Martin Doyle

I think I'm right in saying that.

And I did two interviews of her maybe a year or two apart and I kind of took the best from each or like, you know, I took elements from the second one.

I would say it's more to the point that, you know, I started off writing for Irish papers in Britain and they were, you know, they were tabloids as opposed to, say, the Irish Times, which is a broadsheet.

Now, the Irish Post, I would say, would be kind of a mid-market tabloid, a bit like maybe the Daily Mail, because it was a paper that appealed, tried to appeal to...

you know, every tranche of the Irish population in Britain.

So it was kind of mid-market.

So I could do fairly highbrow stuff as well as more maybe commercial or popular fiction that I maybe, you know, wouldn't find a home in the Irish Times so much.

The interviews that I've done more recently for the Irish Times, I can go longer.

So like interviews with Clare Keegan or...

Sally Rooney were more along 4,000 words.

So you can kind of do, you can go into a lot more depth if you like.

And maybe the more recent books are kind of career retrospectives where I'm talking to Colm to Bean about his entire career or Sebastian Barry about his entire career.

That's a different kind of thing than just talking about one specific text.

I guess, you know, you're looking for something that surprises you.

You're looking for something new.

Like, you know, if somebody pitches me a feature about Ulysses, which they inevitably do, particularly with Bloomsday around the corner.

This is radio.

Thank you, Matt.

You know, like there are kind of hardy perennials in journalism and there are kind of things that crop up all the time.

You know, I've been doing this for 35 years.