The artistry to facilitate more of readers is crucial: Jayanthi Sankar

Jayanthi Sankar has been in several international panels of literary festivals. Tabula Rasa her third book, and the second novel was a 2022 NYC Big Book Award 'Distinguished Favourite' in the category of Historical Fiction and an 'honourable mention' in San Francisco book fest award 2022. Misplaced Heads, was on the Eyelands Book Awards 2020 final list of historical fiction, in Greece, making its mark as an outstanding postmodern historical fiction. The acclaimed 'Dangling Gandhi' the winner in fiction: short story in 2020 International Book Award -American book fest also won international The Literary Titan award. With her fourth book 'When Will You Die?' launching she had an engaging exclusive conversation with The Hans India to share some of her experiences.

How did your writing journey begin and how long have you been a Singaporean?

During my twenties, five years after I started my life here in 1990, playfully, I'd attempted to write a short story based on a random dream I had one early morning, more to find out for myself how difficult it was to write a short story, and that was 'the turning point'.

What is your usual writing method? And why only fiction?

If I could rest my rough draft more than twice for as long as I could, I'd jump with joy. During re-visits I spot better the places I need to rework. So, I move on to other works waiting for me.

How did the process differ for 'When Will You Die?'?

I wrote like I was writing my first fiction and I loved the fun filled unfolding. Additionally, I explored a subgenre other than historical fiction and the deeper inner worlds of my characters. The editing, getting my world ready for others to enter has been tedious, in contrast to the timeless creative process.

Any reason for the title?

As anyone can easily guess, the title is a dialogue spoken by one of the main characters, but the layered context will interest the readers. I chose it because of the relevance it carries, like the nucleus of the story, which I realised only while I revised. All other options weren't as suitable and catchy. Readers are sure to agree with me after they read.

How are your readers viewing the title? Any feedback thus far?

My first readers, and the closest contacts loved its uniqueness. A couple of young emerging authors excitedly insisted I don't change it. A senior author said it made him instantly curious.

What inspires you to experiment with fiction writing? And what are you going to take away from it?

Life around me, the people I get to meet and know, their lives, their impressions on my life, and all my observations inspire me. Fictionalising them to bring forth different perspectives sets me to view life in so many ways. With influence mostly from my internal, the joy of creating is entirely mine, to takeaway, and also to cherish.

Historical fiction seems to be your forte. How did you get there?

In my ninth standard at St. Mary's in Shillong, I was fascinated by the differences and similarities between Indian history and British history. I wasn't hooked on them but they did sow the seed. My deeper interest in history developed later on only when my sons studied Singapore history in school.

You're known for your offbeat themes, titles, metaphors, and allegories. How do they come into play?

It is my belief that a novel is always more than just a fictitious story. It provides newer insights, as well as allowing the reader to live the characters and incidents so they can examine their thoughts deeper. A successful novel would never be 'I give you, so you consume'. It lingers in a reader's heart only when they engage with them. The artistry to facilitate more of readers' engagement, to bring them a lasting experience, is extremely crucial.

Coming back to your new release, what is the genre of the novella?

The characters in this novella, their worlds, relationships and their thought processes, are quite different from my previous characters. Writing more about the inner spaces of humans was the most challenging.