of
collaboration because everything costs so much to make. Everything has
to fulfill a purpose. You know, people are constantly saying,
can we cut the scene? What is this scene doing
for us? Have we seen the scene already? Does it
(10:12):
have to be outside? Does it have to rain? All
of those questions are very make the process often quite frustrating.
With fiction, you have terrific freedom, but at the same time,
I'm always asking myself what is this for? Is this boring?
Is does this have a hook? Is this going to
get the reader into the next chapter? That feeling you
have at the end of a really good TV show,
(10:34):
What's going to happen next? I do want that to
find its way onto the page as well. So I
like to think I'm quite economical and quite careful about story.
I certainly spend a lot of time planning, you know.
I don't improvise a novel. I spend often a year
or more just making notes and working out what it's
going to be, and only when I know the whole shape.
(10:55):
As a screenwriter would only then do I start writing
the pros.
Speaker 2 (11:00):
Many of your novels have been adapted for the screen.
So when you are writing a book like you are here,
you dreamcasting as you go. Are you imagining this on
screen as well?
Speaker 3 (11:11):
Not in a practical way in that you know, I
want a book to be a book, and there are
all kinds of things you can do in a novel
that you can't do on the screen, like internal monologue
and metaphor and childhood memories, that kind of thing. All
none of that really works on screen. Screen is really
about just what characters say and do. So you do
have all these extra tools as a novelist, and I
(11:33):
do try and make the most of that. At the
same time, you know, I grew up watching film and television,
and I grew up loving books, and to me, they're
the same thing. And elementally, you know, they're about engagement
and emotion and often comedy, and so there is a
certain overlap. And sometimes it helps me to think of
(11:54):
the physicality of an actor, not someone I'd necessarily cast,
but a tone of voice. You know, is this a
Jack Lemon character or a Katherine Heatbround character. I love actors,
and I've definitely drawn from what actors can do when
I try and create a character for the page.
Speaker 2 (12:11):
Dived to six books, all hugely successful. When you release
a new book, now, do you feel any pressure at
all for it to be a hit?
Speaker 3 (12:19):
Oh? Huge pressure. Yeah. I love all six, but some
have done much better than others, and there's no way
of knowing. You know, they're all equally hard work. I
put the same amount of commitment and love into each
of them, but you never quite know what's going to
take and how people are going to respond. So that's
the great unknown. But certainly I do my very best
(12:41):
to make it as good as it can possibly be.
I wouldn't want to publish anything that I wasn't entirely
convinced by. At the same time, there's absolutely no way
of knowing whether it's going to absolutely fly or or
just kind of, you know, do okay, And there's nothing
you can do about that, really except hold your nerve.
(13:02):
I'm very lucky to be published, but it is an
extremely nerve wrecking process and there's no way of knowing
quite how things are going to go.
Speaker 2 (13:09):
David, we're so excited you're coming to the Auckland Writers Festival,
but are you looking forward to coming to New Zealand.
We've got some lovely walks here.
Speaker 3 (13:16):
I'm absolutely thrilled. I'm really delighted to be coming. I
hope I can carve out a little bit of time.
I'm going to be absolutely not sideways by the jet bag.
But I'm promising myself lot to complain about that and
to see as much as I can. We'll end there.
Speaker 2 (13:32):
David Nichols, thank you so much for good time, pleasure
to talk to you.
Speaker 3 (13:35):
Thank you. It's lovely to talk to you. Thank you
very much.
Speaker 2 (13:38):
David Nichols's latest book is called You Are Here. I
loved it, highly recommend it. David is heading over for
the Auckland Writers Festival thirteenth to the eighteenth of May.
For more information, head to writers Festival dot co dot
m Z.
Speaker 1 (13:52):
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 Rudkin
from News Talks EDB.
Speaker 2 (00:12):
David Nichols is a critically acclaimed author and Bafter winning screenwriter.
You may best know him through his best selling book
One Day. It was a huge success. It sold millions
of copies and he also turned it into a major
Netflix show. David's latest release is a book absolutely delightful.
It's called You Are Here, and off the back of
that release, he's heading here for the Auckland Writers' Festival.
(00:35):
He joins me now from his home in London. David Nichols,
good morning.
Speaker 3 (00:39):
Hello, Hi, lovely to talk to you. Hey.
Speaker 2 (00:41):
Congratulations on your latest book, You Are Here. It's been
a huge success, shortlisted for the Bollinger Everyman Woodhouse Prize
for Comic Fiction and it's a fabulous read.
Speaker 3 (00:53):
Oh, thank you very much. This was a real neighbor
of love this book. I had a great time writing it,
which isn't always the case, but I did love doing
this one.
Speaker 2 (01:02):
You were going to write a big London novel and
then the pandemic and lockdowns came along and like so
many of us, kind of altered plans a little bit.
How did that period inspire this book?
Speaker 3 (01:13):
Well, you know, it was a terrible time to write.
I wanted to write about the present day, and there
was there was so much uncertainty about what the future held.
And also I found that, you know, like so many people,
I was stuck indoors, not saying my friends, kind of
forgetting how to relate to other people and how to
(01:33):
talk to people. And when it finally lifted, I found
it very difficult to get back out into the world.
Created so many routines and habits to make lockdown bearable.
And I saw this in my friends as well, that
we'd all become a little bit nervous, a bit wary
around each other. And my friends who were living alone,
I think they had a particularly difficult time. And I
had to write about that, really about me, but how
(01:56):
rewarding ultimately it could be. And well, so I missed,
I missed the countryside, I missed going for my long
walks in the country. So I wanted to write about
that as well, and the two ideas came together and
became you are here.
Speaker 2 (02:09):
It's interesting you mentioned that you wanted to write in
the present, because you often use time in the passing
of time to tell your stories. But this is very
much a book about living in the moment, appreciating the present.
Speaker 3 (02:22):
Yes, absolutely, I wanted it to be a little kind
of chamber piece to follow two people's conversation over just
a matter of days. The journey they go on is epic,
it's a two hundred mile bike all the way across
the north of England. But it's very much a kind
of close up novel. It's very much about the details,
the tiny details of their interaction and their relationships. I've
(02:45):
written a lot of books, as you say, set in
the past, and a lot of books with quite a
large timescale, but this is like a little delicate, little
chamber piece, even though it takes place against all these
mountains and lakes and rivers. It's a character study really.
Speaker 2 (03:00):
It doesn't reflect also sort of your approach to life
these days as well, you know, taking time to enjoy
the now.
Speaker 3 (03:06):
I suppose so. I think it's very much a book
about friendship and the formation of a friendship and a
friendship that may turn into a relationship, a love affair.
But certainly it's hard is about opening up conversation the
two characters, getting to learn more about each other and
thinking about the future and really relishing each other's company.
(03:32):
And I guess that's something I feel more and more
as I get older. Yes, that my early books are
kind of quite noisy comedies at about dating and relationships,
and this one is a little bit maybe a bit gentler,
a bit wiser, a little bit more mature than some
of the other things I've written.
Speaker 2 (03:49):
David, what comes to you first? Is it the characters,
the location, sort of the premise around the narrative.
Speaker 3 (03:55):
I think it's often the premise for me, you know,
I wanted to write, Yeah, a love story that takes
place on a long walk. That was the premise. And
then you start to ask yourself questions to you, who
are these people different to each other? What kind of
conflict might there be in their relationship? What's their relationship
to this landscape? Do they want to be there? I then,
(04:17):
of course had to do the walk, this famous walk,
the Coast to Coast, which is a two hundred mile
walk from the west coast of England to the east,
and along the way there was a certain amount of improvisation,
responding to the landscape, responding to the rain and the
cold and the terrible hotels and wondering who might be
in that place. And it's a bit like an actor
(04:38):
preparing for a role, you know. I think a lot
about the characters' background, the tone of voice, their physicality,
and I make a lot of notes before I start
writing the novel. So the novel there's a kind of
improvisation in character. It's a very slow process. But with
this book, I so enjoyed the experience of the landscape
and actually making the same journey as the characters that
(05:00):
it was a real joy.
Speaker 2 (05:01):
I'm very impressed that you did the walk. I was
going to ask you that because I noticed at the
end of the book you sort of said a note
on the journey and you mentioned how you were assisted
by a few guides, and I thought, hmm, I wonder
if David actually did this walk himself.
Speaker 3 (05:16):
I am very agreed.
Speaker 2 (05:18):
But you do warn people because people will. I mean,
I'm a wanderer. I love a walk. So I read
this and I love the relationship and the story, but
I also love the journey that you took me on,
and I would love to hit out the door and
go and do this walk. But we if you know,
I love the way you warned people that you did
make up certain you know b and bs and places
that they stayed and in things just in case people
(05:40):
go off to sort of reenact this journey.
Speaker 3 (05:43):
Yes, it's very much a novel rather than a travel guide.
The landscape is absolutely real, and I did the whole
walk and stood everywhere the characters stood. But sometimes you
want your characters to have a fantastic time and sometimes
you want them to be miserable, so everywhere they stay
is fictional, but the mountains and the rivers are all
(06:06):
real and very much firsthand experience. It's an amazing walk.
I think there are more beautiful walks in England. But
there's a kind of symbolism to this idea of walking
all the way across the country, and there's a there's
a kind of mythology to it as well. You meant
to pick up a pebble on the beach in Cumbria
and carry it all the way to Yorkshire and throw
it in the sea. And it's a walk that very
(06:28):
much has three acts. The lakes and the dales and
the moors and all of that really informed at.
Speaker 2 (06:34):
The novel, and I love the way you know the
quirks of trampers or hikers that those you know, how
they have those seemingly gentle and yet quietly competitive conversations
about how far are you walking and where have you
come from? You know, I loved all that details.
Speaker 3 (06:50):
That you hear. Yeah, whether you take the high root
or the low route, the easy way of the hard way,
and yes, endless conversations about the weather and the distance
you've traveled.
Speaker 2 (07:00):
Yep, there are many funny lines and observations money users
who worked to get through a lot of situations in
her life. Does that wit come flying out of you
and onto the page once you have your character or
do you have to work hard at nailing the guma?
Speaker 3 (07:16):
Oh I wish it did come flying out. No, it's
very laborious. But you know what you have. You have
this great luxury as a writer of time. You know,
you can spend three years making a character as funny
as they can possibly be, and that process is quite detailed,
you know. I spend a lot of time polishing the dialogue,
working out whether it needs a dash or a full stop,
(07:38):
working out the precise language the characters use. And at
the same time, dialogue is the thing that I'm happy
is writing it is again akin to being an actor
and improvising. Once I know who the characters are, I
can write pages and pages and pages of dialogue, which
then gets polished and cut down and shaped into the
(07:58):
dialogue you read in the book. It's it's the part
of the process I love the most, and yet it's
also it's it Often comedy is about absolutely the right
word or the rhythm of a sentence, and all that
takes many, many months to do.
Speaker 2 (08:15):
So do you find it easy to be funny through
writing than an everyday conversation.
Speaker 3 (08:19):
Oh? Yeah, definitely. I'm completely deathly in conversation. I can't
tell a joke. I'm not particularly witty, you know, I
kind of I can't. I don't like a dinner parties.
But if you give me something to write with and
give me time, I can usually think of something. It
just takes a long long time.
Speaker 2 (08:40):
David, you write characters that people resonate with, they recognize,
and they fall in love with, and therefore can become
quite protective over them and their stories. Do you mind
that people's opinion on your characters or maybe the outcome
of a book.
Speaker 3 (08:53):
No, I'm fascinated by it. I don't always know how
it's going to go. You know. Often I write characters
so I think are wonderful that I really love and
they don't quite land and other characters that I that
I I'm more wary of, you know, just as you
would be with meeting people in real life. There are
characters I adore, and I mean Marnie in this novel
(09:15):
was a real joy to write because she's so sharp
witted and smart and sardonic, and I loved loved writing her.
But you never quite know our people. It's a bit
like introducing friends. You never quite know how it's going
to go. I've definitely written characters who were a real
pleasure and I felt very fondly towards and people were
(09:39):
less forgiving of their actions than I thought they'd be.
Speaker 2 (09:42):
You started your career in television. Has screenwriting impacted your
approach to writing fiction and vice versa. Has writing novels
impacted your screenwriting in any way?
Speaker 3 (09:52):
Well, definitely, the screenwriting sped into the fiction. You know,
people are very The screenwriting process is very tough. You
throw a lot of things away. There's a lot of
collaboration because everything costs so much to make. Everything has
to fulfill a purpose. You know, people are constantly saying,
can we cut the scene? What is this scene doing
for us? Have we seen the scene already? Does it
(10:12):
have to be outside? Does it have to rain? All
of those questions are very make the process often quite frustrating.
With fiction, you have terrific freedom, but at the same time,
I'm always asking myself what is this for? Is this boring?
Is does this have a hook? Is this going to
get the reader into the next chapter? That feeling you
have at the end of a really good TV show,
(10:34):
What's going to happen next? I do want that to
find its way onto the page as well. So I
like to think I'm quite economical and quite careful about story.
I certainly spend a lot of time planning, you know.
I don't improvise a novel. I spend often a year
or more just making notes and working out what it's
going to be, and only when I know the whole shape.
(10:55):
As a screenwriter would only then do I start writing
the pros.
Speaker 2 (11:00):
Many of your novels have been adapted for the screen.
So when you are writing a book like you are here,
you dreamcasting as you go. Are you imagining this on
screen as well?
Speaker 3 (11:11):
Not in a practical way in that you know, I
want a book to be a book, and there are
all kinds of things you can do in a novel
that you can't do on the screen, like internal monologue
and metaphor and childhood memories, that kind of thing. All
none of that really works on screen. Screen is really
about just what characters say and do. So you do
have all these extra tools as a novelist, and I
(11:33):
do try and make the most of that. At the
same time, you know, I grew up watching film and television,
and I grew up loving books, and to me, they're
the same thing. And elementally, you know, they're about engagement
and emotion and often comedy, and so there is a
certain overlap. And sometimes it helps me to think of
(11:54):
the physicality of an actor, not someone I'd necessarily cast,
but a tone of voice. You know, is this a
Jack Lemon character or a Katherine Heatbround character. I love actors,
and I've definitely drawn from what actors can do when
I try and create a character for the page.
Speaker 2 (12:11):
Dived to six books, all hugely successful. When you release
a new book, now, do you feel any pressure at
all for it to be a hit?
Speaker 3 (12:19):
Oh? Huge pressure. Yeah. I love all six, but some
have done much better than others, and there's no way
of knowing. You know, they're all equally hard work. I
put the same amount of commitment and love into each
of them, but you never quite know what's going to
take and how people are going to respond. So that's
the great unknown. But certainly I do my very best
(12:41):
to make it as good as it can possibly be.
I wouldn't want to publish anything that I wasn't entirely
convinced by. At the same time, there's absolutely no way
of knowing whether it's going to absolutely fly or or
just kind of, you know, do okay, And there's nothing
you can do about that, really except hold your nerve.
(13:02):
I'm very lucky to be published, but it is an
extremely nerve wrecking process and there's no way of knowing
quite how things are going to go.
Speaker 2 (13:09):
David, we're so excited you're coming to the Auckland Writers Festival,
but are you looking forward to coming to New Zealand.
We've got some lovely walks here.
Speaker 3 (13:16):
I'm absolutely thrilled. I'm really delighted to be coming. I
hope I can carve out a little bit of time.
I'm going to be absolutely not sideways by the jet bag.
But I'm promising myself lot to complain about that and
to see as much as I can. We'll end there.
Speaker 2 (13:32):
David Nichols, thank you so much for good time, pleasure
to talk to you.
Speaker 3 (13:35):
Thank you. It's lovely to talk to you. Thank you
very much.
Speaker 2 (13:38):
David Nichols's latest book is called You Are Here. I
loved it, highly recommend it. David is heading over for
the Auckland Writers Festival thirteenth to the eighteenth of May.
For more information, head to writers Festival dot co dot
m Z.
Speaker 1 (13:52):
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.
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