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.



                 THE MORAL AMBIGUITY.

           In my previous blog, I had discussed my attempts to find a theme for my next novel. Having decided to write a novel in the third person narrative, I had suggested that I would like a narrative where the protagonist would be driven by two strong emotions of guilt and sacrifice. The core of this novel would be that the protagonist would never realise that he is driven by these two emotions and still he would find his redemption. In this blog, I would discuss what happens to us when we are not aware of our own subconscious emotions and how this ignorance leads us to moral ambiguity.

           As we grow up, we realise that our notions of ‘good’ and ‘bad ‘ are not clear cut. We normally define these notions in the context of what we are required to do. In other words, there are no perfect definitions of good and bad. We decide what is good and what is bad depending on the circumstances that we face. Every time, when we face such a dilemma, we make a choice of what is good and what is bad depending on our own understanding of life. More often than not, we arrive at our choice based on what our intuition tells us about the choice. Of course, once we have made the decision, we always conjure up very good arguments to justify our choice. Rarely, if ever, we realise that our arguments in support of our choices are justifications of our choice and not the reasons for our choices.

            The trouble with growing up is that, as we grow older,  we become  more and more aware of this gap between the arguments as a justification and arguments as a reason behind our choices. As a child, each one of us lives in a blithe ignorance and believe that our desires are synonymous with what is good and therefore we pursue our desires and wishes with an endearing naivete. However, as we grow old, our moral sense tells us that life is not as simple as that. There is something more to life than the endless pursuit of wish fulfillment. The real problem with growing up is not that our moral sense tells us about what not to do, but rather that it doesn’t tell us what to do. Our sense of morality is, in some sense, negative. It reduces the number of choices that we can think of  what we ought to do. However, it never suggests any choices, on its own,  of what we ought to do. Therefore, sometimes we never know the morally correct choice until it is too late. This is the origin of our moral ambiguity. More importantly, it defines the human angst of modern times.

           I am tempted to believe that this story of individual development from naivete to ambiguity is also reflected in our collective history of our culture. In the ancient times, the societies  (and even religions) were founded on the simplistic notions of good and bad. With the passage of time, due to social and cultural evolution, we have evolved very intricate rules of justice and equity. However, somewhere deep within, we know that our laws also tell us what not to do and rarely tell us what to do.

            My focus however, is not really on this moral sense per se. My interest, as a novelist, is in the consequences of such a muted moral sense. If human beings are driven by their subconscious emotions  ( of which they are not aware of ) and if they are handicapped by this muted moral sense, every human being would be facing angst that arises from this moral ambiguity. Most of us have experienced situations wherein we know that what we want to do is not exactly right thing to do and still we want to do it because that gives us an emotional satisfaction. The tragedy of human life is that vague awareness of having transgressed and yet experiencing emotional deliverance. I think human being are not good or bad. They are good and bad at the same time.

            I think that Nature, in her infinite wisdom, has deliberately endowed us with this muted moral sense. Had she given us a complete morality, we , human beings, would be reduced to machines following Nature’s instructions. The value of human life lies in the fact that she/he has a freedom to pursue what she/he thinks is good and make mistakes. This freedom to commit mistakes also gives human beings a chance to redeem themselves. Our subconscious need to experience catharsis is actually a substitute for our destiny to experience our redemption. The true moral ambiguity lies in our need to experience this catharsis and redemption. I think there is no way to explain why we need to experience the subconscious emotional drives, the subsequent sense of transgression, it’s catharsis and finally a sense of redemption. I believe we don’t need to undergo these emotional cycles. We would be happy to be always correct and always satisfied. . However, I am convinced that in that case , we would not be human beings,  but some automatons. To quote a famous saying, to err is human. I am tempted to modify that saying and assert that to err is human destiny.

            I am planning to write my next novel where the protagonist is acutely conscious of his own moral ambiguity but he is driven by his subconscious mind to transgress. Of course, in the light of what I have written, the protagonist would have to find his own redemption.

           In my next blog, I would discuss what kind of protagonist I would want. This is because his profile would decide what  form of transgression the protagonist would be forced to commit by his own subconscious mind and how he would find his redemption. 



               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.




        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. 



       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. 


               WHY IS CLIMAX IMPORTANT  ?

              In my last blog , I had suggested that a climax in a novel is necessary because the novel is essentially a stylised abstraction of some perspective of real life.  Since this abstraction has certain narrative structure , it is an inherent requirement of the narrative to lead to the climax. In my last blog , I had pointed out that the tempo of the narrative and emotional surge characterize a climax.It must be kept in mind that it is possible to believe that a climax is necessary , but it does not explain why a climax is important. In this blog , I would discuss what is the importance of climax in a novel. It is the reasons for this importance of a climax  that tells us why some problems of creating a climax in any given novel are common to all novels and why some problems are specific to each novel. I would illustrate these reasons by citing my own experience while writing two novels.

           As I have mentioned , apart from the narrative requirements for a climax , there has to be an inherent need to have a climax. This need must be based on the content of the novel. In other words , each novel has its own thematic content which would decide what kind of climax can that novel end in. Therefore , now we have two factors that contribute to the nature of climax. Firstly , there is a narrative requirement of tempo and several subplots culminating into a climax. This is a generic feature because it would shape the climax, irrespective of the content of a novel. This essentially depends on the craftsmanship of a novelist.  Secondly  , there is a theme of a novel which provides a type of climax that such a novel can have. However, this is specific for each novel and therefore depends on the sensibility of a novelist.

              First , I would describe my own experience in writing the climax of my first novel. In that novel , the protagonist recollects his past. Therefore , I was forced to use climax arising from inherent tempo of the narrative as a separate climax and a thematic climax in terms of emotional closure separately. This was because the protagonist narrates his life including the his last moment before experiencing a nervous breakdown from the hospital bed. Therefore, the protagonist narrates that climactic moment of his nervous breakdown several weeks after it happened. However , it is while narrating that climactic moment that he achieves his emotional closure and therefore his thematic climax occurs in the final pages of his narrative. Thus my first novel had two different climaxes , one determined by the plot and another determined by the theme of the novel.

       When I began my second novel , I wanted to avoid this separate climaxes. However , as the novel progressed , I realized that it is not easy to do that. This difficulty arises because a novelist must learn to blend the protagonist’s thoughts with the episodes of the novel. A novelist can describe a character’s thought without any restrictions. However , the construction of episodes of the novel would have their own inherent logic. A novelist can control the thoughts of characters , but she /he has little  control over the plot because , as I have discussed in my previous blogs , the plot has its own momentum and structure. It is not possible to alter it to suit the protagonist’s thoughts. The irony is that the way a plot unfolds in a novel surprises not only the characters but also the novelist. A novelist , in that sense , is a passenger in this vehicle of her/his  novel , just as we all are in this vehicle of life. The only difference  is that the vehicles in both these cases , unlike the real vehicles , have minds of their own. The life , like a novel’s plot , has its own logic which is beyond our comprehension.  

     In my second novel , my problem is how to create episodes that appear as natural progression and  at the same time , they lead the protagonist to emotional closure. In addition , I have some problems with what kind of emotional closure should the protagonist have ? I am not sure , at least not yet , whether he would be convinced that his girlfriend has indeed reincarnated or whether it was his superstition that misled him. My problem is not really whether a reincarnation happened or not. My main concern is how the protagonist decides. This is because I think there are questions  in life which can not give us  yes or no answers. More importantly , these questions are not answerable. We , as mere mortals  , conjure up answers that comfort us. These answers are neither right nor wrong. They merely help us to live meaningfully. So, I am trying to conceive a climax that gives meaning to the protagonist’s life. Moreover , I am hoping to have a culmination of plot and emotional closure of the protagonist to be one and same. For that to happen , I would be required to invent a series of events which are metaphoric in content and yet inbuilt into the the plot itself. This is exactly what life is , it is natural and metaphoric at the same time. Nature , in its wisdom , can blend plot and the metaphor so seamlessly , a novelist has to struggle to get that blend correctly. At least I am.  

      In my next blog , I would discuss the importance of a twist in the climax.




          It is universally accepted that we live relatively faster life than that of previous generation. When we think of our parents , we conjure up an idyllic picture of easy paced life when we were growing up. Our belief in our comparatively faster life is further strengthened by our belief that modern technology has offered more options than those available in our parent’s life time. This is , by and large , true. However , we make mistake in thinking that earlier life was slow and therefore it was more tranquil. It is true that there were less options available to people in earlier generations. It is also true that people were less mobile in earlier times. However , it would be a category mistake to think that life earlier was less frenetic or less stressful. This mistake arises from the fact that we overlook how our mind works.

           It is not number of options available that decides the pace of life. It is our indecision to make choices that sets the pace of our lives. The human nature is such that it is equally burdened with decision making whether we are dealing with few options or hundreds of options. This may sound strange , but it is true. When we have large number of options , our mind picks up only the top few options while making a choice. Therefore , mind spends quite some time in making a choice and it doesn’t really matter how many options are available. Our mind is involved in constant conflict of making choices. Therefore, our sense of living a fast life mainly arises from this constant dilemma of making choices. It does not really matter technologically how advanced we are. What matters is how fast our choice making processes are. In that sense , every generation feels that it is living a fast life. We may find such assertions from our parents rather comic but from there mental perspective , this is a valid perception. It is more than certain that our children would find that we have lived in a slow paced life. Therefore , our external yardstick of measuring fast paced life is not in harmony with our internal perception of pace of life.

      In this blog , I would pick up this aspect of our perception. There are two aspects that I would discuss here. Firstly , I would discuss whether our personalities have altered because of fast pace of life or not. Secondly , I would describe my own difficulties in creating a plot that appears as a slow paced to the readers even when the characters feel that there is a constant rush in their lives. The beauty of fiction writing is that it allows a novelist  (and therefore readers ) to stretch a brief moment into eternity and a life long experience into a flitting moment. I would describe in this blog , how I sought to achieve a balance between the different paces of life say thirty years ago and our contemporary life.

          Let me tell you how difficult it was to have the protagonist of this novel to interact with two women in different phases of his life. His trouble is that he suspects that both women are in fact the same individual in two different births. The first woman was his girlfriend when he himself was young. The second woman is also a young but he is , by now , a sixty year old man. Therefore , he finds it difficult to adjust. Part of his mind tells him that he is an old man , whereas part of his mind tells him that this young woman is his girlfriend from the past. At some point in the novel  , he realises that it is his own mind that is playing tricks with him. What he remembered as his tranquil past of his girlfriend turns out to be a selective amnesia. The new woman makes him confront the reality and his own true self. At that point the protagonist realises that the life is always complex and fast. It is because we selectively remember the past that it appears to be smooth and slow.

           As a novelist  , I found it difficult to portray this deception in the protagonist’s mind. However , I accidentally found the answer to this difficulty. When I began narrating the protagonist’s younger days , I spent quite a few pages in creating the details of his background. However , as the plot developed , these very details became instruments of pushing the story further. The plot quickened on its own momentum. Since the novel is in a part flashback and part now frame of reference , this matched very well with the present fast paced life. However , the bottom line is this. The life is even paced. It is how our mind chooses and selectively remembers that gives us a false impression that our present life is faster than the  life a generation ago.

         Since my novel is nearing it’s climax , I would discuss in my next blog what kind of problems a novelist faces while creating a climax. I would also discuss whether and why should a novel have a climax.