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Bill Kirton speaks with Doug Johnstone about his love of variety and new experiences, following wherever his interest leads him in his writing, and his long-term collaboration with a writer in Canada he’s never actually met in person.


Bill Kirton speaks with Doug Johnstone about becoming a teacher and loving it, being surprised by becoming ‘A Writer’ at the same time, creating radio drama and how-to writing guides, and the generally serendipitous progress of his life and career.

'The real revelation for me was that the genius Beethoven came across as a very normal artist; one of us, in fact. I changed absolutely nothing in the content. From the start of the letter he pulls no punches...'
'Writers use people's experiences as their raw materials; distorting, or otherwise exaggerating them, to suit their purposes. In other words, they exploit people... But I think our excuse is that we do so for a reason.'

Stephen Sharkey asks why anybody would want to turn a perfectly good novel into a stage play, and explains the value in turning the solitary pursuit of reading into the shared experience of theatre.

Bill Kirton considers Gustav Flaubert’s masterpiece, suggesting that its irregularities might be subversion rather than error, and spends an evening with his eponymous heroine.

Bashabi Fraser misses her grandson; Bill Kirton gets lost and found in France; Cynthia Rogerson discovers the joys of gardening.
From our heartbeats to our breathing, to the feel of walking or running, we are programmed to respond to rhythm. No wonder we react so viscerally to the rhythm of words. Bill Kirton says rhythm is as important to prose as to poetry, as well as to songs of protest and football chanting. It may not be in our bones, but it’s a basic aspect of how we survive.
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