Tag: fantasy

by Novoneel Chakraborty

One of the things which makes a reader curious about any story is how real or true it is. When authors pen stories, it is believed that they must have written it after being inspired by real-life incidents, which they have lived or seen closely. Majority of the times this assumption is true. What makes my latest novel Half Torn Hearts, an autobiographical attempt, slightly different in its approach is that I didn’t rely on any incident to make it autobiographical. I created the characters, gave them a relatable milieu and dived deep within myself only for their emotional graph, their outlook towards life and their deep character, fishing out emotions and words which were expressed by me and felt by both myself and the three women in my life. It was while penning down this novel that I realized a story becomes impersonal not only because of the plot points you use but also because somewhere the characters and their inner pathos are straight out of your real-life experiences. And, that a storyline may be fictitious but the characters may very well be real.

Half Torn Hearts has an interesting backstory. This is the only book of mine which took five years to complete. The process not only made me revisit old wounds but also convinced me that an author doesn’t tell a story. A story unfolds itself through an author. Few understand this difference. An author is a medium, not the story. For this story to be complete, it had to make me come in touch with someone who eventually became my muse, not only to finish this book but also for my overall creativity. Patience is a virtue and nobody else can understand this better than a storyteller.

In all my stories that I’ve penned so far, I’ve always fine-tuned the real-life inspirations. By fine-tuning, I mean that sometimes reality isn’t as dramatic as fiction should be. And at times, it is too over-the-top to be used in fiction sensibly. The one major limitation of fiction when compared to real life is that fiction always needs to make sense within the parameters of its self-defined logic, while reality is free of such limitations. And when one writes about something deeply personal, one needs to make sure it doesn’t hurt anyone who is involved in the real story. That’s a reason why I used the plot of this novel to hide the emotions of the characters in such a way that only those involved will be able to understand where certain things in the story are coming from. And for a normal reader, it may just read like an engaging story.

A very important aspect while penning down a personal story is editing. I’m not talking about structural- or copy-editing here. When things happen in real life, they have their own pace of events, and every event seems important. But when one sits to write, one cannot write about each and every event because, in a personal, real story, one will be invested since it’s one’s story, but for a reader, the investment happens only when things they are reading aren’t boring.

I write in the commercial fiction zone. Hence, the most important question that plagued me while writing this was what to keep and what not to. And in ‘what to keep’, there was another sub-query of ‘how much’. I follow a cardinal rule of writing: thou shall not bore thy readers, at least not knowingly. To get to this, one needs certain creative objectivity, which can’t be developed immediately. The more one writes and subsequently, the more one edits, the more one will know what really needs to remain in the final version of the manuscript and what simply needs to go. For example, in my current novel, there was a scene between the protagonists, Raisa and Nirmaan, which for the first time in the story was bringing them intimately close. When I read the manuscript for the third time, I realized that for the sake of the sanctity of the story, the scene should not be happening even though it was one of my favourite scenes in the book. Eventually, I edited it out. As they say: ‘kill your darlings’.

Lastly, I would say: telling one’s own story, in whichever way, involves a lot of responsible writing. Truth has interpretation. It also has misinterpretations as well. Hence, it has to be well-balanced. And, getting into that balance requires a lot of redrafting, personal introspection and revisiting things within oneself, things which we are done with—or maybe never done with—until the story shapes up the way we envisioned. But then, there also lies the magic of storytelling.

Half Torn Hearts is a coming-of-age tale of three layered individuals coming in terms with their first loss.

Novoneel Chakraborty is the bestselling author of many romantic thriller novels and one short story collection, Cheaters. Known for his twists, dark plots and strong female protagonists, he is also called the Sidney Sheldon of India by his readers. Apart from novels, Novoneel has written and developed several TV shows such as Savdhaan India and Yeh Hai Aashiqui.

Fixie, the protagonist in Sophie Kinsella’s new standalone, I Owe You One, can’t help herself from fixing things…she just has to put things right. It’s how she got her nickname, after all. After saving a stranger’s laptop from certain disaster, he scribbles her an IOU, as a thank you. Soon the pair are caught up in a series of IOUs.

Here is an interview with Sophie, as we talk to her about her book, writing and more!

The Pigeon asks…

What research did you do for the book?

I got inspiration for Farr’s store from visiting a wonderful shop in Dorset called Harts of Stur. Of course it’s nothing like Farr’s as far as organisation goes – it’s an amazingly thriving shop. But because it’s family owned, it showed me the potential for a family shop as a setting.

How important is setting for your writing?

When I start to write a book, I know that whatever setting I choose is a world I will be spending a lot of time in – so it’s vital! For me, setting is often a way to enhance the plot. I love the irony in I Owe You One that the family shop is all about creating a harmonious, beautiful home – but the family running it is far from harmonious!

How much of your writing is built on personal experiences, be they yours or of those you know?

I often use ideas from real life but build on them. For example, when I was planning I Owe You One I was sitting in a coffee shop, thinking ‘How should my protagonists meet?’ when an American man asked me to mind his laptop and I thought ‘That’s how!’ But I couldn’t leave it there – I had to create a far more dramatic fictional scene. I like my characters to go through quite extreme journeys and those are all from my head!

Name the first book first that forever changed your outlook on life?

The Hitchhiker’s Guide to the Galaxy was the first book that made me really laugh out loud. I couldn’t believe that so much comedy could come out of one book and it was definitely inspirational.

Do you live where you write?

I write where I live. Though my desk is not in the main part of the house, because if it was I would never write a single word!

What is your favourite book of the year and where were you when you read it?

I loved The Overstory by Richard Powers. I read it at home, where I can see lots of trees, and I became mildly obsessed with the amazing qualities of trees.

What is your go-to comfort food?

Marmite on toast. Or a cocktail. Or both.

What is the best music to write to?

Loud energetic music. I have a mini playlist for each book as I’m writing it – often with the same song on a perpetual loop.

Describe your writing day.

I plan for ages. Weeks, or months. During that time, I walk, think, sit in coffee shops and scribble notes. Then, when I get on to the actual writing, I aim for 1,000 words a day. If you do that for enough days, you’ll end up with a book. At least, that’s the theory…

Name your Sunday afternoon film (just one).

The Sound of Music.

What is your aim as a writer? How does a book do that? 

I aim to entertain – to make people laugh and cry and whip over the pages. If the story is good, the plot works and the characters are relatable, I hope that will happen.

What is the worst job you’ve done? 

I’m not sure about the worst job – but I can think of some things I was really bad at. I worked as a journalist at Pensions World magazine and I was like my Shopaholic heroine Becky Bloomwood: I would sit at financial press conferences, nodding my head and scribbling notes but not really understanding a word.

How do you unwind? 

I like to exercise, play tennis, play the piano and dance.

What keeps you up at night? 

Box sets.

The irresistible new standalone from Sophie Kinsella is a story of love, empowerment and an IOU that changes everything . . .get your copy here!

Christopher Paolini’s love of fantasy and the natural beauty that surrounds his home in Montana inspired him to begin writing the Inheritance Cycle at fifteen. He became a number one bestselling author at nineteen and spent the next decade immersed in the world of Alagaësia.

Here is an interview with him, where he talks about his new book, The Fork, The Witch and The Worm.

Q: Bring us back to Alagaësia. How did you create such a fantastical world? If you had to describe it in five words, what would they be? 

A: The world of Alagaësia came about as my attempt to pay tribute to all the wonderful fantasy novels that I loved growing up. That and trying to answer, as honestly as possible, all the questions that arose when I first imagined a young man finding a dragon egg. The five words I’d choose are: epic, personal, transformative, draconic, and numinous. Also curious, because—like Eragon himself—I am filled with an inexhaustible font of questions.

Q: How did the idea for The Fork, the Witch, and the Worm originate? What was your inspiration? Was there a particular event, circumstance, or something else that spurred it?

A: This was an unplanned book. A bit over two years ago, I saw a rather bad movie, and discussing the failings of the plot with my sister led to me write “The Worm of Kulkaras.” I was pleased with “Worm,” but by itself, it was too short to publish. It sat on my computer, alone and abandoned, until the summer of 2018. At that point, I got an urge to write a story about Murtagh. The inspiration came from a tweet I’d written to a fan who was curious about what Murtagh was up to. I made a rather offhand comment about him wielding a magic fork . . . and for whatever reason, the image wouldn’t leave my mind. Thus “A Fork in the Road” was born. I sent both that and “Worm” to my publisher. Meanwhile, my sister, Angela, proposed writing a vignette from the point of view of the character Angela the herbalist (whom I based on her). And hey, presto! Before I knew it, we had an actual book-sized object, which I must say, I’m quite proud of. The framing material for the three stories came from my own desire to see what sorts of problems Eragon has been dealing with since the end of the Inheritance Cycle.

Q: What kind of research went into writing The Fork, the Witch, and the Worm?

A: One of the benefits of writing about the world of Eragon—a world that I spent over a decade building—is that I don’t need to do much research. I already know how the magic works. The history of the different races. The likes, needs, and flaws of the main characters. Years and years of work have burned those things so deeply into my brain that I doubt I could ever forget them.

Q: What was the greatest challenge you faced in writing this book?

A: Finding a way to tie together three different stories (four, if one counts the framing material with Eragon) into a cohesive whole. It was a new experience for me, and I enjoyed it. Also, this was the first time my sister and I have officially collaborated on an Alagaësia-related project. It was a learning experience for both of us!

 Q: Do you relate to any of the characters in The Fork, the Witch, and the Worm? How and why?

A: All of my characters are a part of me, even the evil ones. Eragon, of course, is near and dear to my heart, but in this new book, I think I most empathize with the Urgal Ilgra and the challenges she faces. She has to confront the death of a parent and, in her own way, come to terms with it. Without going into spoilers, the emotional journey Ilgra experiences is something I relate to quite closely.

Q: Can you share your favorite scene from the book? Is it the scene that was the most fun for you to write, or is that different?

A: It’s hard to choose! Writing about Murtagh and a magic fork was delightful. The moment when Angela the herbalist opens a door that wasn’t there sent chills down my spine. (Good going, sis!) But for me, I’d say it’s when Ilgra finally confronts the great dragon Vêrmund the Grim and has to make a decision as to how she’s going to live the rest of her life (however long that might be).

Q: In addition to writing the story, you’ve also done the artwork inside the book. Can you tell us about the art and your process? 

A: All four pieces were done with pencil. I’m a big fan of the Staedtler Mars Lumograph series, specifically the 7B and 8B, which are a mixture of graphite and lampblack (allowing for wonderfully dark, non-reflective shadows). For each piece, I tried to think of an object and/or image that could sum up the core of the following story. I’m proud of them all, but my favorite is probably the Urgal horn I drew for “The Worm of Kulkaras.” Since I don’t have any Urgal horns lying around, I ended up sculpting a model from clay in order to give myself some useful reference material.

Q: Is there any particular theme that you continue to come back to in your writing? And is there anything other than format that is new or different about this book?

 A: In all my stories, I find myself returning to the idea of personal transformation (both physical and mental), as well as confrontation with those things we can’t change: life, death, mistakes, achievements, the cruel and unwavering arrow of time. A story that culminates with a character becoming in order to overcome adversity is a story I’ll always enjoy. As for The Fork, the Witch, and the Worm, it differs from the Inheritance Cycle in that its characters are older and the problems they are dealing with are of a different sort now (although they still involve dragons and magic and the occasional monster). My old obsessions are still on view, but at the same time, I’ve branched out into a few new areas that, I hope, readers will enjoy.

 Q: We know this is volume 1. . . . Is there anything you can tell us about what we can look forward to next? 

A: Heh. Right now I’m working hard on finishing up a massive sci-fi novel I’ve been focused on for a few years. After that, there are a whole host of stories I would like to write, including volume 2 of Tales from Alagaësia. In it, readers can expect some very new, very exciting stories, including—I hope—one about a dwarf detective and one about the fate of Oromis’s sword.

 Q: What was it like to go back to writing about the world of Alagaësia, considering it has been seven years since the release of the last book in the series?

A: I’d always imagined returning to Alagaësia with a full-sized novel. However, doing it this way made for a wonderful experience. Getting to dip into the heads of some of the characters from the Inheritance Cycle—as well as a few new ones—was a real treat for me. Writing about Eragon and Saphira after so many years was like returning home after a long journey.

Q: What is the appeal of writing fantasy/sci-fi books? Would you ever write a book in another genre?

 A: I certainly will write books in other genres! A good story is a good story, no matter what the setting or subject material. In fact, I’ve already tried my hand at short stories set in the real world: some drama, some horror, and some speculative fiction. Hopefully, they’ll get to see the light of day at some point.

Q: If you could spend a week in the world of any sci-fi movie, TV show, or book, what world would top your list?

A: That’s a difficult question since most sci-fi worlds aren’t that friendly to the ordinary person. Given that, I think I’d have to choose the world of Star Trek, since the Federation seems to do a decent job of protecting its citizens. (Plus, it would be fun to play around in the holodeck.)

Q: Let’s say that tomorrow Earth has to be evacuated. What are three things you’d make sure you didn’t leave without (aside from friends and family)?

A: My computer, loaded with as much information—including books and movies—as possible. A knife. A pen and paper (I know that’s two, but let’s count them as one). With those things, one could rebuild all of civilization.

 Q: Who has been the greatest influence in encouraging you to write and become a published author?

 A: Definitely my family. They’ve always been there for me with encouragement, editing, and general advice. Even now, they’re my first readers—and more than that, my friends.

 Q: Any words of wisdom or advice to aspiring writers?

A: Mainly, don’t give up! There are plenty of skilled writers who never get published because—for whatever reason—they don’t follow through on either the writing or the publishing side of things. Read, write, study the language you’re writing in, plot your stories out beforehand, find others to edit your work, write about the things you love the most, put words on the page every single day . . . and above all else, don’t give up! We all fail. Everyone makes mistakes. That’s the nature of reality. If you can accept that and say, “Yes, I’m going to write things that are not so good. I’m going to mess up. That’s okay. That’s part of the process,” then you have become unstoppable. It’s far too easy to get discouraged when you hit a stumbling block. So don’t get discouraged. Don’t feel as if you’re a bad person because something you wrote doesn’t work. Who cares? Even the best writers produce bad sentences/pages/chapters/books. It happens. But it doesn’t mean you’re bad.So take a deep breath, stand up tall, square your shoulders, and go forth and be awesome!