How I Write with David Perell
Episode: Lee Child: How to Write Strikingly Well | How I Write
Date: February 4, 2026
Overview
In this deep and candid conversation, bestselling author Lee Child, creator of the Jack Reacher series, joins David Perell to unpack his writing philosophy, the mechanics behind his global commercial appeal, and the lived experience that shapes his work. The discussion explores how sense of place drives narrative, the illusion of “natural” dialogue, the myth and reality of violence, and why reading widely comes before writing well. Lee’s unapologetic approach to commercial fiction, coupled with his perspectives on discipline, creativity, and authenticity, offers aspiring writers and avid readers a rare behind-the-curtain view into the craft of storytelling.
Key Discussion Points and Insights
1. Choosing America as the Setting
[00:47–05:03]
- Lee was fired from his TV job in England and wanted to escape the confines of British fiction, both literally and narratively.
- British crime fiction often felt limited—claustrophobic in geography and psychology—whereas America represented myth, legend, and a vast canvas.
“You needed that frontier feel. So it really had to be America from the narrative point of view.” (Lee Child, 03:14)
- Lee’s personal connection: 100 U.S. visits over 24 years due to his American wife, allowing him to write as both insider and outsider.
2. Bringing Place to Life
[05:03–07:26]
- Lee’s approach focuses less on detailed research, more on visceral elements—especially temperature: “hot vs. cold, hard vs. soft.”
- Place isn’t just a backdrop—it dictates the physics of the story and makes certain plots plausible or not.
“...the place and the temperature kind of dictates the story in a way.” (Lee Child, 06:39)
3. Writing Process and Planning (or Not)
[07:26–08:36; 13:08–14:48]
- Lee never outlines: “If I plan a story… I’ve told myself the story and I’m bored with it at that point.”
- He improvises, letting narrative emerge organically from setting—writing is “about starting somewhere ... and then see what happens.”
- Sticks to a highly disciplined schedule: starts each book September 1st, delivers by March or April.
“The imagination somehow is biddable. You can quiet it down and you can crank it up depending on when you need to.” (Lee Child, 14:43)
4. Influences and Series Structure
[08:36–12:51]
- Avid reader: cites Alistair Maclean for hero plausibility and John D. McDonald for irresistible slow-burn openings.
- Prefers recurring characters for the “pre-approval”/familiarity they confer on readers: “...they really want the familiarity and the comfort of their old friend coming to visit for a couple of days.”
- Contrasts his approach with Stephen King, whose genre-hopping generates unpredictability.
5. Lifestyle and How It Shapes Writing
[14:48–18:56]
- Rejects notions of virtue (exercise, moderation), lives “unapologetically” and for pleasure—a rebellion against a repressive upbringing.
- Attributes post-war British creative explosion to the stability and freedom unique to his generation:
“My micro generation...was probably the luckiest generation in all of human history.” (Lee Child, 16:59)
6. Commercial Aspiration as Artistic Integrity
[18:56–22:04]
- Sees the reader as integral to art—believes writing for an audience doesn’t cheapen the work.
“If you write a book and nobody reads it, have you written a book?” (Lee Child, 20:23)
- Success requires appealing simultaneously to habitual readers (“the center of Saturn’s rings”) and occasional ones on the “outer rings.”
- The core skill is a multilevel style that is both palatable to literati and accessible to casual readers.
7. Propulsion and Pacing
[22:04–25:03]
- Rhythm and propulsion (“forward, forward, forward”) are central: each sentence nudges the reader toward the next, much like a pop song accelerates imperceptibly.
- Helps less-avid readers feel accomplishment in finishing a book—a “hand gently on their back.”
8. Cliffhangers and Plot Questions
[25:03–29:10]
- Instinct from TV: always, subconsciously, ending chapters and books at moments of tension or question.
- Humans are hardwired to need answers: “the easiest part of constructing a novel...is to imply a question.”
“Plotting in that sense is way overestimated in terms of difficulty. Plotting is really pretty easy.” (Lee Child, 28:46)
9. Writer as Adventurer
[29:10–31:06]
- Finds joy in the unknown—writing is an adventure parallel to the reader’s journey.
“I want to feel that power when I'm writing it as well as reading it.” (Lee Child, 30:21)
10. The (Un)Teachability of Writing and the “Don’t Try Too Hard” Principle
[31:06–33:14; 58:36–59:18]
- Cites David Mamet: don’t try to force likability; self-confident indifference is magnetic.
- You must believe fully in both the art and business of writing—paradoxically, 100% each.
- Lee is skeptical about teaching creative writing itself, though practical shortcuts can be taught.
11. Authenticity and Emotional Contract with Readers
[33:14–34:55; 36:12–38:25]
- Discipline and reliability (a book per year) become a moral contract with fans.
- Building a compelling main character is about honest portrayal, not engineering for likeability:
“You absolutely can't have a character designed to be hated. You absolutely equally cannot have a character that's designed to be liked...You’ve just got to have an honest, authentic portrayal.” (Lee Child, 37:08)
12. Dialog, Rhythm, and Illusion of Naturalism
[38:25–42:23]
- “Natural” dialogue is an illusion; real conversation is incoherent. Writers construct dialogue to “seem” natural.
- Rhythm and strategic repetition drive emotional emphasis—a verbal music.
“Somehow the rhythm lands you on the important word. And that is, I think, It's partly an innate skill. It comes from reading a lot. It comes from listening a lot.” (Lee Child, 40:36)
13. Beginnings and Endings
[43:15–47:45]
- Start “in medias res”—in the middle of things—not with backstory.
- Readers demand resolution (“loose ends tied up”) and do not want to fill in blanks themselves.
14. Why Writers Must First Be Readers
[47:45–52:22]
- Most successful genre writers are in second careers and had “lives before writing.”
- Lee’s seemingly planless process is actually a product of a massive “internal database” from decades of reading.
15. Violence: Purpose and Portrayal
[52:22–56:56]
- Real violence is quick, messy, anticlimactic—stories grant readers vicarious release.
- Book lovers, though civilized, enjoy a safe space for their secret “10 people you’d cheerfully shoot in the head.”
“Why do they want violence in the book? ...they love the consolation of being in a fictional universe.” (Lee Child, 54:13)
16. Characterization through Clothing and Detail
[56:56–58:22]
- Clothing and physical details offer “shorthand” to character type and background—often done instinctively.
- Even fan mail from a dental hygienist highlighted his recurring attention to characters’ teeth as characterization.
17. Why Britain and Ireland Breed Storytellers
[60:43–62:55]
- Scotland’s culture born of “neglect and resentment” by the English center drove an alternative literary tradition.
- Ireland’s greatest gift “is they give you a chance”—everyone gets the stage to tell a joke or story in the pub.
Notable Quotes & Memorable Moments
-
On Place:
“The idea that a stranger can wander miles into a community that is effectively isolated... that is not plausible in Britain... you needed that frontier feel.” (Lee Child, 02:19)
-
On Planning:
“Even if I did a two-page outline... then I’ve told myself the story and I’m bored with it at that point.” (Lee Child, 07:49)
-
On Series Characters:
“...the comfort of their old friend coming to visit for a couple of days. They’d love that.” (Lee Child, 11:15)
-
On Propulsion:
“For the people on the outskirts, the non-habitual readers, it’s like I have my hand gently on their back, just pushing them through. They don’t notice... but I am just easing them through the process.” (Lee Child, 23:09)
-
On Plot:
“Plotting is really pretty easy. You imply a question—it doesn’t matter what it is... people will stick around to find out the answer.” (Lee Child, 28:46)
-
On Literary Illusions:
“Honestly written dialogue in a book—there is nothing less natural than that.” (Lee Child, 38:53)
-
On Teaching:
“I’m pretty sure that writing is not teachable... Actually how to write, I’m not sure can be taught.” (Lee Child, 58:46)
Timestamps for Key Segments
- The Move to America and Place: 00:47–05:03
- Writing Process & Not Planning: 07:26–08:36
- Discipline and Imagination: 13:08–14:48
- Commercial Art vs. Literary Snobbery: 18:56–22:04
- Propulsion and Reader Psychology: 22:04–25:03
- Plot Questions & Cliffhangers: 25:03–29:10
- Dialogue as Illusion: 38:25–42:23
- On Beginnings and Endings: 43:15–47:45
- On Reading Before Writing: 47:45–52:22
- Real vs. Fictional Violence: 52:22–56:56
- Cultural Roots of Storytelling (Britain/Ireland): 60:43–62:55
Tone and Style
Lee Child is candid, direct, and often wry. He honors structure and work ethic while rebelling against self-seriousness and “virtue.” The conversation balances reverence for the craft with an arsenal of practical, “unapologetic” truths—challenging myths around talent, likability, and planning in writing.
For aspiring writers and fans alike, this episode is a masterclass in writing well—and living freely.