Along with earning a theatre and film degree from Otago University, writer Thalia Henry has made fish and chips and worked as a home help for the elderly. She also quite likes the idea of being a carpenter. Earlier this year she and five other young writers were singled out in the New Zealand Young Playwrights' Competition, and in September will team up with professional directors, dramaturgs and actors for a week of workshops and professional development.Along with earning a theatre and film degree from Otago University, writer Thalia Henry has made fish and chips and worked as a home help for the elderly. She also quite likes the idea of being a carpenter. Earlier this year she and five other young writers were singled out in the New Zealand Young Playwrights' Competition, and in September will team up with professional directors, dramaturgs and actors for a week of workshops and professional development.During what time of the day do you feel most inspired?
Any time that I've had enough sleep, water and food in my belly. I prefer to write in the daytime rather than at night. Mornings are a no no too since it takes me a while to aclimatise to the day.

How would a good friend describe your aesthetic or style?
My girlfriend Fi is sitting beside me, she answers the following:

"Thalia's writing style is real - real situations, real life - and deals with minorities. Stuff that doesn't fit the mainstream, eg plays about old people in rest homes and lesbian love. As a person, Thalia is casual and laidback with a big heart. She is thoughtful and full of respect. Lots of friendly smiles."

Who would you most like to write a play for?
The audience!

What aspect of your creative practice gives you the biggest thrill?
I take pleasure in seeing a narrative evolve, often taking turns that I wouldn't expect. If I have the opportunity to see any writing on stage, that is by far the biggest thrill!

How do you think your environment affects your work?
I grew up in Karitane in the South Island. Karitane at the time had one shop and you could walk down the middle of the main road because cars were so infrequent. I developed a love for my environment, the ocean and peninsulas that surrounded me. I believe my environment has affected my work because it has help inspire my creativity. In The Sound of a Car I mention Karitane and Dunedin, two prominent places in my life.

Do you like to look at the big picture or focus on the details?
I try to have a basic big picture in my head but focus predominantly on the details. I try to build on the narrative as I go along.

Describe the ways in which your childhood play has influenced how you work as an adult.
When I was a kid going on a car trip with the family I used to sing and ramble for hours on end. Mum never shut me up. There weren't many kids my age in Karitane and I used to write stories, diaries and boxes of love letters. I think all of this childhood stuff contributes to how I work now that I'm slightly older because that is the time in a person's life when you're figuring out all about yourself and developing your imagination.

Which of your projects to date has given you the most satisfaction?
The Sound of a Car.

What is it about writing plays that most appeals to you over other forms of writing?
Other forms of writing can be published, they can be read, but to be performed - that takes writing to an exhilarating new level. You are able to see your work in the flesh rather than just on a page. When a director takes a play, he/she adds other ideas and elements which build upon your own. The actors too add a new perspective.

How have your personal experiences influenced the direction of your writing?
There is a lot in the play The Sound of a Car that relates to me and my experiences. I believe people should write about what they know - it gives a sense of authenticity. In the play Mash is gay, so am I. In the play Willa's dad passes away, so has mine. In saying this the play is still fictitious. I merely incorporate some of my own experience into the script.

Tell us about your winning entry to the National Playwrights' Competition, The Sound of a Car.
The Sound of a Car is a story about the nature of love. Mash and Willa grow up together, they're both tomboys and spend the weekends helping Willa's dad tinker with classic cars for street racing. When the pair finish school Willa's dad passes away and she takes off overseas. The play begins as the pair reunite years later and decide to start maintenance on an old Mustang. Willa has a new partner named David and Mash is in love with her. I'll leave it at that.

What place is always with you wherever you go?
Karitane.

What is the best way to listen to music, and why?
Live. Why? Because you can see it, hear it and feel the vibrations through the floor. It is present and raw.

If you could go back and choose a completely different career path to the one you've chosen, what would it be?
I have no idea what the future holds for me. I'll just follow doing what I love. I've always quite liked the idea of being a carpenter.

You are given a piece of string, a stick and some fabric. What do you make?
A dream catcher that is really an ideas catcher.

What's the best stress relief advice you've ever been given?
You can fight fire with fire but water is more effective.

What is your favourite word?
I have two: love and hope.

What's great about today?
I woke up this morning in a train in the middle of a desert. I'm traveling until it is time to return to New Zealand for the play workshop in September.

Interview by Cass Hesom-Williams