Scriptwriting and Film making course in Bangalore

For the Film making course from Jan to April'13 in Bangalore, please click on the word, 'Mountain,' on the image above and then scroll down for the latest post. thankyou.

SCRIPTWRITING AND FILM MAKING COURSE

on Saturdays or Sundays

from October 1st to December' 11

Venue : PROTOSPACE, No. 6 , 2 cross. M.R.Garden, near Rangabharana Kala Kendra,

Sanjay Nagar, Bangalore 560094. (Five minutes from Mekhri Circle) Click on the image above to enlarge the map.

Manjushree Abhinav, a film-maker, novelist and teacher, is organizing a course in film and television direction, from concept to screen, with full-day classes on Sundays over 4 months, in Bengaluru. This course has been especially designed for people who passionately want to make feature films, television shows or short films, but can’t spare the time to learn full-time since they work or go to college on weekdays. Manjushree has taught at the Film and Television Institute of India, Pune, NID ( National Institute of Design, Ahmedabad), and SRISTI, Bangalore.

This Sunday course organised by Manjushree Abhinav has a great faculty, reasonable fees and a convenient location. It gives people the opportunity to learn film-making without leaving their jobs or studies.

So you can now follow your dreams while taking care of your responsibilities.

COURSE CONTENT

The course has been designed to teach the students the basics of film-making. There is a well-worked-out balance of practicals and theory classes. The topics that would be covered are:

• Creative Writing : Since this course deals with fiction films, we would first tap the biggest reservoir of stories : an unblocked storehouse of memories and emotions. We will also understand the structure of the conflict-resolution story, and we shall dip into the Navarasas.

(You can join the creative writing course of two days, October 1st and 2nd, 11 am to 6 pm on both days, for Rs.2,400/ ) Details of the creative writing syllabus are here: http://storygram.in/2011/08/06/creative-writing-workshop/http://storygram.in/2011/08/06/creative-writing-workshop/

• Scriptwriting: Audiovisual Writing & the Format for Writing the Synopsis, Step-outline, Screenplay and Script for a film or television serial.

The Elements of Scriptwriting: Characterisation, Plot, Setting & Theme.

• Introduction to Screen Grammar: What is a shot? The editing transitions that can be used to join two shots: Cut, Dissolve, Fade, Wipe, Bleach. The various elements of shot-taking: Image Size, Camera Angles, Camera Movements, Lighting, Camera Speed, Stocks, Graphics, Colour. The Rule of Thirds & the Golden Points. Lenses. Depth of Field and Selective Focus.

• Shot Breakdown

(All the writing classes will have ample writing assignments for the students. These assignments will be either read out in class or feedback will be given over email.)

• Continuity and the Imaginary Line

• Ways of Shooting

• Preparing for a shoot

• Assisting in Direction

• The Elements of Editing : A film is made on two tables, the writing table and the editing table. Pace, rhythm, timing, suspense and surprise: all of these are made or ruined during editing.

• Sound Design

This will be a practical, hands on course, with screenings of film clips of international cinema to illustrate the concepts being taught. The Camera practicals will incorporate the principles of Editing. We will have a professional cameraperson and a professional editor to demonstrate the practical aspects of Cinematography and Editing.

• The end result of the course will be a short film made by a group of students, with the help of professionals from the industry.

Manjushree Abhinav’s Film & TV Direction Course is right for you if you are:

• A Newcomer: The course would equip you to enter the Film and Television Industry as an assistant director or to make short films independently.

• A Mediaperson who’s learnt on the job: You would benefit from learning the basics formally and getting your fundas clear.

• A Professional who is already working in the Industry in another capacity: It would help you become a full-fledged director.

• From the Corporate Sector: The course would add to your qualifications since films are a very important medium of corporate communication & advertising.

• Animators will understand film making, which is an important aspect of animation.

The benefits of joining this Film & TV Direction Course are:

• SUNDAY CLASSES: Full-day classes on Sundays, so you can pursue your dreams without forsaking the responsibilities of your work or studies.

• WELL-DESIGNED SYLLABUS: More than 50% of class time would be devoted to hands-on film-making, so that you learn how to transform your ideas into films that light up the silver screen. While the course is practical-oriented, the theory portion would help you develop a sound understanding of the basics of story-telling and film-making. You will also be watching many world class films to appreciate the different aspects of the teaching.

• STUDENT FILM: You would write and direct a short film. The cinematography and editing would be done by professionals from the Industry, which would be a great learning experience. It would also result in a well-made film which you can be proud of and use as your show-reel as well as submit to film festivals.

• CERTIFICATE: You would be given a certificate at the successful completion of the course.

• FILM FESTIVALS: The student films made as part of the course would be sent to film festivals.

• DEMAND FOR FRESH VOICES: The Indian film and television industry is looking for fresh voices. With the diminishing appeal of the formula masala film, there is a demand for out-of-the-box thinking, for directors who understand the art and craft of film-making. It’s a great time to enter the field

TEACHER'S PROFILE

Manushree Abhinav has authored a novel, 'A Grasshopper's Pilgrimage'.

She is a film maker. She has studied at FTII, Film and Television Institute of India, Pune. She has made several documentary films, and taught various aspects of film making like scriptwriting, making documentary films, video editing, at FTII, NID (National Institute of Design), Ahemedabad, Srishti School of Art and Design, Bangalore.

She has also conducted several creative writing workshops at the Times of India Nalanda group, Bangalore, Ahemedabad and Mumbai.

She blogs at www.baktoo.blogspot.com and her website is www.storygram.in.

CONTACT : Please contact 09945192862 OR manjushree.abhinav@gmail.com for more information.

DURATION : Full-day classes on 12 Sundays and half-day classes on 4 Sundays over 4 months starting from 11th Sept, Sunday.

VENUE : Venue : PROTOSPACE, No. 6 , 2 cross. M.R.Garden, near Rangabharana Kala Kendra, Sanjay Nagar, Bangalore 560094. (Five minutes from Mekhri Circle)

FEE STRUCTURE :The course fees cover the classes, the cost of making the student film, and study material like books and cds. A donation of Rs 250 would be given from every student’s fees to a children’s charity.

There are two plans for paying the fees:

1. It is preferable if the student pays the full amount at the time of registration. The total fees would be Rs 24,700 for this plan.

2. It is also possible for the student to pay in monthly installments, in the form of post-dated cheques (non-refundable) that would be submitted at the time of registration. The fees would work out to Rs 29,700 if the payment is made in installments.

The first installment: Rs 10,700

The second installment: Rs 10,000

The third installment: Rs 9,000

Special discounts for retired, unemployed people and Students is available.

SCRIPTWRITING COURSE : would span across full day classes on six Saturdays or Sundays, from 1st Oct and cost Rs. 6,200/

Creative Writing, The Elements of Scriptwriting: Characterization, Plot, Setting & Theme would be the topics covered in this course. Each topic will have writing assignments to bring home the theoretical aspects taught in the class. Students will learn to write a five minute script in Celtx format.

STUDY MATERIAL :

The students would be given:

• Copies of important books

• Scripts

• Links to useful websites and free scriptwriting software

• CDs & DVDs of some important films

The above fees includes the cost of hiring the shooting equipment, venue rental and faculty remunerations.

Creative Writing Workshop in Bangalore in October

SOULPEN

Discover and Recover the artist within. Nurture the creative self by art therapy.

Creative Writing Workshops in Bangalore

Soulpen level 1 and level 2

Dates: 1st October, 11am to 6pm, and 2nd October.
(it is also possible to do the second class on Saturday, 8th october)

Cost - The fees per participant, for both Soulpen 1 and 2, is Rs. 2,400/-

Contact - me at manjushree.abhinav@gmail.com or call 9945192862

Venue : PROTOSPACE, No. 6 , 2 cross. M.R.Garden, near Rangabharana Kala Kendra, Sanjay Nagar, Bangalore 560094. (Five minutes from Mekhri Circle)

FOCUS

Writing is healing with words, just as painting heals stroke by stroke. The creative energies flow well with regular scrubbing and clearing out the garbage that clogs our minds.
The aim of the workshop is to dig out the blocks that hamper the sprouting of the creative juices and fuel the love of writing towards an intense and natural discipline. It will help the beginner as well as the writer who is stuck in the middle of a story, a script, a film....
What is the essence of the creative process? What is the source of the artistic impulse ?A film, or a book, is born as a thought, a strong, palpable feeling that tugs. Once identified, this tug can be the link to the big bundle , the one that can stream out as the novel. All you need to do is to catch that thread from your bundle of thoughts and keep puling gently. Maybe you sat with a pen in your hand and tried to write. And maybe your bundle got tight and the thread snapped. Untangling that bundle can be a delicate, at times painful, but ultimately fulfilling creative process.Dealing with the tangled bundle requires something they don't sell in the shops. You can try to use fevicol and stick your bottom to the writers chair. If that doesn't work, come sign up for Soulpen.
Testimonial : Something more than creative writing happened in this class. I didn't realize that I had so much pain stored inside. During the writers block exercise, when Manjushree made us time travel to our childhood, I remembered the three year old girl who would dance, waiting for my father to come home and I wept tears of joy. - Sri Lata M, Oct' 10.
CLASS STRUCTURE
SOULPEN level 1

• A three step ritual to loosen the writers block.
• Exploring the map of the mind, from oceans to the stars, to write a short story.
• The two approaches to fiction: A ) the American Conflict- Resolution Structure and B ) the Navarasas.
• Secret tools of a writer

Participants will be given plenty of writing exercises during the workshop to bring home their understanding of the concepts.
SOULPEN level 2

• Who writes : Sorting out the identity crisis
• Characterization : The backbone of an interesting story.
• Dialogue writing
• Script writing: the audio-visual format.

DEALING WITH THE WRITERS BLOCK

Why do we write? Because we need to tell the story. As children, all of us are born creative. When we learn to talk, there is no difference between imagination and reality. Education encourages us to develop our logic and the creative process takes a back seat. The glimpses of the muse are short and sweet: She comes visiting, she leaves a scene and takes back the movie. Missing the muse, the creative spirit, leads to the writer's block.

Creative blockage can happen to the best of artists. Although we call this a writer's unblocking ritual, this exercise is known to help all kinds of artists in getting over their creative blocks. This exercise is self-introspective and at the same time lighthearted. Words get tossed out, opening a series of self traps. Those who are truly interested in unearthing their hidden depths love this exercise.

NURTURING THE CREATIVE IMPULSE

Why did your grandmother tell you stories when you were a kid? Most likely, to put you to sleep. Why did Shiva dance? To work out his turbulence? What is the purpose of the Nava Rasas? Traditionally speaking, to pass into the Shanta Rasa.
Re -experiencing the turbulence, recalling it, can give you a perspective of how it can be healed. We shall go into both, the happy memories and the traumas that shaped your lives. Re- living is relieving.

SECRET TOOLS OF AN ARTIST

Creativity is not just a hobby. It is a spiritual path. More like a spiritual garden. A garden that is watered with attention and shined on with energy will flower. The creative gardner who is flowing in art carries a bag full of secret tools. I am not talking of the painters canvas and oils. Those you can buy in the shops. My bag is full of attitudes. Devil may care or not, the artist is not an artist without them.

Please note: Creative Writing is the first step of the Script Writing and Film making workshop which will follow the creative writing workshop. Details of the Script-writing and Film making workshop are here and here.

WHAT NEXT
A one month workshop, is a beginning. For those who are committed deeply, I mentor first time writers through their novels. Click here for the post on online mentor-ship. (http://baktoo.blogspot.com/2010/07/online-writer-mentor-ship.html)


TEACHERS PROFILE

Authored a novel, 'A Grasshopper's Pilgrimage'. This book is available in most of the Crosswords and Landmarks, and on flipkart.
I am also a film maker. I studied at the Film and Television Institute of India, Pune. I have made several documentary films, and taught the various aspects of film making at NID (National Institute of Design), Ahemedabad and also at the FTII.

I have conducted several creative writing workshops at the Srishti School of Art and Design and Times of India Nalanda group, Bangalore, Ahemedabad and Mumbai.

I write for the creative outlet, deep fulfillment and clarity of mind that sometimes comes as a gift with a good session of writing. I teach what I most need to learn.
My films, three chapters of my book, and all my activities are uploaded here: www.storygram.in.

Introductory class of Scriptwriting and Film making in Bangalore

Introductory classes of Scriptwriting and Film making

every Sunday of September, 2011

from 11am to 2 pm  

at Protospace, Sanjay Nagar, Bangalore.

All of you who are interested in checking out the scriptwriting and film making course are invited to attend a free trial three hour introductory class. 

CLASS CONTENT

• This class will sample an hour of script writing and an hour of film making inputs.
• Since this course is oriented towards fiction, we will be watching a short fiction film, 'An occurrence at the owl creek bridge', to understand some brilliant tricks of editing.
• A brief summary of the flow of the syllabus will be followed by a question and answer session.

Registrations for the 4 month script writing and film making course will be on at the Introductory Class - we can tell you about the course and you can formally register for it if you would like to.

Please call us on 9945192862, or 996469006 to confirm your attendance or for further inquiries.

Venue : PROTOSPACE, No. 6 , 2 cross. M.R.Garden, near Rangabharana Kala Kendra, Sanjay Nagar, Bangalore 560094. (Five minutes from Mekhri Circle) . Click on the image above to get a clear idea of the venue. .

Time : You can attend either the morning session from 11 am to 2 pm,register for the course, and attend the  afternoon session, from 3 pm to 6 pm.

(details of the course are pasted below)

SCRIPTWRITING AND FILM MAKING COURSE

on Sundays

from Sept to mid Dec' 11

Manjushree Abhinav, a film-maker, novelist and teacher, is organizing a course in film and television direction, from concept to screen, with classes on Sundays over 4 months, in Bengaluru. This course has been especially designed for people who passionately want to make feature films, television shows or short films, but can’t spare the time to learn full-time since they work or go to college on weekdays. Manjushree has taught at the Film and Television Institute of India, Pune, NID ( National Institute of Design, Ahmedabad), and SRISTI, Bangalore.

This Sunday course organised by Manjushree Abhinav has a well qualified and professional faculty, reasonable fees and a convenient location. It gives people the opportunity to learn film-making without leaving their jobs or studies.

So you can now follow your dreams while taking care of your responsibilities.

COURSE CONTENT

The course has been designed to teach the students the basics of film-making. There is a well-worked-out balance of practicals and theory classes. The topics that would be covered are:

• Creative Writing : Since this course deals with fiction films, we would first tap the biggest reservoir of stories : an unblocked storehouse of memories and emotions. We will also understand the structure of the conflict-resolution story, and we shall dip into the Navarasas.

•Scriptwriting: Audiovisual Writing, Theme, Plot, Step-outline, Structure, etc.

The Elements of Scriptwriting: Characterization, Dialogues, and the Screenplay format  for a fiction film, documentary film and television serial.

• Introduction to Screen Grammar: What is a shot? The editing transitions that can be used to join two shots: Cut, Dissolve, Fade, Wipe, Bleach. The various elements of shot-taking: Image Size, Camera Angles, Camera Movements, Lighting. The Rule of Thirds & the Golden Points. Lenses. Depth of Field and Selective Focus.

• Shot Breakdown : How do these concepts actually break up into fragments of shots? We shall watch sequences from films and read out how they are written to understand the application of screen grammar into shot breakdown.

(All the writing classes will have ample writing assignments for the students. These assignments will be either read out in class or feedback will be given over email.)

• Continuity and the Imaginary Line

• Ways of Shooting

• Preparing for a shoot

• Assisting in Direction

• The Elements of Editing : A film is made on two tables, the writing table and the editing table. Pace, rhythm, timing, suspense and surprise: all of these are made or ruined during editing.

• Sound Design

This will be a practical, hands on course, with screenings of film clips of international cinema to illustrate the concepts being taught. The Camera practicals will incorporate the principles of Editing. We will have a professional cameraperson and a professional editor to demonstrate the practical aspects of Cinematography and Editing.

• The end result of the course will be a short film made by a group of students, with the help of professionals from the industry.

Manjushree Abhinav’s Film & TV Direction Course is right for you if you are:

• A Newcomer: The course would equip you to enter the Film and Television Industry as an assistant director or to make short films independently.

• A Mediaperson who’s learnt on the job: You would benefit from learning the basics formally and getting your fundas clear.

• A Professional who is already working in the Industry in another capacity: It would help you become a full-fledged director.

• From the Corporate Sector: The course would add to your qualifications since films are a very important medium of corporate communication & advertising.

• Animators will understand film making, which is an important aspect of animation.

The benefits of joining this Film & TV Direction Course are:

• SUNDAY CLASSES: Full-day classes on Sundays, so you can pursue your dreams without forsaking the responsibilities of your work or studies.

• WELL-DESIGNED SYLLABUS: More than 50% of class time would be devoted to hands-on film-making, so that you learn how to transform your ideas into films that light up the silver screen. While the course is practical-oriented, the theory portion would help you develop a sound understanding of the basics of story-telling and film-making. You will also be watching many world class films to appreciate the different aspects of the teaching.

• STUDENT FILM: You would write and direct a short film. The cinematography and editing would be done by professionals from the Industry, which would be a great learning experience. It would also result in a well-made film which you can be proud of and use as your showreel as well as submit to film festivals.

• CERTIFICATE: You would be given a certificate at the successful completion of the course.

• FILM FESTIVALS: The student films made as part of the course would be sent to film festivals.

• DEMAND FOR FRESH VOICES: The Indian film and television industry is looking for fresh voices. With the diminishing appeal of the formula masala film, there is a demand for out-of-the-box thinking, for directors who understand the art and craft of film-making. It’s a great time to enter the field

TEACHER'S PROFILE

Manushree Abhinav has authored a novel, 'A Grasshopper's Pilgrimage'.

She is a film maker. She has studied at FTII, Film and Television Institute of India, Pune. She has made several documentary films, and taught various aspects of film making like scriptwriting, making documentary films, video editing, at FTII, NID (National Institute of Design), Ahemedabad, Srishti School of Art and Design, Bangalore.

She has also conducted several creative writing workshops at the Times of India Nalanda group, Bangalore, Ahemedabad and Mumbai.

She blogs at www.baktoo.blogspot.com and her website is www.storygram.in.

CONTACT : Please contact 09945192862 OR manjushree.abhinav@gmail.com for more information.

DURATION : Full-day classes on 12 Sundays and half-day classes on 4 Sundays over 4 months starting from 18th September, Sunday.

FEE STRUCTURE :The course fees cover the classes, the cost of making the student film, and study material like books and cds. A donation of Rs 250 would be given from every student’s fees to a children’s charity.

There are two plans for paying the fees:

1. It is preferable if the student pays the full amount at the time of registration. The total fees would be Rs 24,700 for this plan.

2. It is also possible for the student to pay in monthly installments, in the form of post-dated cheques (non-refundable) that would be submitted at the time of registration. The fees would work out to Rs 29,700 if the payment is made in installments.

The first installment: Rs 10,700

The second installment: Rs 10,000

The third installment: Rs 9,000

Special discounts for Students is available.

ONLINE OPTION : For those living out of Bangalore. it is possible to join in online for the course. However, when the camera and editing practicals start, they will have to come to Bangalore if they want to do the complete course. If they cannot come to Bangalore, they may attend the scriptwriting classes only.

Scriptwriting course would span across half day classes on four sundays and four full Sundays, and cost Rs. 6,200/

STUDY MATERIAL :

The students would be given:

• Copies of must have books for film students

• Scripts

• Links to useful websites and free scriptwriting software

• CDs & DVDs of some important films

Trust me, a book review

This is a thankyou post for my sister, Raju, for being my first teacher. After Aaee, of course. 

Trust me is a book for the young Indian dame, on the brink of her life. Are you wondering whether to live in a city alone? Do you experiment with life such that you cants talk openly with folks back home? And most importantly, are you glamour struck, with the glitzy filmy world?
This book is a must for every young woman with stars in her eyes who wants to make it big in the film world. Forewarned is forearmed.
Our protagonist has a filmy name: Paro, short for Parvati. With a name like that, it’s not surprising that the book begins with heartbreak. Paro, has just had an abortion. Her boyfriend ditched her, and her mother is too old fashioned to be confided in. So she is in a bad mood, and she doesn’t care to hide it. She doesn’t know how to deal with it either, so she confides in her boss, who turns out to be a lecherous old man. So what happens next? Our girl is twice as pissed, and walks out of the job. In the typical Mumbai fashion, she has to take whatever work that comes up next, a job as an assistant director, in a typical bollywood masala movie.
Paro meets Rahul, a younger, fresher specimen, with feet firmly planted in the heroism of the filmy heros. He sings, dances, flirts, and above all, he knows not to hide his love. Although his character comes through as stupid and clichéd, he has one thing going for him: a mind without the slightest doubt. A man who knows only one thing, that he loves his woman. The ultimate weapon that can win a woman’s heart-mind-soul. How long can Paro resist him?
Sample this conversation which occurs in the middle of a shooting schedule, during a lunch hour when Paro is painting the set.
‘What do you think of It’, I said, stepping back.
‘It looks, well, kind of… like a cat.’ (said Rahul.)
I’d been painting a depiction of Shiva and Shakti.
‘You could have said something worse, I suppose. Though I can’t think of much.’
‘Oh, it’s not so bad. I like cats,’ he said.
‘I prefer dogs.’
‘I know what you mean. Dogs are loving, trusting creatures. You know what the trouble with cats is? If a cat sits on a hot stove once, she won’t sit on a hot stove again. But the problem is, she won’t sit on a cold stove either.’
Their romance unravels as the delicate balance of trust and
passion heal Paro’s wounded pride.
Trust is a perennial issue that most of us are plagued with to some degree or the other. The author has delved into the issue of human boundaries with a simplicity that is as profound as it is clichéd.
There is story in the book of the North Star, Dhruv Tara, which serves as a beautiful metaphor for the yearning for security.
What I didn’t like about the book:
There is an apparent contradiction in the moral of the story. The title in the book asks us to trust, and so does the theme, but the atmosphere around the protagonist is totally untrustworthy. Set in bollywood, trust as an element, is least likely to endure.
What I liked about the book:
Among all the colorful characters in the film industry, there is one person who seems true, self respecting. But he is caught in the web of bollywood; an old, has been script-writer, Munshiji. Munshiji has ‘adjusted’ to the stupidity in the approach to the narrative structure in Hindi films.
It is through this character that the writer reveals herself. Bad or good, cinema is cinema. The creative tension that the old scriptwriter balances and plays with, is the actual dedication of the book.
The language has a smooth flow; it sprinkles on with a rhythm of a mountain stream.
““““““““““““““““““““““““““““““““““

Interview with Rajashree, author of Trust Me.
Q.1.You are a trained film maker. How did you think of writing a novel?
The writing bug bit me much before the film bug. I have always wanted
to write a novel.
Q. 2. Always means since childhood?
Oh yes. In fact, it started with me failing in first standard. I
remember not understanding anything the teacher wrote on the
blackboard in the exam. It was a case of ‘Kala akshar bhais barabar!’
Someone told my mother that if you want to educate your kids in the
English medium, you better take some effort to teach them. Not that my
mother took me to task for failing. My sister, who is three years
older, distributed sweets because she had passed, and I distributed
sweets because I had failed. So it was quite cool to fail.
But after that I learnt pretty fast. The first novel I read was
‘Coffee Tea Or Me Girls Get Away From It All’. I must have been only
eight years old. I didn’t understand much but even then I was
tenacious enough to read it completely.
Q. 3. How did you get hold of a ‘Coffee Tea Or Me’ book at such a young age?
I don’t know, it does seem inappropriate. It must have been lying
around the house. But after that I started reading Enid Blyton. I must
have been nine when I wrote out a ‘list of characters’ for a novel. We
had joined a library and I loved reading books. So naturally, I wanted
to write a novel.
Q. 4.  There is an apparent contradiction in Trust Me. Does it ask us
to trust each other or to be careful or what?
The way I see it, the book is about getting over distrust and learning
to trust again. But I am not asking anyone to trust blindly.
Basically, trust is about predicting people’s behavior.
Q.5. What kind of responses did you get to your novel? Did anyone
decide not to come to the Mumbai film industry after reading ‘Trust
me’?
Oh, I hope not. I certainly did not intend to turn anybody off about
the film industry. The kind of responses I got were quite positive.
The one that comes to mind is a Times Of India reporter from Delhi.
She told me that she started reading my novel in the office and
couldn’t put it down, so she went and sat on the back staircase of the
office so that no one would disturb her when she read it.
Q.6. Why do happy endings succeed so much? Why do we all like happy endings?
Well, not all bestsellers have happy endings. Tragedies like Love
Story also succeed. But tragedies have to be really good to do well.
They have to make you cry.
But yes, mostly people like to be happy so they like happy endings. A
book generally should have both emotions, because we like to cry and
then we want to go to bed happy.
Q. 7.  What is your take on the genre ‘Chick lit’? Do you think you
have written a chick lit book?
Although I don’t like the phrase, ‘Chick- lit’, I do enjoy reading
this genre of books.
I wouldn’t like to be called a ‘Chick-lit’ writer, but I wouldn’t go
on a morcha to get the name changed. I can live with it.
I would say that ‘Trust me’ falls into the genre of romantic comedy.
Q. 8. You have spiced the language with a lot of Indian flavor. Please comment.
Yes, it was a conscious attempt, to write the way Indians speak.
Although we have a style of speaking, it is derived from what we read,
which is mostly from the west. So the influence of British English and
American English continues, as does the sprouting of words from our
regional languages when we talk.
Q. 9 ‘Trust me’ has turned out to be the number 1 bestseller in Indian Chic-lit. What is your formula for success?
I don’t have a formula, but I can reflect upon why I think it succeeded. It is a romantic comedy set in the Bombay film industry. It uses the narrative structure of a typical bollywood film and people enjoyed that. Also, since it was priced at Rs. 95 only, a lot of people picked it up.
Q.10. Ok, Rajashree. Last question: Who are your favorite authors, books?
Bridget Jones’ Diary, by Helen Fielding, To Kill a Mockingbird by
Harper Lee, and Women Who Run with the Wolves by Clarissa Pinkola
Estes are books I can read again and again. I like a short story by
Chekov: Lament. Among the Indian writers, I like Arundhati Roy. I
recently read Arvind Adiga’s The White Tiger which I found
mind-blowing.

My favorite book

Book Review: The gospel of Shree Ramakrishna

This is the perfect book for the intellectual and the confused spiritual seeker. For it has a one point direction: from the head to the heart. Where it leaves you, singing and dancing, within and without.

The Gospel of Shree Ramakrishna is a big book, in fact it is two fat volumes. With a book this big, the first impulse is to open it in the middle somewhere and start reading. Not a good idea. This story deserves to be read from the beginning, for that is where the punch is.

M., or Mahendranath Gupta, the author, was a learned man, or so he thought. On his first visit to the Master, he is deeply charmed by the eloquence in Ramakrishna’s words. ‘He must be well read,’ is M.’s response. He is shocked that the Master hasn’t read a single book in his life.

But the taste of bliss in his gut brings him back to Dakshineshwar the next morning, when the Master is getting shaved.

The second meeting is more intimate, with a one to one conversation.

Sri Ramakrishna: Are you married?

M: Yes Sir.

Sri Ramakrishna (with a shudder): Oh, Ramlal! Alas, he is married!

Like one guilty of a terrible offence, M. sat motionless, his eyes on the ground. He thought, ‘Is it such a wicked thing to be married?’

The Master(continues): ‘Have you any children?’

M. this time could hear the beating of his own heart.

M. (whispers in a trembling voice): ‘Yes, sir, I have children.’

Very sadly, Sri Ramakrishna says,

‘Ah me! He even has children!’

Thus rebuked, M. sat speechless. His pride had received a blow. After a few minutes, the Master looked at him kindly and said,

‘You see, you have certain good signs. I know them by looking at a person’s face. Tell me, what king of person is your wife? Has she spiritual attributes, or is she under the power of avidya?’

M.: She is alright. But I am afraid she is ignorant.

Master: (with evident displeasure) And you are a man of knowledge?

M had yet to learn the distinction between knowledge and ignorance. He was under the impression, as we all are, that you get knowledge from books and schools. Later he learnt from the Master that to know God is knowledge and to not know him is ignorance.

This is an excerpt from the first chapter of the book, when M. meets the master. There is hardly any reference to M at all after this. M simply records everything as he saw and heard as he sat quietly at Sri Ramakrishna’s feet.

Sri Ramakrishna is basically oriented towards the devotional aspect of spirituality. However, he does not prescribe rituals of devotion. What he prescribes is an intense yearning for God. ‘Cry to God with all your heart and you shall surely see him.’

This one sentence, if taken to heart, can be extremely cathartic in nature. ‘Crying to God’, done on a regular basis, can turn the mind within. It can also become a hotline to the Maker.

When he meets someone for the first time, the master asks, ‘So do you believe in God with form or do you believe in the formless aspect of God?’ The utter simplicity and clarity in this question reveals the understanding of Sri Ramakrishna: he is the embodiment of the meeting of Gyana and Bhakti.

This book is a witness to the happening of another saint, Swami Vivekananda. Ramakrishna displays more than a simple affection for Narendra, the Guru literally pines for his disciple.

After all, he has a big job to do there: passing on the legacy of the inner spirit of India.

What I didn’t like about the book:

Ramakrishna was guileless; he lacked the sophistication of the city dweller. He is supposed to have used a lot of off-color jokes which were edited out of the English version. Somehow this goes against the spirit of the book, which is basically the complete flow of the master’s words, unedited, even by the master himself.

What I liked about the book:

There is story about Swami Vivekananda and the mother Kali. After the demise of his father, Swamiji was facing a very rough patch at home. He was jobless and the kitchen fire was out. Sri Ramakrishna advised him to go to the Mother’s temple and ask for her help. She who runs the universe will surely give him a job, some stable income to feed his family.

Instead of asking for the vitamin M, all Swamiji could ask for were devotion and knowledge. Again and again he went, each time he forgot. Finally he realised that the master was playing a trick on him. He was teaching him that the only things worth asking from the Goddess, were spiritual.

I feel that Sri Ramkrishna’s blessings work like this trick in this book. Once you get hooked to it, the rose tint enters your eyes. Life is not the same again.

Here is a link to a zoom in to the book.