Writer Thomas Sainsbury is well-known for being prolific (he was once challenged to write a play in 20 minutes, on stage, during an awards ceremony – it was then immediately performed by some of the actors present.)  Over his relatively short career he has written, directed and produced over 30 plays, with some of them going on to be produced internationally. 

Tom has also written TV series (Supercity), dance comedy (as part of Dynamotion), novels, feature films and a Vietnamese children’s show, Alooh. His latest play, Sunday Roast,  at Q will be his first professionally programmed production in Auckland. Renee Liang asked him about his career so far.

Why do you write?

When you get it right, writing is the best thing ever. Often I forget how awesome it is and it's just a dreary job. But when you're in the zone it's wonderful.

I write because I love stories. I'm also addicted to living out/imagining other lives/scenarios and writing is the most involved way to do that (over acting and directing). I love characters. I love creating worlds. I love processing the world around me into a manageable/crafted thing.

How has your Matamata heritage influenced your writing?

It has definitely influenced certain stories. Sunday Roast, for example, is basically my childhood manifested on stage (albeit a very heightened, hideous version). Growing up, my family also loved analyzing Matamata personalities for their entertainment so I think some of Matamata's eccentrics have ended up in my writing.

Describe your writing space.

Just wherever really. I do a lot of writing on my stomach on my bed - terrible, I know. Or couches here and there. Sometimes, to avoid the ever-present lure of the internet, I've written in my car. Sometimes I write in the public library.

Your characters often seem grotesquely familiar - how do you get your depictions so accurate?

One of my favourite pastimes with friends is to discuss other people's eccentricities in detail. Or sometimes, when I'm being told a great yarn/juicy gossip about someone else, I ask for specific details. What can I say, I'm a details man.

What are some tips for good dialogue?

Just write the jist of what the characters need to say first. And then, once you've got the scene written, look for what you've given to the character to make their dialogue unique. It may be something very small - like they don't bother with the small words, or they use flowery language, or they are very direct - and then just heighten that throughout the scene. Go through every line of their dialogue and remove those small words, or add flowery language, or make the sentences direct. Does that make sense? Take what's inherently there and heighten it. And voila, you've got a unique dialogue for your character.

Are you a writer who produces/acts/directs/dances/promotes? Or do each of these other roles hold its own rewards?

I guess I would describe myself as a writer first but those other things are very important to me. And they all have wonderful rewards. I think I would be very unhappy just being a 'writer'.

A Vietnamese children's TV show (Alooh) - how did you get the gig? And how do you reply to your fan mail?

Well apparently, like, millions of children watch the show over in Vietnam. Millions! And here I am struggling to get 100 New Zealanders to come and see my stage shows. That's what large populations offer, I guess. Unfortunately I haven't received any fan mail yet. But, if I did, I would most certainly reply. I got the job through my wonderful friend the New Zealand/Vietnamese director Sally Tran. It really is 'who you know' in this industry.

How have you worked with Silo on Sunday Roast - did they commission the piece, have you been at rehearsals?

It has been worked a lot. Thank goodness. It would have been a pretty lame, excruciatingly play for me to watch if we hadn't. They did commission it and I have been at rehearsals. Not all of them, I don't want the cast to feel self conscious with me being there all the time. I think we went through four drafts.

Although you started in theatre, you've also moved into TV, film, web series and long fiction - has having a background in theatre helped?

Theatre has been so good for my learning. And I would recommend any dramatic writer to get into it. I've learnt so much because of the volume of things that I've done that I can apply to every other form. 

Balancing passion versus income - any thoughts?

Ooh. Well, there have been some pretty tight/poverty stricken times in my life. But I just can't do a normal job. So this is the price I pay. I would recommend everyone in the arts/independent contractors to ask when it's likely your invoices will be paid because you don't want to be checking your balance every morning for three weeks and have that 19 cents staring back at you.

What's your next project?

Another dance show - Terror Highway - at The Basement in August. And also a web series about a Yeti in Auckland before filmed in September.