Nora Nifhlatharta
I’ve always been captivated by stories; they made more sense to me than the world around me. Growing up, I found solace in the pages of books, comics, magazines, old Moore’s Almanacs, pretty much anything I could get my sticky little fingers on. These stories offered me an escape and a chance to explore a wider horizon. I especially loved anything with magical realism, the intersection of mythical beings with our everyday lives. Irish mythology is full of fascinating characters. Ná Sídhe, the Red Branch Knights, Queen Maeve, Selkies, Bansheesand piseógs. I would seek out these tales wandering through the stoney fields checking for the little people as I meandered.
I remember in the lead-up to my first communion, moving statues were all the rage in Ireland, centering on Ballinspittle. I had my own chipped little statue of the Virgin Mary my friend Kathleen gave me and would create tiny May flower altars for her, praying and wishing her to move. I’d kneel there for hours, peeking out, convinced that she winked at me once!
I still recall the night my elder sister Mary came home from her job at O’Connor’s electricals in Shop St. Galway, it was also one of the first video rental outlets in the town. She brought home a Betamax player and a collection of films, mostly Disney movies since we were so young. I always got excited when I saw that Disney logo, even though I’d sometimes be let down when it wasn’t an animation. But I devoured those films! The ability to stop, rewind, and replay was fascinating to me, much like revisiting a favourite passage in a book or comic.
As a teenager, my passion for stories deepened through theatre, I was driven by the desire to create those worlds myself and explore complex themes through characters that feel real, I joined the Galway youth Theater, read lots of plays, worked on the production side of things mostly, I loved the tactile immediate nature of Theatre. What keeps me motivated now is knowing that every story I write has the potential to resonate with someone, pull at an emotion, or provoke impressions. I want to make people feel seen and understood through my work.
After my stroke, I faced challenges with memory and concentration and had to focus on pushing neuroplasticity to work around the damaged section. Recovery from brain injury (stroke) requires dedicated effort to reroute neural pathways, involving both physical rehabilitation and cognitive exercises to regain lost skills. Writing became essential in this process, and I took it as seriously as regaining the ability to walk or use my left hand again. Since my left side was out of action, I’m a citóg (left handed) I couldn’t hold a pen but I could still type, albeit badly. I started pounding the keyboard and writing stories. Capturing memories and snapshots of my life. The Disruptor is one such story from my teenage years, reflecting my experience of getting knocked up and locked up in a mother-and-baby home at 18, the year was 1992. I think our generation was the last of them. Bessboragh in Cork, the one I went to was “repurposed” by the mid nineties. It’s a deeply personal project, and it’s amazing how storytelling has helped me process and share that journey so many years later. Throughout my life, I’ve adopted the Scarlet O’Hara approach: “I can’t think about that right now. If I do, I’ll go crazy. I’ll think about that tomorrow.” (Vivien Leigh) Compartmentalising her pain, Scarlett would make a therapist’s dream!
Since my stroke, I’ve been in counselling, and I remember my first one-on-one session vividly. I spilled out everything in one breath, two hours later, the counsellor sat back, stunned. When he finally caught his breath, he said, “Nora…you have lived five lives there!” I’ve learned to slow it down, break it apart, and unlock each chamber of my experiences. There’s no rush, a lot to navigate. As Scarlett observes, “After all, tomorrow is another day!”
My writing process usually starts with a spark of an idea or a theme I’m really passionate about. For instance, with my upcoming project The Bride Andromeda, the whole experience of preparing for my daughter’s wedding in 2025 really inspired me. It was a whirlwind of excitement, especially combined with the near-perfect image of Taylor Swift’s engagement picture stuck in my mind, the engagement nails & perfect ring, the romantic embrace, the beautiful flowers and the – “Mum for gods sake shave your arm pits”. It felt like a scene straight out of the Barbie movie, “most casual, fun, non-choreographed get-together ever!”
That made me wonder what someone might go through to capture that ideal image of themselves. The twist in the makeover identity story I developed at the Catalyst Screenwriting Lab in Limerick was heavily influenced by my teenage son and his transformation from a 6-foot beanpole to a gym-fit powerhouse, he goes five mornings a week! Luckily for me, I’m an early riser anyway.
I often think about the ending first; having a clear idea of where I want my story to go helps shape the entire narrative. From there, I create a detailed outline to map out the structure, which is something I really value. Once I dive into the first draft, I try not to overthink it; I just let the words flow and embrace the spontaneous nature of a wandering mind. It’s often a stream of consciousness, with a lot of necessary silt just to find a tiny bit of gold dust. So long as I have my story beats down it gives me permission to explore. I like boundaries, for me, they provide great freedom to explore anywhere between them and even work around them when the narrative justifies it. There’s an alchemy to it; even witches follow recipes!
The magic, though, happens during the mix – the revisions. I go through multiple passes for sound, colour, location, music, grammar, tone, and magical realism, constantly refining the dialogue, deepening character arcs, and ensuring the pacing feels just right. It’s truly a labour of love that brings the story to life in ways I often can’t predict. There’s something special about shaping it into its final form, and I enjoy every part of the journey.
The most exciting part, though, is handing it over for a mentor or script editor to read, it’s scary, exhilarating, and anxiety-ridden all at once. But I love it!
Creating characters is one of my favourite parts of writing! I start by diving deep into their motivations, desires, and fears. Developing character profiles is key for me, including their backstories, because knowing where they come from helps me write their journeys authentically – what do they want? What do they need? What mask do they wear?
I often pull inspiration from people I know or observations I make in everyday life. It’s amasing how much we can learn from those around us. I also love incorporating bits of dialogue I’ve overheard and quotes that resonate with me, as they add authenticity to my characters’ voices.
Music plays a significant role in my character development as well. After my stroke, which affected my spatial awareness and made me prone to sensory overload and anxiety driven panic attacks especially in public places, I became accustomed to wearing large noise-cancelling headphones, hats, and gloves to manage my environment. Music became a vital part of my recovery.
When I walk down the street, I often feel like I’m in a music video, which is such a fun experience! I usually start my day around 5 a.m. by watching a few choice music videos while making my first cup of coffee. Associating songs with each character helps me get into their mindset, I’ll pick their “calm song,” “angry song,” and so on. This musical connection enriches my writing process, allowing me to embody my characters more deeply as I write their stories. It adds a layer of emotion that I find incredibly helpful in bringing them to life on the page.
Can you share with us a bit about your latest project and the story behind it?
My latest project is called The Disruptor, and it’s really close to my heart. It’s inspired by my own experiences as a teenage mother in a mother-and-baby home. The story follows Deirdre, a young girl who gives birth alone and navigates the emotional landscape of keeping her child despite societal and family pressures. Along the way, she’s paired with Lona, a woman with her own tumultuous past. Their road trip across the beautiful yet haunting Irish landscape becomes a journey of healing and understanding. I wanted to highlight the resilience of women and the complexities of motherhood, which are themes I’m passionate about.
A particularly challenging moment occurred during the early stages of The Disruptor when I struggled to find the right balance between the emotional weight of my experiences and crafting a strong narrative structure. It was overwhelming to convey everything I wanted to say without losing the flow of the story. Honestly, it felt a bit too personal and still too close to the bone even after 30 years.
Fortunately, working with trusted mentors proved invaluable. I know I would never have had the confidence to dive as deep as I did without their support. Screen Ireland, Stowe Writers Lab, and the Galway Film Fleadh have all been my safety nets throughout this process, and I’m incredibly grateful for their guidance.
I’m currently working with an amazing script editor, Karol Griffith, whom I met through Stowe. She grounds me, and I am sincerely thankful for her insights. Script editors are worth their weight in rich dark chocolate or gold, whichever floats your boat. For me, it’s chocolate!
I also reached out to trusted writing peers for feedback, and their insights helped me refocus. Taking a step back to revisit my character arcs and overarching themes ultimately guided me through those tough spots. It was a learning experience that reinforced the importance of collaboration and perspective in writing.
I had to learn to separate the story from the person. Deirdre’s story isn’t verbatim; identities have been changed to spare the blushes of the guilty, ha ha! In reality, I wanted the narrative to be one of redemption and hope, no matter how hopeless and small a person can feel. Believe me, I’ve been there. The only person who can make you feel small lives right inside your own mind. Controlling that inner voice is a superpower, but it takes time to develop. I wish I had more of it when I was younger. Now that I’m over 50, I couldn’t give a fiddler’s wank!
When I look back at my teenage self, knocked up and locked up in a mother-and-baby home in 1992, I often wonder, where did she find the voice to say NO? Thankfully, I had “my” Lona in the form of Sr. Claude of Nuns Island by my side; many of the teenagers I roomed with didn’t have that kind of support. But that’s a story for another day, believe me, I have many!
Screenwriting is evolving rapidly, especially with the rise of streaming services that are hungry for fresh, diverse stories. Audiences are craving authenticity, stories that reflect their own experiences and challenge accepted norms. I see myself fitting into that future by continuing to write narratives that highlight underrepresented voices and explore complex themes.
Screenwriting labs are crucial; they connect writers with mentorship that guides and protects the integrity of their stories, allowing them to stay honest in their storytelling and not conform to the business side of the industry. I want to be part of the movement that reshapes storytelling to feel inclusive and resonant.
I’m committed to crafting stories that push boundaries and delve into deeper truths. I would love to see my stories on the big screen; in my head, they already are! I strive to convey that inner vision into words on the page, and I hope to gather a team around the story to interpret those words and recreate them on a bigger screen for everyone else to see, making their own interpretations along the way. I hope the end result conveys something akin to what I was aiming for. That’s what makes film such an exciting art form, it is both objective and subjective at the same time. It starts in the mind of the writer, moves into a collaboration interpreted by many, and ultimately returns to the individual as they watch it on the big screen. This interplay of perspectives is what makes storytelling through film so dynamic and impactful.
For emerging screenwriters, my main advice is to write fearlessly and keep writing. Get comfortable with being uncomfortable, and be honest in your storytelling. Let your experiences and observations guide your narrative; the more personal and authentic your work is, the more it will resonate with others. Embracing discomfort is a good sign you’re getting somewhere!
Be open to feedback, as it’s a crucial part of your growth process. Read widely, watch films critically, especially shorts, and stay curious about the world around you. Building connections with other writers can be incredibly beneficial too! Collaboration and conversations can spark new ideas.
Persistence is key, so keep writing for yourself, not for anyone or anything else. Every step you take can lead to something truly special. I learn from every lab I attend and every panel I listen to, always taking notes and writing up what I’ve learned afterward.
A few years ago, I heard Ailbhe Keoghan speak at a panel about her morning routine and what she did to get serious about writing. I’ve replicated that process, and it’s been a revelation for me. I started writing first thing every morning; 5:30 a.m. works best for me before I get the kids off to school. I also have my favourite spots, I adore libraries and trains. They’re perfect places to pop on my headphones and knuckle down. Plus, trains and libraries are great for daydreaming and people-watching, which inspires me!
The most important thing is to give yourself at least a two-hour uninterrupted block of dedicated writing time, no editing, no admin; just pure stream of consciousness. You never know what creative gems you can unearth from that process. And if life gets overwhelming and things start to cave in on you, don’t be too hard on yourself. Just pick up where you left off the next day.
Gratitude is something I’ve really focused on since my stroke. Initially, I felt cursed by the universe, it was a very low and lonely period in my life. The way out, of course, is often the last thing you want to do when you’re in a dark place, be thankful to be alive. I had to start from scratch, like getting my left leg to start working again. It begins with a wiggle of the big toe and builds from there, just keep going!
My long-term goal as a screenwriter is to create powerful narratives that not only entertain but also inspire empathy and dialogue. I want to spotlight the complexities of human experience, especially for women and marginalised voices. My aim is to write honestly about what is means to be human, and if my work can resonate with someone and spark a broader perspective on the world and the beautiful characters who inhabit it, then I’ll be truly fulfilled.
In the end, I often think back to that line from Father Ted delivered by Fr Stack (Played by Brendan Grace): “I’ve had my fun, and that’s all that matters!” It’s essential for me to enjoy the process and let my passion for storytelling shine through. If I can make an impact while having a good time doing it, then that’s a win-win.
