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BBC Maestro

Lee Child - Writing Popular Fiction

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Lee Child, the bestselling author of the Jack Reacher novels, is one of the world's most successful authors of all time. Since he began writing in his 40s, he's sold an incredible 200 million books, topping the best seller charts worldwide for three decades. For the very first time, and exclusively on BBC Maestro, Lee breaks down his writing process. He'll show you how to turn your blank page into a complete story, covering idea development, research, planning, character development and, ultimately, how you can make a living as a writer – whatever your age and experience. Lee's long and unparalleled career is proof that it's never too late to get started.

Where to Watch BBC Maestro • Lee Child - Writing Popular Fiction

35 Episodes

  • LEE'S INTRODUCTION
    A1
    LEE'S INTRODUCTIONLee introduces himself and his Jack Reacher franchise, and lays out the plan for his course on writing popular fiction.
  • WHERE STORY COMES FROM AND WHAT IT'S FOR
    A2
    WHERE STORY COMES FROM AND WHAT IT'S FORLee discusses the evolution of fiction from non-fiction, and what it is about a good story that instinctively draws people in.
  • IF YOU WANT TO BE A WRITER, YOU HAVE TO BE A READER FIRST
    A3
    IF YOU WANT TO BE A WRITER, YOU HAVE TO BE A READER FIRSTLee explains how you can start writing at any age, and without any specific experience. The only crucial qualification? Being a reader.
  • WHY I LOVE SERIES FICTION
    A4
    WHY I LOVE SERIES FICTIONThe only bad thing about reading a good book is finishing it – so why stop at writing just one?
  • HOW I WROTE MY FIRST BOOK (PART ONE)
    A5
    HOW I WROTE MY FIRST BOOK (PART ONE)Writing novels is the perfect career for later in life, as Lee found to be the case when he lost his job at the age of 40.
  • HOW I WROTE MY FIRST BOOK (PART TWO)
    A6
    HOW I WROTE MY FIRST BOOK (PART TWO)Find out how to carve out a niche for yourself within any genre of fiction.
  • BOOK 2 AND BEYOND
    A7
    BOOK 2 AND BEYONDOvercoming the pressure of writing your next book is a hurdle all writers must face, but there are a couple of techniques that can help you take the leap.
  • HOW TO NOT MAKE YOUR READER SEASICK
    A8
    HOW TO NOT MAKE YOUR READER SEASICKFind the right balance between writing in first person, third person, and even second person perspective.
  • VOICE IS NOT A METAPHOR
    A9
    VOICE IS NOT A METAPHORThe key to holding your audience’s attention is finding your unique tone of voice and keeping it sounding natural.
  • BIG WORDS AND BIG THEMES
    A10
    BIG WORDS AND BIG THEMESDiscover how moments of calm can be just as integral to the momentum of your story as fast-paced action scenes.
  • PLOT IS A RENTAL CAR
    A11
    PLOT IS A RENTAL CARHow you tell your version of the story is more important than originality of plot itself.
  • ROBIN HOOD AND THE WRITERS' ROOM
    A12
    ROBIN HOOD AND THE WRITERS' ROOMLook to the most iconic heroes to create well-written characters with enduring appeal.
  • CHARACTER IS KING
    A13
    CHARACTER IS KINGWithout a strong lead, you’ve got no one to carry your story forward, no matter how good your plot is.
  • DITCH THE BAD ADVICE
    A14
    DITCH THE BAD ADVICEEven the best advice can be bad advice without a healthy measure of common sense on the side.
  • DON'T FALL IN LOVE WITH YOUR HERO
    A15
    DON'T FALL IN LOVE WITH YOUR HEROLearn how to write characters with timeless appeal, like Jack Reacher. Hint: they’re just as multi-faceted and complex as you are.
  • WHY HOOK HOBIE IS LIKE MY GRANDFATHER
    A16
    WHY HOOK HOBIE IS LIKE MY GRANDFATHERDon’t forget to add a little humanity when writing even the baddest of your bad guys.
  • REACHER, AND WHY HE ISN'T BORING
    A17
    REACHER, AND WHY HE ISN'T BORINGCreate characters that your readers can’t get enough of – and remember, sometimes less is more.
  • TO PLOT OR NOT TO PLOT (PART ONE)
    A18
    TO PLOT OR NOT TO PLOT (PART ONE)Sometimes even the best laid plans require a little flexibility – or abandoning altogether.
  • TO PLOT OR NOT TO PLOT (PART TWO)
    A19
    TO PLOT OR NOT TO PLOT (PART TWO)Learn how to trust yourself as a reader in order to trust yourself as a writer.
  • RESEARCH IS A DISH BEST SERVED COLD
    A20
    RESEARCH IS A DISH BEST SERVED COLDFind the balance of plausibility vs accuracy when incorporating research into your story.
  • CHURNING, SMOOTHING AND COMBING
    A21
    CHURNING, SMOOTHING AND COMBINGThere’s more to editing than just cutting bits out, as Lee discusses in this lesson on the path to publication.
  • DON'T FORGET YOU'RE STILL A READER
    A22
    DON'T FORGET YOU'RE STILL A READERFrom tidying up rogue commas to adding in extra context, Lee talks you through his reader-centric editing process.
  • THE KILLING FLOOR EDIT
    A23
    THE KILLING FLOOR EDITLee shares a little insight into how he learnt to deal with third party input, and the value of a good editor.
  • THE BOOK IS THE THING
    A24
    THE BOOK IS THE THINGEven if you’ve got big dreams for your books to eventually be made into movies, it’s important to keep focused on one thing at a time.
  • WHY A FORD IS BETTER THAN A ROLLS ROYCE
    A25
    WHY A FORD IS BETTER THAN A ROLLS ROYCEWriting a novel with mass appeal is no mean feat.
  • DITCH THE AIRS AND GRACES
    A26
    DITCH THE AIRS AND GRACESLee talks about the importance of treating writing novels like any other job, and how he doesn’t believe in ‘writer’s block’.
  • HOW NOT TO WRITE DIALOGUE
    A27
    HOW NOT TO WRITE DIALOGUEDiscover the secret to finding your rhythm and writing natural-sounding dialogue.
  • A PROSE THAT TRIPS FORWARD
    A28
    A PROSE THAT TRIPS FORWARDLearn how to write a narrative that will keep your readers turning the page – right to the very end.
  • SUSPENSE IS NOT LIKE BAKING A CAKE
    A29
    SUSPENSE IS NOT LIKE BAKING A CAKEDiscover the real recipe for success when it comes to weaving suspense into your stories.
  • WRITE THE SLOW STUFF FAST AND THE FAST STUFF SLOW
    A30
    WRITE THE SLOW STUFF FAST AND THE FAST STUFF SLOWCreating momentum is all about the balance of slow and fast paced scenes and making sure to deliver big in those crucial moments.
  • HITCHING A RIDE ON A STRONG FIRST SENTENCE
    A31
    HITCHING A RIDE ON A STRONG FIRST SENTENCEUnlock the secret to capturing the imagination of your readers and holding their attention from Page 1.
  • THE SUN ALSO RISES: WRITING TIME AND PLACE
    A32
    THE SUN ALSO RISES: WRITING TIME AND PLACEDescription is vital to storytelling, but it’s also the thing readers of popular fiction often complain there’s too much of – so how do you find the right balance?
  • THE SENSE OF AN ENDING
    A33
    THE SENSE OF AN ENDINGJust because your readers have reached the end of a chapter doesn’t necessarily mean you want them to stop reading…
  • THE BACK END OF A BIG MACHINE
    A34
    THE BACK END OF A BIG MACHINELee shares his experience of the publishing process, from eye-catching jacket designs to handling press tours.
  • CONCLUSION
    A35
    CONCLUSIONA final word from Lee, and then it’s over to you to start writing your next bestseller.

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