In my previous blog in this series, I had discussed the role of immediate environment and family support system in writing a novel. In this blog, I would discuss the visual impact of a cover of a novel.

Till I published my first novel, I was totally blind towards the importance of a book cover. Of course, this was partly due to the fact my father was a member of a public library. That library had a policy of binding all the books purchased by it. Since the binding was old fashioned leather binding, this policy ensured that the books had long shelf lives. However, as a result of this utilitarian practice, my impressionable mind was conditioned to overlook the book covers while selecting the books. Of course, my father would guide me about which authors to read. However, the visual appeal of new books had always been alien to my sensibilities in my formative years. It was only when I grew up and started buying books on my own that I began noticing book covers.

Even then, I would react to book covers almost unthinkingly. I would like some book covers and dislike the rest. To be candid, ‘ dislike ‘ is rather a strong word. I think it would be correct to say that I was indifferent towards some of the book covers. Of course, there were some book covers which I liked immensely. The turning point in my thinking about the book covers came about when I bought a novel “ A Chronicle of A Death Foretold “ by Gabriel Garcìa Márquez. It was a Penguin edition. The book cover was brownish yellow, with author’s name in white in the forefront. The title of the novel was written on a purple brushstroke. Till date, I can not analyse what happened to me when I saw that book at the Strand bookstore. I knew I had to buy it. I would like to admit that till then , I had not read any of Marquéz ‘s novels. Therefore, I did not have any expectations, but there was something incredible about that book cover. It touched my subconscious mind. That was the moment that changed my attitude towards book covers. The irony of that moment was that I became lifelong reader of his books , but I still don’t know the artist responsible for that book cover. The novelists become famous but artists who create the book covers remain anonymous.

Before I move on to my understanding of book covers, I would like to point out two of my shortcomings. Firstly, being a male, my colour sense is rather primitive. I realized this while describing that book cover in the previous paragraph. My description of that book cover is rather inaccurate. I am sure there are more specific descriptions of colour scheme of that book cover. However, I don’t think I can differentiate between different shades of brownish yellow. To me they are all same. This has nothing to do with my upbringing. It has to do with genetics. Very few of us are aware that genes responsible for color perception are present in X chromosome. Therefore, all males, including me, are endowed with only one set of these genes. Women, on the other hand, are endowed with two sets of these genes. Moral of the story is never argue with women about colours. They are better equipped to differentiate between shades of colours.

Secondly, having been trained as a scientist, I am more inclined to be analytical than being emotional. Those who have been reading my blogs, would realize that I tend to analyse and deconstruct human existence rather than describing the emotions that dominate our lives. I am more of a content person rather than an expression person. Maybe, that is why I was late in realising the importance of a book cover. Somewhere, deep within, I think of novels as vehicles of telling readers about life. I don’t think of novels as sensuous expressions.

However, this predominance of rationality started changing when I began writing my first novel. I had to, perforce, confront my emotions. The writing of novels has liberated me from analytical predilection. The climax of that liberation came when I was required to think about the book cover of my first novel. I am thankful to my publishers CINNAMONTEAL for guiding me through this process of making a book cover. I had some ideas about the design of the book cover. The artwork was provided by the publishers. Someone in my family is professionally trained in visual arts. So, the final outcome was a result of cooperation between three of us. I am already in the process of visualising a book cover of my second novel. This time, I am more comfortable with colours and the emotions that they evoke. However, the real achievement would be when I start visualising my novels rather than thinking about them. A graphic novel would be a pinnacle of creativity for me. I am not sure whether I would climb that mountain.

This brings me to the end of this blog and the end of this series of blogs :A Writer in Transition. I would resume blogging after a gap of couple of months. During this gap, my third novel would be under production and I would be busy with the ‘non literary ‘aspects of that novel, including its cover design.




In my previous blog, I had discussed the role of an editor in creating a finished novel from a manuscript. In continuation with my blogs on the ‘non literary ‘ aspects of fiction writing , in this blog, I would discuss the role of immediate environment and family support system in writing a novel. Normally, when one thinks of an emotional ecosystem of a novelist, first thing that comes to one’s mind is that of an inspiration that influences a novelist. Every creative person is supposed to have a muse who triggers the creative outbursts. However, in this blog, I would not discuss about any such muse in my life. This is partly because I am a private person and I firmly believe that there are aspects of my life that are out of bounds for my readers. However, let me admit that there is nothing that I would like to hide. It is just that I, as a person, is distinctly separate from I, as a novelist. Secondly, I have come to the conclusion, after writing two novels, that what prompts a novelist to write a novel is not a romantic love personified in the form of a life partner, but rather a nonstop feeling of angst. While romantic love with its many splendored glory, could suffuse one’s life with sublime emotions, it does not necessarily make one a novelist. The writing of a novel requires a constant struggle with one’s own self to make sense of life. Therefore, I think I would set aside this hyped image of a muse inspiring an artist.

Instead, in this blog, I would discuss the kind of emotional background that has allowed me to follow my creative urge to the fruition. When I began my first novel, the writing was irregular. Though, I would write almost every day, there was no rhythm and I would write at odd hours, depending on my professional work load. However, while writing my second novel, things have fallen in place. I write for couple of hours every day at a fixed time. This has been possible because my family provides me with a greater privacy. I still live in an emotional cocoon provided by my family, but within that cocoon, there is a complete undisturbed privacy that facilitates my writing. There would be scores of household chores that would have otherwise fallen on me. However, everyone ensures that these don’t interfere with my work. This mindfulness speaks volumes about the emotional ecosystem that I operate from.

In addition to this subtle adjustments, a novelist also needs an empathy. It is not necessary for a novelist’s family to read and approve of the novels written by the novelist, but it imperative that the family knows and appreciates the sincerity and commitment of the novelist. This alone is sufficient for a novelist to continue writing. I have realised that, as a novelist, I too am influenced by the overall mood of the novel that I am writing. This influence is of course, a short time influence. For instance, there is a description of a death in my second novel which occupies a few pages. I remember that while writing those pages, I was deeply disturbed. It must have also reflected in my demeanour. The family is normally unaware of what is being currently written by the novelist. Therefore, the family has to accommodate these mood changes of the novelist simply by intuitively guessing the reason behind the novelist’s changed demeanour. This is precisely what happened in my case. This is where empathy comes into the picture. A family undergoes trials and tribulations together. Therefore, there is no need for verbal communication to tell family members about how one feels. The family can relate to one another simply by observing. The shared emotions ensure that empathy prevails.

It is not just a novelist’s immediate family but even the larger group of individuals of cousins, friends, neighbours, and acquaintances also contribute to a novelist’s emotional ecosystem. Being surrounded by known individuals, adds a sense of belonging and comfort to a novelist’s emotional ecosystem. For instance, I don’t think I would be able to write my novels if I were to be kept away from my comfortable niche. Strangely, I would be able to do my scientific work even if I were to be banished ito some godforsaken place, but I would not be able to write novel. That sums up the importance of of emotional ecosystem in allowing one’s creativity to blossom. Writing a fiction is not a clever workmanship of a wordsmith, but an act of creativity.

In my next blog, I would discuss another apparently non literary aspect of writing a novel viz. importance of book cover of a novel.




In my previous blog, I had discussed the idea of artistic purity and its importance in the days of market driven publishing. In continuation with my decision to blog about “ non literary “ aspects of writing a novel, I would discuss in this blog, the role of an editor in presenting a novel as a finished product.

Since I am not an editor, either by training or by temperament, I would try to present a writer’s perspective of the importance of editing. Writing, particularly fiction writing, is not a straightforward process. Though, I insist on writing few hours every day while I am writing a novel, my experience has been that novel does not move forward in a fixed pattern. There are sessions in my writing, when the novel moves at a frenetic pace and then, there are sessions, when I barely manage to move the plot forward. During the writing of my two novels, I have tried analysing my own mind during both these types of sessions. Though, I refrain from rewriting or editing my manuscript, I can see shades of different thoughts that run through my mind during those two types of sessions. However, I feel that these different thoughts are integral to my creativity. Therefore, I tend to retain my original versions of different sessions just as they were originally written.

In order to avoid sense of patchwork and maintain continuity (of style and substance ) , what I normally do is to read outputs of previous few sessions before going ahead. My objective during the entire writing of a novel is to bring about smooth transitions in the narration of the plot, development of characters and the background ambience of the story. This process continues right from the beginning to the end.

The trouble begins, in my case, when I read that manuscript before submitting it to the publisher. On rereading the entire novel, I notice lots of shortcomings. Firstly, there are typos. Then, there are problems of styles. Finally there are problems of continuity. I usually try to correct these shortcomings during this stage. While doing this, I realized that there were lots of implicit meanings which did not surface in the final manuscript in a manner that I wanted to express. In addition, I found on both the occasions, that there is lopsided emphasis is some of the episodes. Of course, this is a natural phenomenon because, at least in my case, the story does exist beforehand. The story is shaped as it moves forward. Therefore, the manuscripts that I have submitted were actually rather complex narratives with some amorphous structures.

I also realized that no matter how often I tried to improve upon the manuscripts, they would still remain incomplete and unpolished. This was because I was looking at them from inside. The implicit motives of the characters and implicit meaning of the plot itself were known to me but they didn’t surface properly in the manuscript.

That was when I realised the importance of editing a novel. The task of an editor is far more delicate than that of a novelist. A novelist has liberty to shape the novel as she/he wants. An editor is bound by his professional ethics. An editor is required to read a novel from inside as well as from outside. An editor has to get into a novelist’s shoes and experience the novel from inside, from the novelist’s point of view. Having done that, an editor is required to read the novel from outside, from a readers perspective. In addition, an editor is required to remain faithful to the linguistic nuances that is different for each novel.

I have begun to appreciate the role of an editor after the publication of my first novel. Incidentally, my second novel is in the early stages of publication. The kind of corrections suggested and the kind of explanations sought by my editor during the publication of my first novel, have convinced me about the important contribution that an editor can make in a success of a good novel. The most poignant part of publishing industry is that these editors remain, by and large, anonymous. While novelists are recognised and celebrated for their creativity, the tribe of editors remains in the background, unknown and even unacknowledged.

This blog is not a paean to these unsung heroes, but a heartfelt acknowledgement from a neophyte. In my next blog, I would discuss a role played by the household environment in a novelist’s writing.


                  DO GOOD NOVELS SELL  ?

          In my previous blog, I had suggested that I would discuss non literary aspects of writing a novel. In that blog, I had discussed a novelist’s problem of finding an audience for her /his novels. I had suggested that the task of marketing a novel is not necessarily to commercialize a novel, but to locate a right audience. Of course, once such an audience is found, selling that novel leads to financial gains. In this blog, I would discuss the popular belief that commercial bestselling novels are not really literary masterpieces.

        The most common misconception about good fiction is that it is appreciated by only the select few. Therefore, any bestselling novel is, by default, considered to be inferior by literary standards. It is rare that any novel would be a good literature and a bestselling one too. This belief that good literature and commercial success are mutually exclusive is so deep rooted that it is held not only by lay readers, but also by literary fraternity as well. The classic illustration of this misconception lies in the fact that Somerset Maugham was never awarded a Nobel prize for literature. There was never a doubt about his literary genius, but the fact that he was popular and a bestselling author seemed to have influenced the jury. Graham Greene is another instance of this misconception, though he was awarded the Nobel prize for literature belatedly.

        To be honest, this distinction between the literary merits and the commercial viability of a novel is highly simplistic. It has its roots in our popular cultural stereotyping. One always imagines a novelist  (or any artist, for that matter ) to be an eccentric, impoverished and an ignored  individual. The publishers, by contrast, are perceived to be money minded, greedy and inconsiderate entities. This kind of unjust typecasting is reinforced by several instances wherein what turned out to be masterpieces have had to wait for long periods of time to find a publisher.

      The reality is somewhat different. Earlier, the publishing was dominated by a few organizations. Moreover, since publishing was a capital intensive and uncertain enterprise, it remained captive of few big corporations. In fact, even today, there are only a handful of big corporations who monopolise the publishing industry. In addition to this publishing  oligarchy,  the problem of fiction lies in the fact that there are no set parameters of deciding a good literature. Literary standards are vague and even subjective. Therefore, it devolved upon the acquisition editors to decide what to publish. As a result, there was an implicit bias that was built into the publishing of fiction. It is this combination of anxiety to recover the high cost of publishing and the subjective selection process that has reinforced our above mentioned stereotyping of literature. It must be admitted that there are some good and enlightened editors and even ethical organisations who have worked against all odds to give us good fiction.

         However, the advent of online publishing has changed the paradigm of publishing fiction. It has democratised the whole process. By reducing the cost of publishing, it has enabled a few enlightened individuals to create a platform for publishing novels which would have had to otherwise  wait for long periods to see the light of the day. Since the cost of publishing has considerably reduced, one doesn’t need big corporations. A new set of entrepreneurs have emerged which would eventually replace the existing oligarchy. The sheer number of these entrepreneurs would ensure that there are no monopolistic or restrictive forces to prevent novelists from publishing their works.

      While this is certainly a desirable situation, the original question whether a good novel sells remains to be answered. The answer is strangely enough , both, yes and no. The process of democratisation of publishing industry would allow a larger talent pool of potential novelists to get their novels published. Moreover, with a good marketing strategy which focuses on finding the right audience would increase the commercial viability for the publishers and the novelists. Since the whole process is broad-based and unbiased, there is a level playing field. In that sense, a good novel has a better chance of selling itself.

     However, this process, by itself, does not define what is a good novel. Therefore, it depends on the collective perception of the readers of what is a good novel. In that sense, the answer to the question is the title of this blog is no. However, the definition of a good novel can not be decided by the size of its readership. I admit that sounds snobbish, but the fact is that a popularity  of a novel, by itself, can not determine its literary merits. There must be something definitive in defining a good novel. It is generally conceded that  there are two aspects of a novel that could help one to distinguish between a good novel and a bad novel. These are the content and form of a novel. The literary criticism is a highly evolved discipline with diverse views on both these aspects of fiction. However, there is no unanimity about how to evaluate these two aspects of any given novel. Therefore, one is forced to fall back on individual opinions of the experts to decide whether a given novel is good or not

      In my next blog, I would discuss an aspect of novel that decides the form of a novel. This is the role of editing in shaping a novel. 



           In the previous blog, I had discussed the structure of a plot of a novel and what factors decide it. In all my previous blogs in this series, I have discussed several literary aspects of writing a novel. In the next few blogs, I would discuss the problems of a novelist that are not exactly literary but they are important nevertheless. These are the problems of finishing the novel as a product and delivering it to readers. In this blog , I would discuss the problem of finding an audience.

          For a first time novelist, this problem is nonexistent or to put it differently, a first time novelist is oblivious to this problem. To that novelist, novel writing is an abstract exercise to be carried out in the privacy of her /his mind. I am using the word ‘abstract‘ because no part of this activity is grounded in the reality, except perhaps the pen and paper  ( or a computer these days ). Everything else about that yet to be written novel is ethereal. The would be novelist is not even aware of whether and by whom that novel would be published. To her/him, the novel is like a newborn baby who needs round the clock mollycoddling. A novelist is on an emotional high during this phase. No mundane details are of any importance to the first time novelist.

      When I recollect my life when I was writing my first novel, I now realise how naive I must have been. This dream like reverie exists because the novelist is , in reality , writing for herself /himself. The novelist is a writer and a reader at the same time. Therefore, there is no need for anyone else. However, things change after the novelist finishes writing that novel. The novelists, as a species, live a paradoxical life. On one hand, they are intensely private individuals, but on the other hand, they seek external approval for their outputs. Therefore, once a novel is finished, the second persona of novelists takes over. The first time novelists have all the more need to secure approval  (and even praise ) from people around them.

      That is when the reality sinks in. A first time novelist realises that there are real life problems in making people read that novel. Reaching out to readers requires an effort. Finding out the potential readers requires a skill, a strategy and resources which the would be novelist may or may not have. In earlier times, one needed to have literary agents who would try to sell the manuscript to big publishing houses. Thus, a novelist would have to wait for long periods before a publisher would agree to publish a novel by a new author. There have been several instances where the novelists who subsequently became best-selling authors, had to wait for long periods to get their first novels published. In the present times , with the spread of Internet and online publishing, the things have changed. It takes much shorter time to publish novels.

       However, finding the right audience is still a problem. The real problem is not that it requires lot of marketing to sell a novel, but rather that a novelist does not realise that without marketing no novel would find its audience. In addition, as mentioned above, a novelist has no such skills. It is sometimes tempting for a novelist  ( or for that matter for all creative persons ) to look down upon such marketing strategies. It is natural for a novelist to put the creative process on a pedestal and neglect everything else. In fact, it is this ideal of artistic purity that misleads an artist to relegate the importance of reaching out to an audience.

        It is a common mistake to think that this emphasis on marketing is of recent origins. It is tempting to think that this undue emphasis is a consequence of increasing commercialisation of every sphere of human activities. While it is true that, with the passage of time, things are increasingly valued at their monetary worth,  the real need for marketing is  for targeting the potential audience and not necessarily for monetizing a novel. It is not just  money but every resources are in limited supply. Therefore, what marketing does is to chalk out a strategy to put that novel within the reach of such resources. It creates a channel which makes a novel to connect with a reader who has either an inclination, a spare time or spare budget.

        I would like to admit that when I began my first novel, I was blissfully unaware of this wisdom. It was only after publishing the novel, that I found this out. A  large share of the credit of enlightening me goes to my publishers Cinnamon Teal publishing.

     In my next blog, I would discuss whether the artistic purity is really in conflict with the marketing strategies or not ? 



       In the previous blog, I had discussed my experience in developing characters during the unfolding of the novel. A novelist is required to provide direct and indirect clues which would give the impression of a  character’s growth as the plot of a novel unfolds. In this blog, I would discuss the problem that a novelist faces while creating a plot.

       Normally, a reader would prefer to read a novel which is told in a linear style. In other words, a novel must have a beginning , an end and the narration of what happened between the beginning and the end in the same sequence as it must have happened. However, very often, a novelist would prefer to begin a novel somewhere from the middle of the plot and keep going back and forth in the plot. The technique of flashback is sometimes necessary because it helps a novelist to begin the novel at a point with which the readers can identify themselves. Therefore, flashback, in such a scenario, enables a novelist to develop a context why the readers could identify themselves with the protagonist. Once the context of this identification is established, it becomes easier for a novelist to move the plot in the forward direction. Thus, the technique of flashback helps a novelist to begin the narrative from the middle of the plot which is contemporary and easily identifiable by lay readers. The flashback then provides a novelist with a tool to depict the past of the protagonist. Since the readers have already identified themselves with the protagonist by then, the revealing of the past takes readers to their own past, thereby providing an opportunity for catharsis.

        In my both novels, I have used this technique. In my first novel, THE MULTITUDES OF RIPPLES the novel begins when the protagonist, Manas Desai, is hospitalized after his nervous breakdown. I thought, at that time, that this is a good starting point because Manas Desai was in a most vulnerable state and therefore he was easy to be identified with. Secondly, since he was trying to recollect his own past, the very process of recollection could become the narrative. Of course, due to his nervous breakdown, Manas’s recollection was fractured and that created a surreal narrative.

      In my second novel THE HUMAN PILGRIMAGE, the protagonist Gautum Parikh, begins writing his own life story when he finds himself overwhelmed by the irrational things happening in his life. I felt that this situation, wherein we find ourselves unable to cope with circumstances of our lives, is a universal situation. Almost all of us have felt that way, sometime or the other, in our lives. This vulnerability, I thought at that time, to be a good starting point because the readers would find it easier to identify with such a vulnerable protagonist. The unfolding of the protagonist’s past, in this novel, provides the context in which readers would find out why  their own  identification with the protagonist was justified. Of course, in this novel, things happen even while Gautum Parikh is writing about his life and these events provide a meaning to him about what life is.

      In my first novel, the plot was unfolded twenty years after it happened. In my second novel, the story begins and ends in the present times. It begins and ends in the year 2016. Therefore, I am wondering how to structure the plot of my third novel.

          I have decided that in this novel, I would not use flashback to take readers to the past. Instead, I would keep the plot restricted to a small period of time. I am planning to tell the readers about what happened to the protagonist, a software consultant in the last  three years.  His past would be narrated only through the references and allusions. Since this novel is a third person narrative, the protagonist would not be able to narrate his past. Therefore, he would recollect his past in the context of things happening to him in these three years. Therefore, the novel would begin in the year 2014 and end in the year 2017. The protagonist’s past would be revealed to the readers only through the reminiscences of the protagonist in the context of what is happening to him.

        This arrangement creates a rather complex narrative, and I am looking forward to it as a challenge. The reason why I have chosen this style of narrative is that it is my belief that, in real life, we don’t recollect our own pasts in a linear fashion. What actually happens is that every new event in our lives connects us to some incidents that we had experienced in the past. Thus, we live a complex life in which our past surfaces in our minds at every instance of our present moments. Moreover, since every moment of our lives triggers different and sometimes unrelated memories of our past, we spend lot of energy in making sense out of this haphazard experiences of living moment by moment and trying to cope with random memories that these moments trigger.

        This is where the significance of fiction lies. It helps us to learn how to create a simple narrative from our haphazard lives and make sense out of it. Therefore, writing and reading fiction is a therapeutic. It helps us to understand what life is.

        Having tried magical realism in past two novels, I am planning to write my next novel using realism. I am convinced that realism is as magical, if not more magical than the fantasy. I am also convinced that it doesn’t matter what the life really is. What matters to me, and it is a matter of faith for me, is that a human mind is capable of infusing meaning into the life. The life may be haphazard or absurd and the meaning that we infuse into such a life may be subjective, but it doesn’t matter. This is because this  subjective meaning of otherwise absurd life is what keeps us alive. Without it, we would not be able to live.

         In my next blog , I would discuss more practical aspects of being a novelist. I would discuss my problems with finding a right audience of a novel. 



        In my previous blog, I had discussed my problems with selecting a protagonist for my next novel. In this blog, I would discuss my problems with depicting the growth of characters in a novel with the passage of time. Normally, a novelist employs two methods . A novelist either can use some external markers like changes in the surroundings of the characters or can use some internal markers like thoughts of the characters to denote the passage of time. These, in conjunction with the emotional changes in the characters, can give a perception that these characters has evolved during the unfolding of the novel. Therefore, it is always a challenge for a novelist to bring out this perception indirectly through the creation of  details of  a novel as it unfolds.

        While writing my first novel, I realized that, both these techniques require different skills. While using external markers to depict the changes in the characters, I had to depend on my memory of the city of Mumbai  to differentiate between the old and new surroundings. The depiction of changed internal markers, on the other hand, required me to think and feel like the characters of that novel. Therefore, I  chose in my first  novel to restrict the geography of the plot to the one I am familiar with. Similarly, I  tried to flesh out characters with the emotions and thinking of the individuals of whom I had read about or whom I had met.

        However, in my second novel which would be published shortly, I have tried to be more adventurous. I chose to write about places I was not familiar with. Similarly, I have tried to flesh out characters  whom I have never met. This turned out to be a creative challenge because I had to rely on my imagination to create details of these entities. Of course, in the days of Google search, it is easy to find details of the places one has never visited. However, one needs to recreate the ambience of these places. I hope I have done it well. Similarly, if one were to create a character whom one has never met, one runs a risk of falling back to stereotypes. I have tried to invest new behavioural details in such characters to make them authentic. I hope that this detailing makes these characters believable.

     These might appear to be restrictive techniques. However, the key insight that I have gained is that beneath these limitations, there is something more fundamental and universal about the  human existence that would come through in spite of a novelist’s limited repertoire of locales and characters. There is something in each one of us that transcends these mundane details. It is novelist’s prime objective and in fact, a moral obligation, to tease out this transcendental aspect of otherwise ordinary characters. Fortunately, I could do it reasonably well in both these novels. Of course, the readers are the final arbiters of whether I have managed to do it or not. However, I personally think that I have done a decent job of extracting   the human angst from the lives of  otherwise nondescript characters.

       Let me now tell you how I am going to depict the  evolution of  characters in my third novel. As I have mentioned earlier, this novel is going to be a third person narrative. Therefore, there is no narrator. As a result, sense of continuity, both emotional and temporal, must come from the plot itself. Therefore, I have decided to describe the life of the  protagonist in a narrow time span of three years from 2014 to 2017. The events in the protagonist’s life prior to this time span would find oblique references in the narrative. This is necessary because it allows me to minimise the depiction of external markers. I would be able to focus on the details of the plot unfolding.

         Moreover, since the past events would surface in the plot indirectly, this would give a new complexity to the plot itself. This resurfacing of events in the protagonist’s mind, by oblique reference, would provide a tool to depict the changes in the protagonist’s mindset. Similarly, all the other characters would connect to their past indirectly by connecting to the events unfolding during these three years. Since this novel is a third person narrative, the protagonist is not really a protagonist in the conventional sense. He is a protagonist because the plot revolves around him and not because his version of the narrative is articulated. In fact, it would be proper to think of life or the plot itself being a real protagonist in which the conventional protagonist occupies a central place. The protagonist is in the centre of the plot but he is not in the centre of the novel. The centre of the novel is the human angst in the contemporary life in Mumbai.

         As a result, each of these characters would evolve only marginally during the unfolding of the plot which spans three years, but it is their ability to connect to their individual pasts that would give an indication of their own perception of their personal evolution. Thus, the evolution of individual characters would be indirectly perceptible by their own reminiscences of their pasts, while the events of these years unfold. It is as if each of these characters lives these three years, but they live in the context of their individual pasts. Thus, the events are same, but how these characters interpret and react would tell readers about the evolution of each of these characters. Admittedly, this can only be done when a handful of these characters are developed in details. Therefore, there are two kinds of characters in the novel. There are characters whose lives are woven into the narrative and these are only a handful. Then, there are characters who are mere instruments to carry the plot further.

            The beauty of fiction writing is that sometimes, these characters surprise the  novelist. I found about this in my second novel. When I introduced a character called ‘Pakyabhai ‘ , he was merely an instrument to carry forward the plot. However, to my chagrin, he kept on reappearing in the novel without my knowledge and approval. In that sense, I can confess that this is my present intention of how this novel ought to be shaped. However, it is possible that any of the planned characters might hijack the narrative. Sometimes, the evolution of a character in a novel may overshadow the evolution of a novelist. This is true in life as well. Our own progeny sometimes overshadows us. Unlike novel, life is not a single narrative but a collection of narratives, each valid in itself and yet each being divergent from the remaining narratives. I only hope to capture this quintessence by using the third person narrative in my next novel.

         In my next blog, I would discuss how complex structure of the narrative becomes when one writes a novel spanning three years but the  history of thirty years.