A WRITER IN TRANSITION. BLOG#2.

THE NARRATIVE FROM OUTSIDE.

                     In my previous blog, I discussed the emotions that I, as a novelist, felt while finishing my second novel. In this blog, I would discuss my problems with the literary style of writing a novel in a third person narrative. This is important because my both previous novels were first person narratives.

                     Traditionally, it is easier for a new novelist to adopt a first person narrative while writing a novel. There are two reasons for this preference. Firstly, it is easier for a novelist to express her /his thoughts and feelings through the narrator. This is because there is a sense of identification for a novelist with the narrator. Therefore, without being aware of it, a novelist finds her /his own expressions being expressed by the narrator as a proxy. However, as a novelist becomes more adept in writing novels, she /he learns to become detached from all the characters of her /his novels. Therefore, she /he doesn’t require such a proxy. Instead, a novelist is more interested in observing the evolution of the characters from outside. Therefore, the first person narrative which was necessary for the proxy, is no longer a prerequisite. Thus , in most cases , the shift from a first person narrative to a third person narrative is a mark of evolution of a novelist. I was aware of this aspect of writing a novel when I began my first novel. After having finished two novels, I agree with this rationale.

                  The second reason why this approach works is that it is always easier for a new novelist to create a subjective world view of the story being told through a narrator. While telling a story through the subjective view of a narrator, a novelist is required to make sure that the story remains internally consistent. In other words, a novelist just has to  ensure that  whatever the drama or the conflict that the story contains, must appear to be consistent with the narrator’s understanding of the story. While this task offers a challenge to a novelist’s creativity, it ignores one essential feature of real life. In real life, every individual has her /his own understanding of life and these understandings are in conflict with one another. Therefore, in real life , there is a constant conflict. We, each one of us, live parallel lives. Sometimes, our views converge and sometimes, our views diverge. However, most of us live our lives by pretending that our own narrative of life is a real narrative while the narratives of others are faulty. Our belief in our own understanding of life is inevitable in some sense. This is because such a pretense enables us to retain our sanity and a sense of well being. Just imagine a situation where you know that you beliefs are wrong and you are still forced to believe them !! Though, we know, somewhere deep within, that there could be other ways of understanding of life, our conscious mind does not allow that deeper understanding to surface. This is  because such a realization would increase the workload of our conscious mind to keep reminding itself about what is its own belief and what are other’s belief . A good novel enables us to experience these different understandings of life without creating any additional burden.  Therefore, a great novelist is required to give us a perspective that enables us to understand why different understandings of life are equally valid. This is best  exemplified  in our epics like Ramayana and Mahabharata.

                   Therefore, when a novelist makes a transition from a first person narrative to a third person narrative, she/he develops an objective view of life. It must be kept in mind that not every third person narrative is an epic , but every epic is a third person narrative. Ever since  I finished my second novel, I have felt an urge to opt for such a third person narrative. Of course, it doesn’t necessarily mean that my next novel could be an epic, but at least it would be broad enough to accommodate different narratives together. These two reasons why a new novelist prefers to write a first person narrative, are generally known and even I was aware of them. Therefore, in some sense, my own journey as a novelist has so far followed a predictable path.

                 However, there is a third reason why a novelist prefers to write a first person narrative. Frankly speaking, this is one reason which I was not aware of. I have discovered this reason while writing these two novels. Therefore, I would end this blog with this new perspective.

                  When I began my first novel, I I was strongly influenced by my own favourite writers. There were two genres which I admired greatly. They are literature of the absurd and magical realism. Therefore, these influences are plainly visible in both my novels. Since I was determined not to imitate any of my favourite writers, I have ensured that my novels are rooted in Indian sensibility. However, it never occurred to me till I finished my second novels that I chose to write in first person narrative because it allowed me to hide my own shortcomings. I always thought that magical realism was a good literary device to incorporate parallel narratives into a novel. For instance, in my first novel, I have used three different time frames of a protagonist’s life in a single frame of narrative and show how self contradictory the protagonist’s life has been. Similarly , in my second novel, I have used a device of reincarnation to show cognitive dissonance in the protagonist’s mind.

               It is only now, after finishing both these novels, that I have realised that great works of fiction don’t need such devices to describe deeper insights into the nature of human beings. In other words, realism, at least literary realism, is more magical than the magical realism. It is also more absurd than the theatre of absurd.This is because literary realism is capable of making us experience  the depth of human mind without resorting to any such artifices. The name of Premchand comes to my mind. He didn’t need any such artifice to make us aware of fundamental angst of human existence. The literary realism achieves this enlightenment by simply placing before us the stark inequities of life in front of the readers. It believes that an average reader has an ample innate wisdom and an emotional depth to grasp this angst. It occurred to me that it is possible to be a realist, in a literary sense, only if one were to employ a third person narrative.

                Therefore , I have decided to employ a third person narrative in my next novel. I aim to bring out the inequities of life by depicting the parallel narratives without a narrator. More importantly, I hope to restrict myself to the traditions of literary realism in my next novel .

               In my next blog , I would discuss the theme of my next novel. 

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A WRITER IN TRANSITION. BLOG #1.

                       ON FINISHING A NOVEL.

                        With this blog , I am starting a new series of blogs. This series would continue till I start my next novel. I closed my last series of blogs titled MY SECOND NOVEL on 2nd  June 2017. It has been three and a half months since then. I took little longer to finish my novel THE HUMAN PILGRIMAGE due to my professional commitments and my own predilection towards the thematic continuity in constructing the climax. I took more time in devising the climax which was consistent with the protagonist’s own evolution during the novel. Therefore , I could not start this series of blogs. In this blog , I would discuss how a novelist feels while finishing a novel.

                          In one of my earlier blogs , I had mentioned about emotional closure that a novelist experiences on finishing a novel. I would delve deeper into this aspect in this blog. It is just couple of days since I have finished THE HUMAN PILGRIMAGE.  Therefore  , I would narrate my immediate state of mind and try to understand my own feelings. I have experienced a melangè of emotions in last couple of days. Of these  , there are three emotions that I would try to deconstruct here. Firstly , I have experienced a sense of emotional closure which I have referred to earlier. This feeling arises from the fact that novelist’s own creations , the characters of the novel , have experienced catharsis and their own emotional closures. The climax of the novel provides a sense of justification and a sense of self fulfillment to the main characters of the novel. Therefore , to the extent these characters are personifications of the novelist’s own emotions , a novelist too achieves  an emotional closure through proxy. I have to admit that I indeed experienced such a proxy while completing the novel.

                          My second manifest emotional experience is that of creative satisfaction. Normally , a novel is evaluated by two yardsticks. It is possible to evaluate a novel in the  context of some literary template of a good fiction. While this template is not universal and it is subjective in nature , it is possible to evaluate on the basis of such a template as articulated by well known critics. Similarly , it is possible evaluate a novel on the basis of its popularity. This is measured by number of copies it manages to sell. Admittedly  , both these perspectives are important to a novelist and she /he would definitely experience a sense of satisfaction when the novel is appreciated on either of these yardsticks. However , I want to discuss an internal perspective of the satisfaction that a novelist experiences while finishing a novel. This internal sense of satisfaction ,  which is essentially a creative satisfaction , does not depend on either of the two perspectives mentioned above. Therefore , it is legitimate that I should discuss it here because no one else has seen the novel THE HUMAN PILGRIMAGE.  

                  This creative satisfaction arises because a novelist , when she /he begins a novel , has certain objective in mind. At least in my case  , I had one such objective. I wanted to understand  the nature of irrational beliefs that we adhere to , even when we know that these beliefs are irrational. A psychologist or a psychiatrist can afford to take a clinical view and treat these irrational beliefs as symptoms of some underlying psychological problems. However , as a novelist , my concern was the relevance of such irrational beliefs in our minds. A novelist can not be judgemental and therefore dismissive of such irrational beliefs. As a novelist  , I wanted to understand what roles these irrational beliefs play in helping an individual to cope with her /his life and its inequities. Therefore , I was more interested in finding out why these irrational beliefs arise in the protagonist’s mind and how they help him to come to terms with his own life. As a novelist , I was more concerned about how these irrational beliefs distort the everyday reality in the protagonist’s mind to help him achieve his own emotional closure. It is in  this sense ,  that I think I am satisfied. I believe that I have been able to narrate the distorted version of reality in fairly consistent and non judgemental manner. When I look back at the journey of last eighteen months of writing this novel , I feel satisfied that this narrative is that of the protagonist and not that of Vaachakmitra. An ability to view reality from the perspective of the characters of a novel , gives a creative satisfaction to a novelist. I have experienced that satisfaction on the completion of this novel.

                The third emotion that is predominant in my mind , at this juncture , is that of curiosity. Having looked at the relevance of irrational beliefs in our lives , I am simply curious about other such incongruities of a human mind. I have come to conclusion that a novelist is , by nature , a curious creature. A novelist is an explorer who likes to visit and then narrate , uncharted territories of human lives. In my first novel, I had tried to explore the absurdity of human existence in the context of an amoral universe. In my second novel, I have explored the need for irrational beliefs in maintaining our sanity. Therefore , I am still driven by that curiosity after finishing this novel. Therefore , I am planning to start once again another journey into the exploration of human mind. Since I would require few months to facilitate the publication of THE HUMAN PILGRIMAGE  , I would begin the new book only at the beginning on next year.

               Till then  , I would continue blogging about this process of narrowing down to the theme of my next novel. In my next blog  , I would discuss my need to move away from first person narrative to a third person narrative and its literary context. 

MY SECOND NOVEL BLOG #33.

  THE HUMAN PILGRIMAGE : A TALE OF TRANSFORMATION.

     This is the last blog in this series of MY SECOND NOVEL. I would give a brief outline line of the novel. The problem for a novelist trying to give a summary of a novel is not what to include and what to leave out. Rather , the problem is to tell  maximum while saying minimum. For obvious reasons , a novelist can not give too many details of an unpublished novel because , in days of speed reading , the readers would fill in the blanks and avoid buying the book. Similarly , if the summary is devoid of relevant details , the potential reader would have no rational basis to decide whether to buy the book or not. Therefore , I would stick to the middle ground. I would rather focus on emotional canvas of the novel and describe the core principle behind the novel.

            Let me begin with some of the main characters that span this novel. The protagonist of the novel is Mr. Gautum Parikh a fifty-seven year old chartered accountant in private practice. He loses his girlfriend even before  he could propose to her. His girlfriend , Anuradha Rathod ,  is a daughter of a police officer. Years later , Gautum Parikh meets a girl Ms. Anamika Patel , who wants to join his firm as his junior. There are series of coincidences which makes Gautum to suspect that  Anuradha is indeed  born again as Anamika. However , he has no means to verify this suspicion.

    The novel revolves around series of events that unfold after Anamika joins his firm. At every turn of events , Gautum finds his suspicion being strengthened. However , he knows , somewhere deep within , that his mind could be playing tricks by interpreting these events to conveniently conclude that Anamika is a reincarnation of Anuradha. The novel his journey from doubt to superstition and from superstition to wisdom. His transformation from a rational self centred young man to a wise old man is the theme of this novel. The question is whether this transformation turns to be a pilgrimage or not ?  To find the answer , the readers would have to read the novel.

         As a novelist , my main concern was the emotional continuity of the three characters viz. Gautum , Anuradha and Anamika as the novel progressed. It is my belief we experience the transition of emotions and even our values without being conscious of  changes in ourselves. When we experience these transitions , we think of ourselves as a constant entity and we think that our emotions have changed. However , in reality , it is other way around. The human emotions are absolutes and we are changing. It is we who identify ourselves with different  emotions at different times as our life changes. Therefore , what we think of ourselves , our self image ,  is not really absolute but a continuously changing  projection of ourselves based on our temporary emotional state. Therefore , the true pilgrimage consists of finding our true selves which is beyond these emotional transitions.

     Therefore , I wanted to describe emotional continuity of these characters to achieve narrative continuity. However , I was hoping that these continuous emotional transitions would also enable Gautum , and therefore the readers , to see his own true self. The events in Gautum’s life are not karmic devices to help him to meet Anuradha again , but the events are instruments to help Gautum to know his true self. The question is whether I have managed to do it  ? or whether Gautum meets Anuradha in the form of Anamika ? To find answers to these questions , the readers will have to read the novel.

     This brings me to the end of this series of blogs. I can only hope that the topics discussed in these blogs have managed to prod the readers to question the values of life. My novel never offers a word of wisdom. Rather , it asks questions which the readers can answer only by reflecting on their own lives. In other words , the readers would have to undertake their own private pilgrimage to find their own true selves. My novel is simply a fellow traveller’s guide to that journey.

     I am going to take a break from blogging for few weeks. After that , I would resume. Of course , I would keep in touch with the readers about the progress of my second novel during the new blogs. 

MY SECOND NOVEL BLOG #32.

             WHAT IS IN THE NAME OF A NOVEL ?

              In my previous blogs , I have discussed several aspects of creative writing and what I have felt about them. Though , these blogs were written in the context of my forthcoming novel , they were generic in nature. I have tried to describe my own writing experience and what were the issues that I was aware of. I have almost finished my second novel. Therefore , in this blog and the few following blogs , I would discuss the details of my second novel. I have yet to write last two chapters of my second novel , therefore I would like to describe some the details of my second novel without disclosing the core of the novel. Since there is a gap of few months between completion of writing a novel and its publication , I would take a break from writing of this series of blogs after I have released the details of my second novel in the remaining few blogs.

                Let me begin with the title of a novel. I am not sure how other novelists arrive at the name of their novels. However , in my case , in both my novels , their names came up in different ways and at different stages of writing these novels. When I was writing my first novel “ The Multitudes of Ripples  – Valayvividha.” , I had not thought of any particular name. I was simply eager to explore my own hidden emotions and nothing else mattered. The name of that novel appeared , all by itself , when the protagonist in a self referential moment finds his own autobiographical novel in the library. While this literary construction of discovery of one’s own future was satisfying , I was struck at that point in the narration. This was because , for all his literary creativity apart  , the novelist has to conjure up a name and I simply couldn’t do it.

         The sensible thing to be done was to leave a blank space and go ahead. However , I don’t plan my novels therefore , I write my novels just as they appear to you. Sometimes , I am as surprised by the twists and turns of the plot as the readers are. Therefore , I had to wait for a couple days for the name to suggest itself and only then I could resume the novel. It was at that time , that I realized that  unlike us , human beings , each novel has its name foretold. Novelists don’t invent the  names of  their novels , they merely discover them. In retrospect , I can tell you that my first novel couldn’t have any other name. I didn’t name that novel , rather  the novel named itself.

        This brings me to my second novel. I would like to confess that my second novel also has named itself. The only difference is that while writing my second novel , its name came up even before I began writing this novel. This is because  when I decided to start my second novel , I had a clear idea of what the theme of this novel would be. Unlike my first novel , where I was focused on exploring my hidden emotions , in my second novel , I was more concerned with relevance of human lives. I was searching for a meaning of human life. Since this novel is less inward looking than my first novel , the outline of the novel was already present in my conscious self. Therefore , the name of my second novel surfaced in my mind even before I began writing the novel. Therefore , I can say with certain degree of confidence that each novel carries its name within itself. This is because the name of a novel captures the soul of that novel.

            Since  I had decided to write a novel on the theme of reincarnation , I had a vague idea that the novel must describe a journey of an individual through several , or at least two , incarnations. During that journey , that individual would experience a life as a metaphor for a journey. Since in this novel , the narrator , the protagonist of the novel , is a witness to a reincarnation of his girlfriend , he too would undergo an emotional journey. At the end of this novel  ( though I have yet to write this particular chapter ) , both these characters, the protagonist and his girlfriend ,  experience catharsis and sublimation. Therefore , it  was going to be an ennobling journey. Thus , there is a confluence of three journeys , biographical , literal and metaphorical. Therefore it occurred to me that , in our Indian culture , this is precisely what  a pilgrimage is. In a true sense , pilgrimage is not a physical journey. It is a spiritual and an  emotional   transformation that happens while an individual is physically travelling. In that sense , we don’t paradrop ourselves on the holy places. We undertake an arduous journey to these places. The difficulties that the pilgrims face while trekking to these holy places , is a metaphor for their inner struggles. It is in this sense  that this novel describes the pilgrimage of these two central characters of the novel. Therefore , this novel is called “THE HUMAN PILGRIMAGE. “

           In my next blog  , I would share some details of central characters of this novel. 

MY SECOND NOVEL BLOG # 31.

WHY DOESN’T A NOVELIST EVER STOP WRITING ?

               In my previous blog , I had discussed the difficulties that a novelist experiences in achieving an emotional closure while completing a novel. In this blog , I would discuss what prompts a novelist to start all over again. This question is closely related with the question why does someone write a novel begin with ? I can tell you from my own experience that when a novelist begins her /his first novel , there is an inarticulate urge to write. However , after having written and having finished one’s first novel , this urge is somewhat clearly defined and it is therefore more articulate. Therefore , when a novelist starts writing her /his second novel , she /he has a clearer picture of what prompts her /his creativity. It is this clarity that I would like to explore in this blog. Of course , now that I am about to finish my second novel , I am experiencing that bittersweet pangs of transition. Therefore , I think I am qualified to write about it.

                   I had mentioned in my previous blog that a novelist never really achieves an emotional closure even after a novel is complete. This results in two types of emotions in a novelist’s mind. Firstly , a novelist is tempted to refine and reinterpret her /his own emotions which were expressed in the completed novel. However , the trouble with this tendency is that the novel and characters created in that novel are no longer in the novelist’s control because they have acquired a life of their own. The only solution , and perhaps a profitable one in these days of franchise , is to write a sequel. However , my own feelings are ambivalent about writing a sequel. While it is easy to write a sequel because the universe of the prequel is already carved out and therefore it is easier and more productive for a novelist to enrich the emotional ecosystem of that fictional universe. However , there is a clear danger for a novelist of being stagnant. I think the core of fiction writing is not just  weaving of diverse emotions into a tapestry of narrative. The core also consists of narrative structure of novel. This narrative structure , if repeated , tends to lose its impact. Moreover , I think the city where the novel unfolds and the social milieu of the principle characters are equally important. In fact , I believe that they are separate characters of a novel. Therefore , when one writes a sequel , one needs to repeat these elements as well. This also leads to creative stagnancy.

                Incidentally , in my second novel , I was faced with a similar problem. My second novel is also based in Mumbai and also involves middle class Gujarati family. However , I have changed the geographical details and professional backgrounds of the principal characters. More importantly , the protagonist and his girlfriend  are required to travel to a different town in search of her reincarnation roots. Therefore , I could introduce a second city in the narrative.

        The second emotion that a novelist feels during the transition between novels is that of absence of reaffirmation of her / his self image. When a novel is being written , a novelist gets an opportunity to reflect on her/his self image because as the novel progresses , it reflects novelist’s internal thought processes which a novelist can observe from outside. Thus , during the writing of a novel , a novelist can constantly create her/his self image. Incidentally , I have developed a habit of writing daily. So, I can confirm that this continuous self cognition is beneficial. However , when a novel is complete , a novelist is prevented from this exercise. Therefore , it is natural for a novelist to pick up a pen and begin again. Of course , this process is not fixed. It depends on individual details of a novelist when she /he begins again. I began my second novel within a month of the publication of my first novel.

           This brings me to the last point of this blog. Does a novelist anytime feel that she /he can not write any more novels ? I am not sure about it. There are references to writer’s block in the literature. However  , that is only a temporary phenomenon. Most of the novelists that I have read and liked , wrote till their deaths. Of course , Hemingway is an exception. Ironically , he too wrote till he died , but he committed suicide because he felt that he could no longer write. Writing , to Hemingway , was not a profession but a reason to live. Therefore , his logic was simple , if he could not write , he had no right to live.

         Mercifully , it least from my selfish perspective , I have not reached that stage. I already have a vague outline of a plot for my next novel. However , the beginning of that novel is still some months away because I have yet to finish this novel and carry it tenderly through the stages of publication.

          In my next blog , I would unveil some details of my second novel.

               

MY SECOND NOVEL BLOG #30.

DOES AN END OF A NOVEL ALSO GIVE A NOVELIST AN EMOTIONAL CLOSURE ?

        In my previous blog , I had discussed the process of ending a novel. I had suggested that a climax and a twist in that climax are necessities. I had suggested that a novelist is bound to attempt to create a climax even when she/he knows that it is a difficult , if not an impossible task. In my last few blogs , I had described the structural and thematic compulsions for creating a climax in the narrative. While ending a novel is something that is preordained , it does not imply that a novelist is comfortable ending   a novel. Therefore , in this blog , I would discuss emotional problems that a novelist may feel while completing a novel.

        From a novelist point of view , this situation is poignant because she/he is torn between two conflicting emotions. On one hand , a novelist wants to end the novel because she/he wants to experience an emotional closure. On the other hand , a novelist doesn’t want to end a novel because , over a period of time , she /he has found a sense of identity with that novel and therefore would like the novel to go on. Therefore , in this blog , I would discuss my own experience while closing my two novels.

           The conflicting emotions that I mentioned above arises from the ambivalence that a novelist experiences towards the novel under preparation. On one hand , a novelist is observing the characters from outside. On the other hand , part of her/his own self gets indirectly reflected in these characters. It is this duality of frames of being an observer and a participant that gives rise to the conflicting emotions mentioned above. I recollect that when I began writing my first novel , I was hopeful of analysing my own creative instinct while writing that novel. As that novel progressed , I realized that the process of creative writing is far more complex than I had anticipated. Finding myself unequal to the task , I decided to focus on writing the novel. However , insights into my own creativity would surface in my mind now and again.

      As my first novel approached its climax , I experienced this duality of the frames for the first time. I was determined that I would not experience emotional closure as a novelist through the emotional closure of the protagonist. I wanted to arrive at my emotional closure through the plot itself. Since my first novel had two climaxes , one structural and one thematic  , it was easier for me to experience my emotional closure when the plot ended with the nervous breakdown of the protagonist. As a novelist , I felt satisfied that three different threads in the narrative converged into the climax. This convergence of three different threads required a creativity which I didn’t know I had. Therefore , when I could manage to bring about the convergence , I felt cathartic and cleansed as a novelist. Later on , when the protagonist found his own emotional closure by finding a new meaning of his life , I achieved my own emotional closure.

       In my second novel , I am nearing the end of the narrative. This time , I am trying to have a single climax having a structural momentum and a thematic depth. As I have mentioned in my previous blog , I wish to achieve this by introducing a twist in the climax. Therefore , my challenge is to make sure that the twist is already present in the backdrop of the novel but in a different context. Moreover , I want to surprise the protagonist and the readers as well. Therefore , I want to achieve my emotional closure as a novelist through the fine tuning of the twist in  such a way that it brings out tragedy of human life. This tragedy consists of our ability to delude ourselves with convenient explanations. The human mind is clever, but not clever enough to see through its own deception. The tragedy of human life is that our mind uses deception to make our life bearable , but in the process , our mind is itself deceived.

           There is another aspect of closure from the novelist’s point of view. It refers to the novelist’s own transformation during and after the writing of a novel. While ending a novel , a novelist may achieve an emotional closure , but that novel remains embedded in the novelist’s psyche. The true closure for a novelist happens when the plot , the characters and the theme of the completed novel are dissolved into the novelist’s subconscious mind. This process of dissolution takes a very long time. For instance , the details of my first novel and its narrative construction is very much present in my psyche. Of course , it helps me because every time I find an echo of my first novel in the second novel , I stop and make a conscious effort of not repeating myself. However , it does indicate that I have not achieved a complete closure in case of my first novel. While I make conscious effort of not repeating myself , I realize that , at a fundamental level , there is continuity between my two novels. This perhaps represent my inner self. In that sense , I don’t think a novelist can ever achieve complete emotional closure while ending a novel. That novel remains in the novelist’s sensibility forever. This continuity is inevitable because life itself goes on forever without achieving any such closure.

            In my next blog  , I would discuss why a novelist is inclined to continue writing novels. The question that bothers me is that is there any point in a novelist’s life , when She /he feels that she/he has nothing new to offer and therefore must stop writing novels ? Frankly speaking , I can’t think of myself ever reaching that saturation point. However , I want explore the motives and motivations of a novelist that prompts her/him to begin again. I would discuss these issues in my next blog. 

MY SECOND NOVEL BLOG #29.

               IS TWIST NECESSARY IN CLIMAX ?

       In my previous blogs , I had discussed relevance and importance of climax in a novel. I had suggested that there are two types of climax. I had suggested that every plot has its own momentum and that momentum  culminates into the climax of a novel. On the other hand , every novel has some specific theme which gives rise to the thematic climax. Ideally , in a good novel , both these climaxes occur simultaneously. In this blog , I would discuss the need and significance of a twist in the climax. Of course , everyone loves novelists like O. Henry who invariably introduce twists in the climax to allow readers to experience catharsis. Honestly , I  don’t think anyone else can come close to that exceptional calibre. The real problem with a novelist is that , in spite of being aware of one’s limitations , a novelist is still required to construct a climax in her /his novel.  Therefore , I would restrict myself to the idea of a twist in the climax from a novelist’s perspective and describe what problems a novelist faces while introducing a twist. I would try to describe my own experience while writing a climax and why I find it difficult to introduce a twist.

              Let me begin with the kind of twists that a novelist can introduce in the climax. There could be a twist that obviously results in the climax which is exactly opposite to what a reader is led to expect. This is de rigueur for crime and detective novels. However , there is another type of twist that is employed in a lesser number of novels. This type of twist consists of arriving at the anticipated climax but in a manner that is totally unexpected. This type of twist is rarer because it demands greater skills from a novelist. Just think of Alfred Hitchcock’s movies. In some of his  famous movies , the audience is told about the climax right in the beginning. However , a viewer is kept in suspense till the end about how the climax is brought about.

     The distinction between these two types of twists is based on two premises. The first type of twist , where a reader is misled into expecting particular climax , depends on the momentum of several subplots culminating into the climax. The description of these subplots is such that a reader starts expecting a certain climax. However, when there is a twist in the plot , an unexpected end occurs. This build up of expectations and its subsequent denouement brings about the desired catharsis. This kind of climax is essentially a structural in nature.

     In the second type of twist , the premise is not structural in nature because the climax results in accordance with the demands of the several subplots and is in tune with a reader’s expectations. However , the twist arises because of subtle changes in themes of the subplots. Since the climax is as anticipated , it brings about a sense of emotional  release. However ,  since the climax comes due to the unexpected reasons from the known details of the subplots , it results in different emotional experience. This leads to enlightenment and emotional closure.

            Thus there are two types of twists , structural and thematic. This requires different types skills from a novelist. Therefore , let me describe my own experiences while writing two novels. As I have mentioned in my previous blog that in my first novel , I was forced to employ two types of climaxes separately. This was because the novel is written by the protagonist in the form of recollections of his life in hospital. Therefore , the structural climax of the plot occurs before he is admitted to hospital after his nervous breakdown. However , the thematic climax , in the form of emotional closure , occurs when the protagonist achieves while reconstructing his past and narrating his nervous breakdown. 

        In the second novel  , which I am about to finish , I am trying to blend both , the thematic and the structural , climaxes into a single event. However , I am facing a different kind of problem. This is a problem of being faithful to readers as well as characters of my novel. Since this novel is in the first person narrative , the protagonist narrates his innermost thoughts to the readers. This results in the readers forming a very intimate view of the protagonist. Therefore , whatever the climax maybe , it has to arise naturally from the perception of the protagonist that a reader might form. However , this perception by the readers need not be same as the self perception of the protagonist himself. Therefore , I am trying to create a scenario wherein the climax would be a natural culmination of the expectations of the readers based on their perception of the protagonist. However , this natural culmination must come as a surprising twist from the protagonist’s perspective. This is because , there is a mismatch between the self perception of the protagonist and the perception of the protagonist by the readers. The readers already know how the protagonist is deceived by his own subconscious mind. However  , the protagonist is never aware of this deception. Therefore , what readers could anticipate clearly , becomes a surprising twist to the protagonist. His subconscious mind prevents him from detecting this deception. Though , I have not actually written this part , I am very clear about it.

             However , the real challenge , according to me , is to create a climax which not only surprises the protagonist but also surprises the readers. This would be possible only  when readers experience thematic twist. This is because readers would have clear idea of the momentum of the plot as well as a clear theme of the protagonist’s mind. Therefore , they can not be surprised by either structural or thematic twist. So , I am planning to introduce a thematic twist that would thematically surprise both ,the protagonist and the readers. If I can achieve this , then it would enable readers to realize that their own subconscious minds too had set up a deception. Therefore , the readers would experience catharsis from two sources, one by identifying themselves with the protagonist and the other by realising that they too were deceived by their own minds. Frankly speaking  , I have just a vague idea how to do that. In next few weeks , I hope to finish the novel.

        In my next blog , I would discuss how a novelist copes with the emotions  that she /he experiences while closing the novel.