Author Archives: Story Practices

You have contributed to the Indica anthology Shared Roots. Could you talk about your journey as a writer?

My journey as a writer began when I was 15 years old. In the 11th standard, when I was 15 years old, I started composing the Ramayana. I completed when I was 19. When I was 24, I started composing another version of the Ramayana. This was completed when I was 25. This is my first published short story. It is called Unsent Letters.

I am a voracious reader. I have written poems in school. I publish poetry in my blog and share on social media. I like reading books on Indian puranas — Ramayanas, Bhagvatham. I don’t use the word mythology I use the word puranas.

Your experience in participating in the Indica India-Cambodia Anthology Shared Roots?

The journey began in 2021. I was newly married at that time, and this is the first story I sent for publication. I have to thank Ratul Ji for making me a published author today. I owe him tonnes of gratitude. For background research for this story I referenced the Anita Bose book, “Ramayana — Footprints in South East Asian Culture and Heritage” I read what she had written about Cambodia. After reading this book I found out that my favourite Ramayana had a huge role to play in Cambodia.

Could you talk about cultural heritage as a shared experience between nations?

I am a humble person and a simple student of life. I am happy to know that Indian culture influenced Cambodia, that the Angkor Wat is dedicated to Lord Vishnu. In Cambodia there are paintings depicting the Ramayana. My favourite epic Ramayana is called Reamker in Cambodia.

This is the story I found in Anita Bose’s book, “From the scripted chronicles of Chinese travellers, we can gather that the nations of Kambhoj and Siam were collectively referred to as Funan by the Chinese. Funan was ruled by a queen. Later a Hindu, following the advise of the deities, obtaining a bow in a divine dream, set off for business in that country. This Hindu was identified as ‘Hu En Tien,’ who was also famous as ‘Koundinya’.” I belong to Koundinya gotram. When I read Anita Bose’s book I realised he had a role to play in Cambodia.

Which aspects of shared Indo-Cambodian culture did you explore in your short story?

I explore the Reamker. The story is about a woman in a state of mental depression, she becomes fond of Cambodia and visits various places in Cambodia. She realises the greatness of Indian culture in Cambodia. She connects the dots and sees the shared roots between Indian and Cambodia.

Themes in your short story?

The basic theme involves the Reamker. It is about a woman in a state of depression who travels to Cambodia. I explore Indian culture in Cambodia and the shared roots between India and Cambodia. Ratul Ji is the back bone of the story.

The importance of creating shared cultural narratives liked Shared Roots?

In ‘The tales of Indosphere’, we can explore the shared culture of India and Cambodia and greatness of Indian culture outside India. It is very important that Indians must be aware of Indian culture, the youth and children must become aware of our culture and Sanathan Dharma.

What inspires you about the Ramayana?

Lord Rama is himself the greatest inspiration. He is the ideal in every way — Maryada Purushottam — he is the ideal son, ideal son, ideal brother and ideal enemy. Being ideal in every way is what inspires me about the Ramayana. Many of the characters like Sita and Hanuman are ideal. The main inspiration in Lord Rama.

Every time I read the Ramayana, it gives a new inspiration. Every time I read the Ramayana it is as if I am reading it for the first time. The entire Ramayana is my favourite. Every bit is my favourite. My most favourite part is when Lord Rama lifts the bow of Shiva and marries Sita. Every Indian must be aware of the greatness of our culture. Sita is the strongest female in the Ramayana. Ramayana the also known as Paulystya Vada. Valmiki originally wanted to call the Ramayana ‘the story of Sita’.

There is a quote in the Adbhut Ramayana which goes “Yadha Yadha hi Dharmasya Glanir Bhavathi Suvrata Abhyutthanamadharmasya tada prakrtisambhavah” — “Whenever there’s a decline in Dharma and an upsurge of Adharma, the Sacred Feminine will incarnate. She will protect us and defend Dharma.”

A book review by Swetha Prakash

Mythmakers is a book on my favourite topic – magic and magical beings. Gwyn identified as a sylph by the Romans is on the run with the clearly magical Merlin and the young Arthur of the future Arthur of the Knights of the Round table. Gwyn and Arthur and Merlin true Britonions attempt to fight the heartless Romans who are after the magical beings and creatures of Briton, Gwyn included. But what the Romans really crave for is the mythical and magical Oakheart.

Kathalaya Impact Series

Could you tell me about your storytelling style?

I use voice, expressions, hand gestures, body language. I have been introduced to puppets and music. I am good with voice modulation and voice projection. I depend on voice a lot. I am learning puppetry and have an ear for music. I did a performance at a Deaf and Mute schools – I used a combination of hand gestures and props of the characters. The children did their own sessions based on my telling. I am comfortable with voice, body, language and using props as visual aids.

Could you talk about the storytelling you have done?

So, far have done children’s events. I am associated with the Tata Cancer hospital – St. Jude’s Childcare Centre in Kharghar, Navi Mumbai where I tell stories to children. I have been telling stories in NGOs. I do work for NGOs. I did a session for an NGO home in Bandra. I had to do a children’s session for a train the trainer course I was attending. The children were in the 10-15 age group. I met the Founder of Kala Katha Kalakar who is associated with multiple schools and are reviving folkart and traditional culture and I did storytelling for them. I have been called for many storytelling sessions. I was a judge at a storytelling session where I was invited by Rotary Club.

Could you talk about storytelling as a career?

I was in a career path I was very sure of. I never thought I would quit my job. Storytelling was calling me. I was feeling so restless. I realised that my time was valuable and could be used a better manner elsewhere. I had not anticipated this calling. I had met such wonderful people as a consequence of storytelling. Geeta Maam – it is a pleasure to be in her presence. It feels like a gift to be able to see her in person. I get a lot of inspiration from her. She encourages us to be who we can be. She energises us to do the best we can be. I am very changed person in 2025 from what I was in 2024. I have met so many incredible people so far. I am really grateful to be a part of this storytelling journey.

Kathalaya Impact Interviews

Your career journey?

I would describe my career journey as pre storytelling and post storytelling. In my pre storytelling career, I had 15 years of corporate career with 10 years in Colgate Palmolive as a social media analyst. It was a bright start with Colgate Palmolive and I have no complaints from this beginning.

The during storytelling period – I realised even in my previous job – I love helping people in how they can present themselves better. People are often very technically savvy but they could not articulate themselves. I found myself in a situation when I was always helping someone or the other. In 2023, I had a sudden wish I wanted to do something else. I made a list of everything I could do. I had written 5 children’s books. I was always good with children and would tell them stories. I did not know storytelling as a profession existed. My home and my job had been the two things that had been my path. I realised storytelling was something I was interested in doing.

In July 2025, I started my journey as a storytelling performer. I was at the Goa Literature Festival I met Vanessa who is a puppeteer – she introduced me to Kathalaya. We got to discussing storytelling and I told her I want to do some certification in the area. Vanessa said, “Geeta Ma’am takes this.”

In April 2025, I did the Kathalaya beginner’s course. In July, I went to Tiruvannamalai for the anthardhavani course. Then I did the diploma course. This year, I associated with Kathalaya three times. I have been recently introduced to storytelling. I have been doing children’s storytelling, events, storytelling for NGOs and schools. So far, my audience has been children. I do intend to explore storytelling for adults, storytelling for mental health etc.

Could you talk about Storytelling as a career?

What I realised was that I have always been telling stories – only thing was I did not make a career out of it till recently. I got used to telling stories to my kid. Everyday, I would tell her a new story. I could have made a collection from these stories. I find telling stories to children delightful. Children have this sense of wonder that I am really impressed with – i can’t think in this way. Through storytelling you see things better. I want to make a difference in the world of children.

Could you talk about how being a people’s person helped in the art of storytelling?

I have always loved being surrounded by people. I love to be with people. It gives me joy if I bring a story into someone’s life. I am sure it will help them some day if not immediately. I can remember my lessons better if someone told them to me in a story format.

Could you talk about your storytelling training at Kathalaya?

I have seen people telling me I am a changed person in a few months – I have more clarity, using silence. I couldn’t see anything will happen unless I speak up – only of I speak things will change. Antardhvani introduced me to silence. I did not understand silence as a practice till this happened. I believed in speech only. The course made me look within myself. It taught me to identify what troubles me, what triggers. When think about two people talking to each other. It’s like they are looking at a mirror, and you are looking at a mirror. How you communicate depends on how clean your own mirror is. My mirror was made murky by a lot of opinions, everyone has biases, I was set in a certain way of thinking. Taking storytelling as a career brought a lot of change in me.

Kathalaya Impact Series

How did you first associate with Kathalaya?

In 2011, my cousin saw an Kathalaya advertisement in the Hindu newspaper. We wanted to enquire about and do the course. She was in Madurai and I was in Bangalore. I just dropped into the office and enquired about the team. It was nice meeting Geeta Maam. I did the first level beginners’ course with my cousin in 2011 January. It was a five day half day course.

I became a storyteller and started telling stories at a local school.

In 2011, my cousin came across a Kathalaya advertisement in The Hindu newspaper. We were both interested in learning more about their courses—she was in Madurai and I was in Bangalore. I decided to drop by the office to enquire, and that’s when I first met Geeta Ma’am. My cousin and I enrolled in the beginners’ course in January 2011. It was a five-day, half-day program.

After completing the course, I began storytelling at a local school. Although I enjoyed it and worked until 3 p.m. each day, I still had some inhibitions.

One day, Geeta Ma’am asked if I would be interested in working at Kathalaya. I thought it would be a good opportunity and decided to join initially for three days a week. Since 2012, I have been a permanent employee at Kathalaya, handling administration. Over the years, I have listened to countless stories—shared by students during their courses and narrated by Geeta Ma’am herself. Being fully involved in administration has helped me shape my career at Kathalaya.

My journey with Kathalaya began in 2011, and it continues to be a meaningful part of my life.

You started your association with Kathalaya in 2011. Since then, what are the changes you have seen in the field of storytelling?

In every field these days, you can see a huge change. In the initial years, Kathalaya was the main centre for storytelling and then there were not many people who could tell stories. Now every place be it Indranagar or Koramangala is developed in storytelling. There are many storytellers and storytelling centers are being opened regularly.

People used to come to Kathalaya to learn storytelling. But we also saw that online storytelling became very popular. Online storytelling and podcasts became very popular. There was a huge change in this sense is what we felt. Except during Covid, Kathalaya did not prefer the online model for teaching storytelling. Storytelling is an art that requires personal connection. While people ask for online classes, we ask them to come for our in-person workshops. We can see how storytelling careers revolve around what we experience with people. Hence offline storytelling classes are better.

Another change we have seen is that earlier teachers, homemakers would attend storytelling classes. Now people in all fields, entrepreneurs, media people, corporate employees – people from different background learn storytelling to apply in their fields.

How has working with Kathalaya, which founded storytelling in India and many parts of the world, developed you personally?

It’s not just a course. Each one would come with their own feelings, their own anecdotes, their own wisdom, their own stories. You need someone to listen to your stories. People like being listened to. Their stories being heard. They need a person to hear the stories. Storytelling plays a very important role in sharing what happened yesterday.

Could you talk about the key achievements of Kathalaya?

Kathalaya which was founded by Geeta Ma’am, has spread the art of storytelling nationally and globally. Storytelling has spread everywhere. We have been conducting storytelling festivals all over India and the world. We have been in the Limca book of records. We have taught storytelling India and abroad. We have impacted more than 5,00,000 children. Many children who grew up listening to Geeta’s stories have now grown up and affectionately call her Story Ma’am.

A myth or a sacred story holds much significance for a people and their culture. It is the lived belief system, a way of veneration. When a performing artist and international storyteller as proficient as Deepa Kiran performs the Ganges story – all one can do is stand up in applause. This story is performed on a boat in the Ganges in Varanasi. The boat sways gently in the river and Deepa Kiran seated in it tells us and the river the story of Ganga Devi. The power of Indic storytelling lies in the fact that the more we repeat our stories and the more we transmit them in a tradition approved method, the deeper we sink into yoga and a yogic experience of our culture. In Indian storytelling traditions it, the act of storytelling can be therapeutic for the audience where they attain salvation or Mukti through bhakti. Storytelling is one of the traditional forms of Bhakti yoga. This narration helps us the audience experience a Ganges like purification process, an attainment towards nirvana.

The story of Ganges as performed by Deepa Kiran offers a lens into the traditional Indian stories and storytelling. These traditional stories transport us back into the world of gods, rivers as goddesses and monumental crisis resolution through the tapas of yoga and determination. Told to the tune of the Shank, the sounds of the Ganges, Sanskrit Chants and traditional musical instruments, this is one compelling performance – Story of River Ganga

Could you talk about postmodernism and the theory behind your book?

The books are not very postmodern to start with. But they do become more and more postmodern as we progress. In college, I teach postmodernism. But I don’t just teach postmodernism I live postmodernism, I follow postmodernism. I am situated within the postmodern praxis. It is a part of my life.

There was a deep urge to talk about ecology. There was not much that they were real books, they were stepping stones. There was this innate urge – I needed to explain how the ghariyal remained in my memory. I wanted to talk about the ghariyal and how it was going extinct. The idea was to communicate all this to children between 5-10.

One can examine these books in the context of eco theory.

Could you talk about children’s books in the ecology space?

When it comes to children’s books in the ecology space. I had read Kaziranga Trail by Shankar. This was Shankar from Children’s Book Trust. I read this in the fifth standard. It initiated me into the Indian Rhinosaurous which was being hunted for its horn. His book featured a Rhino which was being poached. That’s how I as a child got to understand how Rhinos are being hunted for their horns. I understood how animals are being cruelly killed for the material profits. I read the book 100 times, it was my go to book. It was a phenomenal book. I also read Swami and friends at that time which was written for adults but about children.

Then also read Tinkle, Amar Chitra Katha, I had met Uncle Pai also. It helped me balance away my identity as an Indian. Then there was Enid Blyton, Hardy Boys etc. I think detective fiction is needed for young adults. If we had equivalents of Three Investigators and Hardy Boys. There are a few Indian detective stories for children. There could be more focus on this area for rural and semi urban adventure.

Could you talk about the importance of reading encyclopaedias on ecology?

When I was young, one of my father’s friends Mr. Ramachandran, was collecting encyclopaedias for his unborn children. I got to read these books through his lending them to me. There were a lot of How and Why and other encyclopaedias. In these there was an animal encyclopaedia, with A to Z to animals featured. It would start with Aardvark and end with Zebra. I can recollect the names of the animals.

Also, Doordarshan had wildlife series. It was a series purchased from BBC by David Attenborough. Animals fascinated me. There were older ways of understanding nature such by Jim Corbett that were slightly problematic. There are certain things in Jim Corbett that needed questioning, such as when he was on a maneater hunter he would start by killing a King Cobra for good luck. The culture of hunting in the colonial times in gave rise to the English idiom “Big Game”. This idiom itself says a lot. There was no big game in UK so they would hunt foxes and then come to India to hunt the Big Game, as would the Maharajas.

Could you talk about the illustrations?

We went to Vellar College and had no idea we would meet two women who were interested in drawing and illustrating for us. We were thinking of doing the Prakriti series and needed illustrators. Samyuktha turned out some wonderful apt illustrations and we are very happy to work with her. The art work has been amazing and we had some idea with the Ghariyal book. We are really happy to have her on board. The art is really good.

Was there someone who enabled this book series?

I really have to thank Rtn. AKS Dr. K Srinivasan who is a philanthropist who funded 10 books.

Interview with Professor Dr. Abdul Mohammed Ali Jinnah

Could you talk about your background?

I am a Professor. I teach in Jamal Mohammad College in Tiruchirappalli. It is a minority institution. Here, I would share stories with my students. Dr. Priya motivated me and said this is great storytelling. She said we should put the stories on paper. I had a few stories that were not published and we evaluated these, Priya said, “you are such a good storyteller.”

How many books are you writing in the current ecology series Abdul meets Endangered Animals ?

It started with five books. The idea of such a series about wildlife always prevailed with me since childhood. I wanted to work on ecology and conservation for a very long time. I thought why don’t we do a Prakriti series? To start with a book on a peacock. Then an owl. Then one day I had an epiphany – why not stories about animals that are central to the culture in India. And we started with 5 animals – the Ghariyal, King Cobra, Langur, Nilgiri Thar and the Great Indian Bustard. We have a list of 7 animals that are essential to India. Today I completed the 7th story. We are planning till a today of 30 books in this series.

Could you talk about the previous ecology series you did for children? The Ananth series?

In the Ananth series which was children’s books based on the wildlife series – African elephant, lion, leopard, Cheetah, African Buffalo etc. I was not involved in the initiation part of the production of these books. It was going to work as a full photography series. Then Dr. Priya said, ‘Why don’t write for this series?” There were photographs available and then the narrative was added. My favourite books in the series were Rhinoceros and Hippopotamus. The Giraffe was then added to the series.

Could you talk about these books creating an ecological awareness around endangered species in India and around the world?

These books aim at creating such an ecological awareness. The special animals chosen for this series are very indigenous to India. Most children of India are only aware of exotic animals like saltwater crocodiles from Australia. They don’t know about for instance the ghariyals found in the Ganges.

Could you talk about the protagonist of these stories who is Abdul the child? Could you talk about postmodernism in the hero being named after you?

When I first envisioned the ghariyal project the name was not initially chosen as Abdul. It was again Dr. Priya’s idea. She wanted the name to be from a minority voice. She said to me, ‘You are an expert when it comes to the culture of India,’ I accept that once I started writing with Abdul as the name of the protagonist the child did become a voice for me to speak with. The child shared many of my own interests with the Ganges, North India and in one of the seven books the books have a historical character whose name I will not reveal due to it being a spoiler however this is one of my personal favourite characters too.

The background to your book Vritrahan?

This project was super under scrutiny, with people saying you are doing another rewrite, another myth retelling. There is a whole genre of myth rewrites. People couldn’t understand what that book could be. It was not something to gratify my own hubris. In youtube, you find a host of Kathas. In the length and breath of India, there are katha performances. These are a particular form of cultural continuity. These stories in this form are something that don’t exist in English. I tried to write in that manner, the manner of the Katha performances. The writing feels like a storyteller talking to a physical audience. To replicate the Katha tradition in English was my goal. I wanted to render a Katha telling of Indra in English.

Could you talk about the poetic form of the book?

When I first started writing I had a bigger agenda. I wanted to make my own meter to compose the poetry in, a meter like the vedic meters like gayatri. I was writing into excel to map the meter for the first few chapters. Then I felt it felt less like the book and more about satisfying my own ego. I changed to free verse. Some shape of the earlier writing is still visible in the book. The work will not be good enough if I satisfied my ego and wrote in this meter. So, the transition to free verse happened.

Could you talk about the story of Indra slaying Vritra, the core of the book?

The story of Vritrahan is found in the Vedas, Itihasas, Puranas, and the Tantras. Every spiritual path in the Sanathan Dharma has its own reference to this particular story. While the Veda is the primary source, it is the only universal tale of Hindu spirituality. The story of Vritra is under expressed in modern literature. I could find three different versions of the tale in the Mahabharata. Each of these versions had very different details. To write a version which was acceptable to people following different paths was a challenge. It was less of a cultural challenge more of a spiritual challenge.

Could you talk about the Yagna and its central place in your book?

One of the things that I find problematic is that there is a sense of entitlement “we are supposed to get it.” Yagna is fundamental to how nature operates.

1. You are donate something dear to you
2. You evoke a higher power
3. You do it for lok kalyan
4. You get the fruits

This concept is under severe threat due to AI. You have bypassed the initial stages, and because of this you can’t understand the worth of things. The worth of the outcome grows less and less. This reflection in the quality of spiritual worth and mental ability to understand something can’t be born out of nothing. You get an outcome after offering something that is important. And so, we are losing a big sense of that with AI. Getting something so easily just devalues the thing over time.

Your book is a deep reflection of Indic philosophy and is expansive in its coverage of Indic Theory. Could you talk about this?

We have too much politics today. What happens is a power given to tribalism – this is ours, this is yours and this is why we are different. Then there is a deep ontological differences from the Abrahamic sects. Unless we are aware of our ontological differences – we will feel this is culture, these are the temples, these are the deities – you don’t know the true truthclaim of our culture. Unless you know what we stand for at a fundamental level. If you look at the Levels of Culture –

1. Outward manifestation like Namaste
2. What are your values?
3. What is your truth claim?

Unless we know the truthclaim we cannot know. It is important to know the truthclaim of who we are.

Vritrahan is a vedic story. It is essential for us to understand the context and the underlying philosophy. Without that philosophy this can sound like a very mean and very petty tale. It is not a petty tale between two tribes. It is a tale that spans cosmic dimensions – at a time dilation level, cosmic level and spiritual level. The time is that happened in the past, will happen in the future and is happening now.