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Now on BBC News, it's
time for Talking Books. | 0:00:00 | 0:00:04 | |
Hello and welcome to talking books,
here at the Birmingham literature | 0:00:08 | 0:00:11 | |
Festival. Today it is celebrating
its 20th birthday. This festival | 0:00:11 | 0:00:17 | |
brings together writers, poets,
speakers and thinkers across the | 0:00:17 | 0:00:20 | |
whole of the city centre. Today I am
talking to Preeti Shenoy, who began | 0:00:20 | 0:00:24 | |
her career writing a blog that has
gone on to become one of India's | 0:00:24 | 0:00:31 | |
top-selling writers and an
influential celebrity. | 0:00:31 | 0:00:41 | |
You are the only woman, Preeti
Shenoy, on the list of India's | 0:00:46 | 0:00:51 | |
top-selling writers. Why? (LAUGHS) | 0:00:51 | 0:00:55 | |
Shenoy, on the list of India's
top-selling writers. Why? (LAUGHS). | 0:00:55 | 0:00:55 | |
People like my writing. But is there
something you are doing that perhaps | 0:00:55 | 0:01:00 | |
others are not? I think my books do
have an emotional connection, and | 0:01:00 | 0:01:05 | |
one thing I am not afraid to do is
go out there and market my books, I | 0:01:05 | 0:01:11 | |
think it is important to, if you
have written a book, you have to | 0:01:11 | 0:01:15 | |
have the courage to stand up and
say, hey, this is my book, this is | 0:01:15 | 0:01:19 | |
what I have written about. Because
unless you talk about your book and | 0:01:19 | 0:01:22 | |
unless you believe in the book, why
should others? That is one thing | 0:01:22 | 0:01:26 | |
which I follow. It's a business, in
other words. It is, because if your | 0:01:26 | 0:01:32 | |
books don't sell, your publishers
don't make any money, and they won't | 0:01:32 | 0:01:35 | |
want to publish you. I know you have
said in the past, in India, you tend | 0:01:35 | 0:01:40 | |
to either be a wife or a mother, and
given the size of the population, a | 0:01:40 | 0:01:44 | |
number of women in the workforce is
proportionately very low. So I just | 0:01:44 | 0:01:49 | |
wonder, do you see yourself as a
role model for women in India? No, | 0:01:49 | 0:01:54 | |
here's the thing. I don't see myself
as a role model, others seeming as a | 0:01:54 | 0:01:58 | |
role model, and I am like, oh, what
have I done? I don't really think | 0:01:58 | 0:02:03 | |
about it. I am most comfortable when
I am sitting in my hiding hole in my | 0:02:03 | 0:02:07 | |
home and writing will stop that is
when I am most comfortable. Would | 0:02:07 | 0:02:11 | |
you be comfortable being called a
feminist? I don't know, because the | 0:02:11 | 0:02:16 | |
word feminist has many connotations.
I would say that I believe in equal | 0:02:16 | 0:02:21 | |
rights for men and women, I do
believe in equal rights. I think it | 0:02:21 | 0:02:25 | |
is important as a woman to speak up
for what you believe in, and if that | 0:02:25 | 0:02:30 | |
makes me a feminist, and I am a
feminist. You are one of India's | 0:02:30 | 0:02:35 | |
most successful writers. How easy or
difficult is it to make a living as | 0:02:35 | 0:02:40 | |
a writer in India? If you have gone
into the big league, by big-league I | 0:02:40 | 0:02:46 | |
mean, if you sell something like
30,000 copies or thereabouts, and | 0:02:46 | 0:02:52 | |
you will get good advances. I have
been fortunate, for my first and | 0:02:52 | 0:02:57 | |
second book I could not make a
living out of my writing. But now I | 0:02:57 | 0:03:00 | |
am nine book sold, so now I can
completely make a living out of | 0:03:00 | 0:03:04 | |
writing, which I am grateful for.
But a new author would probably sell | 0:03:04 | 0:03:08 | |
2000 copies, or 2500 copies. Then it
would be very difficult. So my | 0:03:08 | 0:03:15 | |
advice to anyone who wants to make a
living out of writing is, just read | 0:03:15 | 0:03:19 | |
an till you reach the big league.
Don't quit your day job. That is how | 0:03:19 | 0:03:25 | |
it is in India. Does it help if you
write in English? In each state in | 0:03:25 | 0:03:31 | |
clear they have their language, in
the regions, the book sales are | 0:03:31 | 0:03:41 | |
smaller than the National book
sales. And also when it comes to me, | 0:03:41 | 0:03:46 | |
I have never lived in one place for
more than more than three years. My | 0:03:46 | 0:03:51 | |
father had a transferable job. We
have these things called Central | 0:03:51 | 0:03:55 | |
schools in India, you have English,
you have Hindi. You simply don't | 0:03:55 | 0:03:58 | |
have an option to write in English
-- but in English. It has been a | 0:03:58 | 0:04:05 | |
journey for you from being a blogger
to one of India's most popular | 0:04:05 | 0:04:10 | |
writers. Why did you start writing a
blog? To be honest I have always | 0:04:10 | 0:04:15 | |
written, ever since I was a child.
My first book was at the age of | 0:04:15 | 0:04:19 | |
probably seven rate. It was.
(LAUGHS). It was a six page book. -- | 0:04:19 | 0:04:25 | |
seven or eight. I read a lot of Enid
Blyton, it was inspired from there. | 0:04:25 | 0:04:33 | |
It was four pages of text into pages
of illustrations. And I used to | 0:04:33 | 0:04:37 | |
wonder, how can anyone write 200
pages or 250 pages? But I had never | 0:04:37 | 0:04:43 | |
gone public with my writing. I used
to take part in Short story | 0:04:43 | 0:04:48 | |
competitions in college and all
about, but first time I went public | 0:04:48 | 0:04:51 | |
was with my blog, and that was in
2006, October. And what happened, | 0:04:51 | 0:04:58 | |
why did you do it? In 2006,
September, I lost my father all of a | 0:04:58 | 0:05:05 | |
sudden and it was a shock, I was
depressed, I did not know what hit | 0:05:05 | 0:05:10 | |
me. One moment he was fine, talking
to a mother, and the next moment he | 0:05:10 | 0:05:14 | |
was gone. And he did not have any
age-related ailments or anything of | 0:05:14 | 0:05:18 | |
that sort, and that was the first
time I realised that death can be | 0:05:18 | 0:05:22 | |
that sudden. It felt like someone
had pulled the rug out from under my | 0:05:22 | 0:05:26 | |
feet. To overcome the grief I
started a blog, I did not know what | 0:05:26 | 0:05:30 | |
I was doing, and in fact I started
it anonymously. I never put my name | 0:05:30 | 0:05:36 | |
on it. You use your initials, PS,
why was that? I did not know who | 0:05:36 | 0:05:45 | |
would be reading it. This was in
2006, and when you write something | 0:05:45 | 0:05:50 | |
you are very vulnerable, you don't
know who is going to be reading it, | 0:05:50 | 0:05:54 | |
you don't know what will happen. So
I was afraid. This is why I started | 0:05:54 | 0:05:58 | |
anonymously. And what were you
writing about in those early blogs? | 0:05:58 | 0:06:03 | |
It was very simple stuff, I realised
that even though we don't have | 0:06:03 | 0:06:09 | |
control over what happens to us, we
do have some amount of control over | 0:06:09 | 0:06:13 | |
what we choose to focus on. So I
decided I would focus only on the | 0:06:13 | 0:06:17 | |
positives. Anything, whatever has
happened during the entire course of | 0:06:17 | 0:06:22 | |
the day, there would be one positive
thing that happened. It would be | 0:06:22 | 0:06:27 | |
very simple stuff like if I saw a
rainbow I would be so happy, I would | 0:06:27 | 0:06:31 | |
write wrappers are at -- I would
write about the rainbow. A small | 0:06:31 | 0:06:35 | |
thing which is positive. And in the
beginning you are essentially | 0:06:35 | 0:06:38 | |
writing for yourself. But gradually,
people started to respond to your | 0:06:38 | 0:06:43 | |
blog. Why do you think it struck
such a chord? Probably because there | 0:06:43 | 0:06:48 | |
is much negativity around us. People
like to feel positive, and I think | 0:06:48 | 0:06:53 | |
they like to read that you can take
joy from small things. Which is what | 0:06:53 | 0:06:59 | |
I did, because I was in a very dark
place in 2006, it was all very dark | 0:06:59 | 0:07:04 | |
for me. The only ray of hope for me
was clinging on to that little thing | 0:07:04 | 0:07:08 | |
that happened, it gave me joy. And I
think a lot of people connected with | 0:07:08 | 0:07:12 | |
that. And then everything changed,
in 2007, when one of your blogs was | 0:07:12 | 0:07:19 | |
picked up by an American radio show
host, and it was named "The perfect | 0:07:19 | 0:07:25 | |
post,", which must have been
wonderful. I wonder if you might | 0:07:25 | 0:07:31 | |
read us an extract from that. It is
about someone you refer to as K. I | 0:07:31 | 0:07:42 | |
will read the last paragraph of it.
" Then out of the blue, I got the | 0:07:42 | 0:07:48 | |
phone call saying K was dead. He had
had a massive cardiac arrest, it was | 0:07:48 | 0:07:54 | |
like a very bad nightmare coming
true. I couldn't believe it. This is | 0:07:54 | 0:07:58 | |
what happened in the movies. How
could this even beat? It left me | 0:07:58 | 0:08:02 | |
frozen, numb speechless. I did not
know it then, but it would take me a | 0:08:02 | 0:08:08 | |
lifetime to recover. It would
forever tinged all of my happy | 0:08:08 | 0:08:11 | |
moments with sadness. It would alter
the way looked at life. You see, K | 0:08:11 | 0:08:16 | |
was not only my friend, he was also
my dad." How did people respond to | 0:08:16 | 0:08:23 | |
that? What sort of things did they
say to you. I got a whole lot of | 0:08:23 | 0:08:29 | |
comments for the post, they were all
messages of condolence, and some of | 0:08:29 | 0:08:33 | |
them did not know that it was
fiction, or whether it was real, so | 0:08:33 | 0:08:38 | |
I told them every word written and
that was real. I don't write fiction | 0:08:38 | 0:08:41 | |
on my blog. All of it was real. It
was very touching to get so many | 0:08:41 | 0:08:46 | |
messages, but it did not help in
anyway, it did not come solely on | 0:08:46 | 0:08:51 | |
anyway. I still the pain. I can see,
you are a emotional. -- it did not | 0:08:51 | 0:08:57 | |
consult me -- console. 34 of your
most popular posts were brought | 0:08:57 | 0:09:06 | |
together in a book called 34
Bubblegums and Candies. Which is a | 0:09:06 | 0:09:11 | |
wonderful and rather unusual title.
Actually that book is being | 0:09:11 | 0:09:16 | |
relaunched, at that time I thought
it was great, I was excited. But now | 0:09:16 | 0:09:20 | |
I have grown as a writer, but when I
look at the book, I kind of hide it, | 0:09:20 | 0:09:25 | |
even though that was... (LAUGHS) | 0:09:25 | 0:09:27 | |
look at the book, I kind of hide it,
even though that was... (LAUGHS). It | 0:09:27 | 0:09:28 | |
is going to be called Love a Little
stronger, because that is more | 0:09:28 | 0:09:34 | |
relevant. 34 Bubblegums and Candies
was interesting, it was like a | 0:09:34 | 0:09:39 | |
little bubblegum, whatever happens
to us, where you keep chewing and | 0:09:39 | 0:09:43 | |
you extract it and then you
discarded, or it can be a candy, a | 0:09:43 | 0:09:48 | |
little sweet nothing which you
swallow you feel good about. Life is | 0:09:48 | 0:09:51 | |
like that, anything that happens to
us, every incident can either be a | 0:09:51 | 0:09:57 | |
bubblegum or a candy. That was the
thought behind naming the book. You | 0:09:57 | 0:10:02 | |
are very honest in the book, was
there any reason to think, oh, I | 0:10:02 | 0:10:06 | |
better not this in the public
domain? No, but here is the thing, I | 0:10:06 | 0:10:11 | |
did not expect everybody to be
reading it, I did not expect to be | 0:10:11 | 0:10:15 | |
this well-known. So now that is the
reason I are relaunching the book, I | 0:10:15 | 0:10:20 | |
haven't altered anything, I have
edited the old stories. But I think | 0:10:20 | 0:10:27 | |
it is fine to share because I have
learnt that when you share you | 0:10:27 | 0:10:31 | |
become closer to people, because
people open up, it is when you open | 0:10:31 | 0:10:34 | |
up, people open up, and now glad
that someone has written about it. | 0:10:34 | 0:10:38 | |
Someone has shed the pain, someone
has shared the joy. Is there | 0:10:38 | 0:10:42 | |
anything you wouldn't write about?
Politics. (LAUGHS) | 0:10:42 | 0:10:45 | |
anything you wouldn't write about?
Politics. (LAUGHS). I would never | 0:10:45 | 0:10:47 | |
write about politics. I think you
have to write about things that | 0:10:47 | 0:10:52 | |
interest you, that you are
passionate about full top and | 0:10:52 | 0:10:55 | |
politics, I feel it divides people,
art, literature, culture, it brings | 0:10:55 | 0:11:00 | |
people together. So that is one
thing I don't write about. | 0:11:00 | 0:11:03 | |
Nonetheless, it's a big leap from
going from writing a blog to writing | 0:11:03 | 0:11:08 | |
fiction. How difficult it is fine
that transition? It was very | 0:11:08 | 0:11:15 | |
difficult. They are two completely
different things. But what happened | 0:11:15 | 0:11:18 | |
is that after my first book it met
with moderate success, it wasn't | 0:11:18 | 0:11:24 | |
huge successful, so after that first
book, we moved to the UK. So I lived | 0:11:24 | 0:11:28 | |
in Norwich for a while. That was
where I wrote my second book. I | 0:11:28 | 0:11:33 | |
think being in Norwich helped,
because I had access to a library. | 0:11:33 | 0:11:37 | |
The first time I went to the library
in the UK, they said "You can take | 0:11:37 | 0:11:41 | |
15 books. " I was like, wow, 15
books? I had never heard that | 0:11:41 | 0:11:48 | |
before. Between me, my husband and
two children, that is 60 books, we | 0:11:48 | 0:11:53 | |
would carry them back and I would
sit there and browse, and that kind | 0:11:53 | 0:11:57 | |
of helped because I was reading a
loss, I was exposed to a different | 0:11:57 | 0:12:01 | |
culture, and different country, and
that is where my second novel was | 0:12:01 | 0:12:05 | |
born. You didn't make life easy for
yourself, because you chose to write | 0:12:05 | 0:12:10 | |
about a young woman with bipolar
disorder. The book is called Life Is | 0:12:10 | 0:12:19 | |
What You Make It. When I was living
in Norwich I went to an art | 0:12:19 | 0:12:24 | |
exhibition, and it was beautiful, it
kind of Leumeah Way, and they were | 0:12:24 | 0:12:31 | |
all painted by people with bipolar
disorder. -- it kind of blue me a | 0:12:31 | 0:12:36 | |
way. It was a bipolar artists
organisation. I thought this was | 0:12:36 | 0:12:41 | |
interesting and I wanted to
investigate further, and I happen to | 0:12:41 | 0:12:45 | |
know a psychiatric nurse in the UK
so I spoke to her and it got me | 0:12:45 | 0:12:50 | |
interested. Then I travelled back to
India and I went to Bangalore, and | 0:12:50 | 0:12:53 | |
that is where one of the finest
mental health hospitals in India is, | 0:12:53 | 0:12:57 | |
so I went there, I spoke to people,
and gradually the research for the | 0:12:57 | 0:13:02 | |
book grew. I was quite interested in
it, and then I wanted to use a young | 0:13:02 | 0:13:09 | |
girl, because, you know, people
could relate, because I wanted to | 0:13:09 | 0:13:13 | |
reach out to young people. I wanted
to place her in setting that was | 0:13:13 | 0:13:17 | |
familiar to Indians, so I just chose
the places where I had gone to | 0:13:17 | 0:13:21 | |
college, and that is how the book
came about. How openly are mental | 0:13:21 | 0:13:26 | |
health issues discussed in India? At
the time when the book came out, | 0:13:26 | 0:13:31 | |
which was in 2008, it wasn't
discussed very openly. The book was | 0:13:31 | 0:13:37 | |
a huge kind of, it made an impact.
But recently, of late, things have | 0:13:37 | 0:13:42 | |
changed a lot, people are talking
about it. The book has gone on to be | 0:13:42 | 0:13:47 | |
a tremendous success, it is one of
India's highest selling titles, but | 0:13:47 | 0:13:50 | |
the path to publication was not
smooth. It was rejected I think by | 0:13:50 | 0:13:55 | |
nearly 40 publishers, was that cause
of the topic, the subject, do you | 0:13:55 | 0:14:00 | |
think? I think it was because of the
subject, I'd would not know, I sent | 0:14:00 | 0:14:06 | |
it out to every agent, in India and
the UK. I was very hopeful. Every | 0:14:06 | 0:14:12 | |
agent, the British are very polite,
so they would read and say "I will | 0:14:12 | 0:14:17 | |
get back to you", and I was very
hopeful, overcome they are getting | 0:14:17 | 0:14:21 | |
back! I was very excited. And they
would say it was not suitable, they | 0:14:21 | 0:14:26 | |
would wish me good luck. I got used
to it. It must have been | 0:14:26 | 0:14:30 | |
dispiriting? I never thought the
book was in the light of day. | 0:14:30 | 0:14:34 | |
I said, I have one book, let me ask
my publisher. He said to trim it | 0:14:39 | 0:14:47 | |
down because he was conscious of the
cost! LAUGHTER Sadly | 0:14:47 | 0:14:54 | |
down because he was conscious of the
cost! LAUGHTER Sadly that was the | 0:14:54 | 0:14:55 | |
truth. I know it sounds strange but
I will do whatever it takes. So I | 0:14:55 | 0:15:01 | |
cut it down and that is how that
will come was published. Ever since | 0:15:01 | 0:15:06 | |
then you pretty much published a
book a year and one of the | 0:15:06 | 0:15:11 | |
overriding themes to sum up all your
books is the message that life is | 0:15:11 | 0:15:16 | |
short and unique to seize it by the
scruff of the neck. Nonetheless, you | 0:15:16 | 0:15:21 | |
do put your characters in some
pretty challenging situations. I am | 0:15:21 | 0:15:26 | |
thinking about your second novel,
Tea for Two and a Piece of Cake, | 0:15:26 | 0:15:32 | |
which opens with a woman being left
by her husband. Why do you challenge | 0:15:32 | 0:15:38 | |
your characters in that way? Because
I think life is that way. There are | 0:15:38 | 0:15:43 | |
things in life you cannot control
and, also, if you write a novel | 0:15:43 | 0:15:49 | |
where everything goes smoothly, it
would be very boring. Nobody would | 0:15:49 | 0:15:54 | |
want to read such a novel and I
think it is important to show that | 0:15:54 | 0:15:58 | |
you can have the strength, no matter
what happens to you, you can have | 0:15:58 | 0:16:03 | |
the strength to overcome whatever
has happened to you and I think that | 0:16:03 | 0:16:07 | |
is one message which I want to
convey and it is why I put my | 0:16:07 | 0:16:10 | |
characters in difficult situations
because that is real life, life is | 0:16:10 | 0:16:14 | |
not going to be easy. Something else
to return to is the subject of | 0:16:14 | 0:16:19 | |
arranged marriage. Sometimes on the
marriage but sometimes head-on, I'm | 0:16:19 | 0:16:25 | |
thinking of your fourth novel, The
One You Cannot Have. Arranged | 0:16:25 | 0:16:34 | |
marriages are very common. They are
not understood by the Western world | 0:16:34 | 0:16:42 | |
but in India, even to this day,
people marry the person whom their | 0:16:42 | 0:16:48 | |
parents choose and, of course, the
Rat people who have loved marriages | 0:16:48 | 0:16:53 | |
also but arranged marriage is a
reality in India. Still in this | 0:16:53 | 0:17:00 | |
world of increasing globalisation,
young people still want to obey | 0:17:00 | 0:17:03 | |
their parents wishes to smack at
least they wanted their parents | 0:17:03 | 0:17:07 | |
approval. --?. In India family
always comes first and it is very | 0:17:07 | 0:17:15 | |
important for a person who is
getting married to have his mothers | 0:17:15 | 0:17:21 | |
and fathers are provable. It is a
very close-knit bond. The bonds are | 0:17:21 | 0:17:26 | |
very close in India and that is why
arranged marriages still exist. It | 0:17:26 | 0:17:31 | |
brings us to your latest novel, It's
All in the Planets, a boy and a girl | 0:17:31 | 0:17:40 | |
who meet but they have a already
been promised to other partners. I | 0:17:40 | 0:17:45 | |
was on a train journey myself,
travelling from Delhi for a book | 0:17:45 | 0:17:52 | |
launch, the launch of my previous
book and I opened the newspaper and | 0:17:52 | 0:17:56 | |
I saw the ZX sign and all of us read
it just for fun, we may not believe | 0:17:56 | 0:18:01 | |
it, we may believe it, and I said,
what is this forms the start of | 0:18:01 | 0:18:07 | |
every chapter in a novel? There
would be a prediction and you would | 0:18:07 | 0:18:12 | |
come to know by the end of the
chapter is the prediction has come | 0:18:12 | 0:18:17 | |
true or not. I thought it would be
very interesting. I live in | 0:18:17 | 0:18:24 | |
Bangalore and a lot of people are
overweight because they let | 0:18:24 | 0:18:30 | |
themselves go after they got a job
and that is how that book came | 0:18:30 | 0:18:34 | |
about. The idea came to me and a
basin of several people I know. Is | 0:18:34 | 0:18:40 | |
that how books come to you, are they
inspired but things that have | 0:18:40 | 0:18:45 | |
happened to you, people you know?
Usually, most of the time. Does | 0:18:45 | 0:18:50 | |
anyone ever might? Here's the thing,
I change it so it must so if it is a | 0:18:50 | 0:18:57 | |
male, I would probably make him a
female character because the call is | 0:18:57 | 0:19:02 | |
what I am concerned with Sadeghi do
not recognise themselves. All | 0:19:02 | 0:19:08 | |
writers borrow from real life, from
things that have happened to them | 0:19:08 | 0:19:12 | |
and I know different. Your latest
novel, about to be published, I note | 0:19:12 | 0:19:17 | |
you have said it is your most
personal to date and have drawn | 0:19:17 | 0:19:23 | |
about your experiences. It is a
story about a young man who travels | 0:19:23 | 0:19:29 | |
back to his native village in
Kendriya Vidyalayas. He's raised in | 0:19:29 | 0:19:36 | |
Bahrain, and he comes back to work
and he has a very domineering father | 0:19:36 | 0:19:42 | |
and a huge ancestral property were
his grandfather lives. His | 0:19:42 | 0:19:48 | |
grandfather is a grumpy old man. In
his 80s. Kendriya Vidyalayas the | 0:19:48 | 0:19:57 | |
slot even have Internet
connectivity. The boy goes and talks | 0:19:57 | 0:20:02 | |
to his grandfather and the story
proceeds from there. The real hero | 0:20:02 | 0:20:09 | |
is the 80-year-old grandfather. Why
is it so personal to you? Is he your | 0:20:09 | 0:20:17 | |
dad? The old man is actually based
on my grandfather. My mother lives | 0:20:17 | 0:20:23 | |
in tiny village in Kendriya
Vidyalayas and every summer vacation | 0:20:23 | 0:20:29 | |
I used to go back and there was a
huge ancestral home that I spent at | 0:20:29 | 0:20:34 | |
least two months in and what
inspired the book is exactly like my | 0:20:34 | 0:20:42 | |
ancestral home. It was lovely to
reminisce, it brought back so many | 0:20:42 | 0:20:46 | |
memories. When I was writing I was
honouring those memories, the | 0:20:46 | 0:20:51 | |
Times... I was struck by a comment
in It's All in the Planets which it | 0:20:51 | 0:21:02 | |
said the early books account at
literary fiction. I get asked all | 0:21:02 | 0:21:08 | |
the time. I find that in India,
there is a sharp divide. I would | 0:21:08 | 0:21:15 | |
presume it is the same in the UK and
the world over. Literary fiction are | 0:21:15 | 0:21:21 | |
the guys who went the prizes. I
think it is important for your story | 0:21:21 | 0:21:28 | |
to have the connect with the
audience whether it is literary | 0:21:28 | 0:21:32 | |
commercial fiction, you have to tell
a good story. That was the reason | 0:21:32 | 0:21:37 | |
why one of my characters said that
comment. I just wondered, you write | 0:21:37 | 0:21:43 | |
heartwarming stories about love and
friendship and relationships and | 0:21:43 | 0:21:48 | |
romance and I wonder if you think
you might be taken more seriously as | 0:21:48 | 0:21:52 | |
a writer if you wrote about
politics, for example? I do not | 0:21:52 | 0:21:57 | |
think you have to write about
politics to be taken seriously. My | 0:21:57 | 0:22:02 | |
next book is completely different. I
do is tell people, wait for my next | 0:22:02 | 0:22:09 | |
book because I always feel a better
myself with each book and as regards | 0:22:09 | 0:22:13 | |
to serious writing, I have been
published in the world, and I shall | 0:22:13 | 0:22:18 | |
stories tend to be very dark. I tell
people, if you want that kind of | 0:22:18 | 0:22:23 | |
writing, it read my short stories.
There is no redemption, there is no | 0:22:23 | 0:22:30 | |
happy, which is there in my novels.
When I tell my readers about my | 0:22:30 | 0:22:38 | |
short stories I warn them they are
dark. They always see this happy, | 0:22:38 | 0:22:45 | |
warm person but that is not always
true. Preeti Shenoy thank you to us. | 0:22:45 | 0:22:52 | |
It's been a wonderful. Thank you
having me. | 0:22:52 | 0:22:58 |