Literary Spotlight: Shobhan Bantwal

By Carlotta G. Holton
Shobhan Bantwal is an award-winning author of The Dowry Bride and The Forbidden Daughter. Her third novel, The Sari Shop Widow was released this fall. Her articles have appeared in India Abroad, Little India, and India Currents. And her short stories have won honors and awards in fiction contests sponsored by Writer's Digest, New York Stories, and New Woman magazine.

Q: You have acknowledged that you are a "late bloomer" when it comes to writing, having started at 50. What message does this send to other women who have considered trying their hand at writing but are afraid it's too late?

A: One of the lessons I have learned after living in an emancipated and open society like America is that it is never too late to take up any kind of hobby. Writing happens to be an excellent form of mental exercise as well as pleasantly productive. It appealed to me as a way of occupying my evenings when I was alone on weekdays as my husband used to travel out of state for his job. What started as a pastime gradually evolved into a second career. Becoming a published author, despite the trials and tribulations involved, has been a most unexpected and delightful journey for me. I believe my personal story sends an optimistic message to women of any age, women who perhaps always wanted to try their hand at writing, but were afraid to take the plunge.

Q: You call your writing "Bollywood in a book." Please explain.

A: Bollywood is the whimsical term for Bombay Hollywood. The Indian movie industry churns out hundreds of movies a year, even more than Hollywood. Indian movies are full of drama, high emotion, colorful characters, romance, and intrigue. They are the ultimate escape from daily drudgery for the Indian masses. Many, if not all the above-mentioned elements are in my books. Any one of my novels could be adapted to a screenplay for a Bollywood movie. For that reason I call my writing “Bollywood in a Book.”

Q; In your short career you have written a play that you also directed and acted in at an Indian-American Konkani convention in Chicago, and published short stories and novels. How does writing in such different formats affect your writing in general? How does it help you grow as a writer in terms of flexibility? Is any one format more enjoyable for you than the others? Should writers who have become established in a particular genre stick to that format or try branching out to other areas of interest? Why or why not?

A: Writing the play and acting in it was something I did on a whim some years ago. When the organizers of an Indian-American convention in Chicago complained that they had very few plays for their variety entertainment show, I took that as a challenge. After I finished writing my skit however, I had a difficult time locating amateur actors for the roles. So I decided to play the lead myself and sweet-talked my husband and some close friends into taking on the other parts. The play turned out to be not only a fun project but was highly appreciated and got a great response from the audience. It was my first taste of creative writing, and I was hooked. It encouraged me to try my hand at writing seriously and gradually explore short and full-length fiction. Although I can switch from one format to another fairly easily, I prefer writing short stories and novels. I honestly don’t think I would make a good screenplay writer. I believe it is a good idea to become established in one genre before dabbling in another, mostly because branding is difficult to achieve in today’s saturated fiction market. To get noticed in the fiction arena one needs to have a unique hook. Once a writer manages to nail that down, he or she can probably delve into other genres. However, I have seen some writers make the switch between genres in a very short period of time with amazing success.

Q : You have said that you felt compelled - even destined - to write The Dowry Bride and The Forbidden Daughter and that you believe in fate, karma, Kismet, whatever the name is. Can you elaborate on this connection to writing?

A: Although Indian writers abound in the realm of fiction, very few write commercial fiction like I do. And the ones that do have not tackled certain hot-button social issues like India’s notorious dowry system and the practice of gender-based abortions. Those subjects have been dealt with mostly in non-fiction academic books. Despite my late entry into writing, those topics had somehow been waiting out there, begging to be written about. It seems I came along at the right time, plucked them out of a ripe bunch of controversial themes, and made them my own. I consider that karma or fate, just like I believe everything and everyone happens for a reason.

Q: Your novels present social themes entailing romance and intrigue, yet do not read like a manual on Indian culture. How are you able to convey the unique aspects of Indian culture to non-Indian readers so effectively?

A: As a student of sociology, I always loved discussing controversial social issues. That interest combined with fiction writing made for a great combination. Writing about social themes allows me to bring awareness to American and other readers without writing dry non-fiction essays filled with facts and figures. It is so much more fun to take a social theme and spin it into an interesting Bollywood-type story that captures readers’ imaginations. That way I can entertain and inform my readers a little at the same time.

Q: You and I recently spoke on a panel together at a symposium sponsored by Sisters in Crime. How do such occasions present good networking opportunities for writers?

A: Symposiums and conferences are valuable venues for networking opportunities for writers. It is especially interesting for me to meet authors of other genres than mine. The symposium you mention was an eye-opener for me, because I came across so many writers of crime fiction right here in my state, something I was not aware of. It was particularly intriguing to meet such a large number of women who write mysteries and thrillers. One never knows whom one will meet, or sit next to, or chat with at a conference. A good example is right here. You and I met at the symposium, and we began talking about our respective writing, promotion, and marketing. Now you are interviewing me for a wonderful publication, giving me lots of exposure. Many a career is made as a result of networking at conventions and special events.

Q: The Forbidden Daughter takes the reader into a world where gender-selective abortion still thrives and female children are disappearing. What kind of reactions have you had from readers about such a controversial topic?

A: Practically all of the reactions and feedback have been very positive. Readers are most appreciative of the awareness I have brought to this particular subject without making it a scholarly treatise. Naturally they are shocked that such things occur in this day and age in a seemingly modern society, but they also appear to enjoy reading an intriguing story built around this sensitive issue. I am often asked if there will be a sequel. Most of my readers are eager to read my next book. I consider that a blessing, and a sure sign that the subject matter is interesting to many.

Carlotta Holton is the author of Salem Pact, Touching The Dead and Vampire Resurrection, and is a member of the National Federation of Press Women and an affiliate member of the Horror Writers Association.