Four Awesome Ideas for an Indian Fantasy Novel

I admit it. I caved. I want clicks more than I want appreciation of my long-winded, well-crafted, writing. I need traffic so that Google Ads will pay me (apparently they will. They’re not saying no anyway). I nurse ambitions of going viral. I want people to think I’m smart and share my thoughts with the world so I can make my own path to world domination smoother.

Just kidding. I hope it’ll be a while before I write a listicle that is not Tom Hiddleston-inspired.

Aw.

Aw.

I think there are a couple of reasons why I find writing fantasy, as a ‘coloured’, female, non-‘Western’ writer, so hard. I think a couple of those reasons could also be traced to the fact that I am, for all intents and purposes, a Hindu. It’s the one genre that I really, really love and that I can spend hours and weeks and days reading and discussing (as you all know too well), and I really want to write it, but there are a couple of things that trip me up and that, being a good millenial, I blame on my upbringing, parents, and socioeconomic background.

lotr‘Fantasy’, or ‘epic fantasy’ as we know it today has a distinctly Tolkienien feel. Whether it’s the medieval European setting, the formal register of the language, or the prevalence of Elves and uncrowned kings, Tolkien’s left us a legacy we can’t entirely ignore, or escape. I spoke about this in an earlier post (No, It’s not Okay), but left out one important thing:

Tolkien supposedly wrote his epics as a way to build a mythological past for England. He wanted to give to his country what Greece and Italy already had in the form of the Iliad and the Aeneid. He took elements of local folk tales and sweeping Pan-European legends (and Arthurian chronicles) and put together a world where the little Englishman in his pastoral home ventured forth and saved the world (or as much of it as mattered anyway, which was Western and Southern Europe).

Just your average jolly old Englishman!

Just your average jolly old Englishman!

Building this sort of mythologized past requires one thing: a distance from it. By and large, most of the Western world, the kind that writes mainstream, Tolkien-derived fantasy now, does not believe that Elves, Dwarves and other fantastic creatures are real. More importantly, the stories that they use and fall back on, including both Greek/Roman myth and denizens of other pantheons, do not influence modern life to the extent that mythology in India tends to do.

Let me elaborate on this. When you write a story that follows, vaguely, the trajectory of Arthurian tales (uncrowned king, bearded mentor, staunch companions in arms, ‘black’ foe), you are using something that has already been sanctified as distant, part of the past, something that is up for interpretation without running the risk of really offending anyone. This distance is what allows Rick Riordan to write the Percy Jackson chronicles, where a goddess like Athena can be accused of having had a child. Imagine if someone were to write a story where Durga has a one night stand with a man and produces a girl child who displays amazing martial skills—do you see people putting up with:

a) The idea that Durga would have a one night stand.

b) The idea that that baby was not worthy of being worshipped herself and could possibly grow up in a state of complete normalcy and not have some grand, wisdomous words to impart to her fellows.

Awesome Idea 1—A daughter of Durga grows up in Calcutta and discovers she has godly abilities. She then rains hellfire upon the mutinous hordes. 

But see, here’s problem #2: how do you distinguish between mythological and fantasy fiction in a country like ours? It depends really on the audience you’re writing it for. For instance, last night I watched a dance performance by Mallika Sarabhai. She performed a piece on Karthikeya, Shiva’s second son. While she danced and described him, I realised hey, Karthikeya is an amazing fantasy hero. He is young, he is martially inclined (being the god of war and beauty), he has a romantic and rather crazy love life, he broke conventions to get his second wife and he puts brawn over brain and gets upstaged by his own brother. Plus, he rides a peacock and was created simply to kill off a demon—the latter being a trait common to most epic fantasy heroes.

If I were to write a book detailing his exploits, I could probably sell it to a non-Indian audience as ‘fantasy’. But here, someone or the other would see through my pretence and call me out on my shit. This is not fantasy, they would say. this is the retelling of a myth, and it’s great because we don’t have anything on this particular god, but could you possibly write Kunti’s version of the Mahabharata next? Personally, I don’t know if I could bring myself to do it: to me, it would be mostly like transcribing the stories I’ve heard from my grandmothers or my dance teacher, and not something I myself have ‘created’.

Awesome idea 2: Write a series of ‘fantasy’ novels on Murugan, and have him be an angsty, tortured hero who’s always wondering if his parents love him as much as they love his brother, Ganesha.

I’m surprised someone hasn’t done this already.

Now this is a problem.

Now this is a problem.

The third problem, again tied to the second is this: how do I make a fantasy novel set in India different from others without resorting to exoticising everything? In other words, how do I please both the big name publishers in New York as well as my poco-pomo-postfem colleagues here in India?

(For those of you not familiar with my casual academese, poco pomo postfem refers to postcolonial, postmodern, post feminist writers and thinkers. No, I don’t know what that really means either.)

I just read this long, insightful piece on the problem with South Asian literature by Jabeen Akhtar, where she speaks about the Western need to see this region in a particular light, as a world of ‘mangoes, spices and monsoons…saris, bangles, oppressive husbands/fathers, arranged marriages, grains of rice, jasmine, virgins, and a tacky, overproduced Bollywood dance of rejection and oppression with Western culture.’ Epic fantasy relies to a great extent on regional stereotypes: Tolkien’s ‘English’ hobbits are bookish, stodgy and love their afternoon tea; Martin’s northmen are hardy men of few words who speak (in the HBO series) in vaguely Scots accents; even Rothfuss’s Adem seem vaguely Japanese (or at least subscribe to ‘Western’ notions of Japanese behaviour espoused in martial arts movies). It’s easy to fall into the trap of exoticising this culture, because people (read: the Western canon) has been doing it for years and we know it works to pull in the publishing bigwigs sitting in their corner offices on 6th Avenue.

So how do I do it? How do I write an epic fantasy that doesn’t rely on ‘Oriental’ stereotypes that might offend the poco-watchers but also stands out as ‘Indian’ or exotic enough to interest the agents in HarperCollins NY? I think Samit Basu managed this with the Gameworld Trilogy , where he actually turned cultural and literary stereotypes of flying carpets and exotic Indian princesses back on the reader, as well as used those tropes to further the story—but even he was relegated to having an elephant headed Ganesha on simoqinthe cover of the German edition of The Simoqin Prophecies. Please note that this is in a book which has no elephants, let alone elephant headed gods, on-screen.

It’s a curse: write what you, as an English-educated, city-bred millennial know and the West won’t take you seriously; write what you’re ‘supposed’ to and don’t get taken seriously by your fellow Indians, who will dismiss it as pandering, and perhaps, rightly so. Who do you please?

And don’t tell me writers write for themselves and no one else because that is just not true in an age where everyone is living on the Imax screen of social media.

Awesome idea 3: Write a fantasy novel where the hero is must save the world, but has to choose which of two worlds to save. Choosing one ensures the complete destruction of the other. Chances are, if he is a real hero, he will choose neither and end up destroying himself so that everyone else can just deal with their own shit.

rivendell

And finally, perhaps the biggest problem facing an Indian fantasy writer: who is going to make the movie version of it? I know it’s really superficial, but hey, all of us want to see our books/stories get the Game of Thrones and Lord of the Rings treatment. We want big budget Hollywood studios to take an interest and WETA to spend months building props and sets. But since none of my main characters are white, chances of them spending millions of dollars on bringing the book to life are pretty minimal.

Sad, but true.

Awesome idea 4: Write a fantasy novel set in an India-like space where all the main characters are white thanks to some genetic accident. These white characters are the ones who will end up saving the world because that’s just how things play out in Hollywood.

Okay, enough complaining. I shall get cracking on writing one if not all of these proposed fantasy novels.

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7 thoughts on “Four Awesome Ideas for an Indian Fantasy Novel

  1. Maybe abandon the stereotypical comic book/ fantasy tropes of the hero / coming of age, etc. and look into the narrative structures, mythic cycles and cosmologies embedded in the various epics (you fool)

  2. I can’t believe I forgot to follow your blog, and almost missed out on this gem of a ramble.

    Such a though-provoking topic. As a reader of Arthurian tales and Tolkien’s works, I have rarely thought about culture and how that impacts my reading/writing.

    I think Indian mythos make amazing fantasy stories. Tried to write one once myself. The Iron Ring by Lloyd Alexander was a fun read. But if you really want to write Tolkienesque elves, go for it:) I think you could combine the best of all worlds into something new and unique.

    Keep up the great blog!

  3. Not everyone have to be white in idea 4. Instead tell that East Indian Revolution and British Rule never happen. You can write a Alternate History fantasy with steam-punk (sci-fi + fantasy). That way you can show Indian characters comfortably communicate with White american and british characters. Idea one is sort of demigod or semi-mythology fiction. Idea 2: to impress New York Publishers, write a story with few American protagonist and Indians one’s alike with great mysteries and supernatural elements described in both country’s mannerism. Just like in league of ExtraOrdinary Gentlemen. Child of Two World. Show the protagonist as half breed and make him anti hero. I think it will be interesting touch.

  4. Why depend upon mythology or Gods at all? I know we have half a billion different gods, but that doesn’t mean we have to go with mytholgy.

    Indian culture and folklore is deeper and richer than most of the others. Our desi writers have used this quite brilliantly writing about ghosts, Churails, Daayans and others. And Betal Pacheesi? We have a completely untouched and unexplored area of fantasy that has yet to be noticed internationally.

    And if getting readers is the goal then the whole world dies to know more about “Incredible India”. What does it matter if we don’t get Indian readers? We have a literacy rate around 60%, and 70% of those have to work HARD to get food into their bellies, having time to read is least of their worries. India is not a country of intellectuals. We are farmers and we don’t have time to read.

    So why not focus on the remaining 10% of the population to be our readers? If the west likes it, it has to be good enough for that 10%.

    Am I right?

    • I agree with your point, but not completely.
      See, you are right that we don’t have that level of readership in India as compared to the west. But, time is changing my friend. But still, the percentage will be less than them.
      But don’t you think that to get your novel noticed by the international readers, you have to first win the hearts of the national readers first? If you neglect your primary audience, how will it please the secondary?
      🙂

  5. The sad truth is, we are so much connected to our mythology that we forget to be ‘ORIGINAL’
    Harry Potter is not based on any mythology, it is a parallel world, same with Narnia. and you know how much awesome these books are. Rick Sir did an amazing job mixing the greek and Egyptian mythology but he also introduced greek mythology in a country different than Greece. So, Indians can write about mythology, but it is not necessary or compulsory to write only ‘Indian’ mythology, because:
    Reason 1- You will get a tag of Mythology reteller and you will lose your originality, however how much hard work you did on your project and ‘your’ idea.
    Reason 2- Indians can not actually digest ‘demigods’ of Krishna or Shiva because they will feel it is so awkward. Though many of readers will disagree with me on this point, but yes, indirectly if you do that, you’ll be copying Rick’s idea. and again you will go back to the reason no. 1, losing your originality.
    Coming to the next topic, mythology like LotR.
    Indian Readers would love to read such stuff. Why do teen readers like to read Harry Potter and Percy Jackson more than our own Indian novels? Because we don’t have much fantasy options!!!!!
    I am never saying that India is not writing ‘good’ fantasies that are ‘original in some or the other way’ but the publishers force the Indian writers to set up their project in India, name the characters in Hindi, add some gods like Vishnu and Rama, or at least have some reference to Ramayana and Mahabharata. These are epics and epics don’t need to be retold again and again!!! (Unless you don’t have any idea of your own) And once you add godly Indian mythology stuff in your novel, you again fall into the trap of “Unoriginal Mythology Re-teller”
    I am really sorry if my views hurt anyone in any manner, but that is my pov.
    Thank you for such a great post! 😉

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