Kamal Haasan’s connection to Hussain Zaidi and the real identity of Dawood Ibrahim – is he a refined, eloquent Urdu speaker or a local thug from Mumbai’s underworld? These and more intriguing facets of crime fiction were explored in a discussion by authors Ashwin Sanghi and Hussain Zaidi.
Zaidi, taking a trip down memory lane, retold the series of events that led to the birth of his latest book. He was trying to create a follow-up to Black Friday: The True Story of the Bombay Bomb Blasts, armed with a plethora of data. However, the spark he needed came from an unanticipated phone call from an unknown source.
This mysterious source claimed to have a groundbreaking storyline for Zaidi, but there was a catch – they had to meet in Abu Dhabi. The rendezvous was set at the IIFA awards. Zaidi wasn’t privy to the individual’s identity or his intentions. The person spoke fluent English in an American accent and appeared reliable concerning the story he had promised.
Zaidi shared an insight into his writing process, disclosing that his wife played the role of his primary critic. If she dismissed his story, he was confident that it would gain public appeal. Simultaneously, Sanghi highlighted how he brought forth the elements and possibilities that are often overlooked in a narrative. He explained how the words ‘history’ and ‘myth’ were the main pillars of his writing philosophy.
Combining myth and history in his perspective resulted in a mystery – a basic format he intended to adhere to while writing. He stressed the importance of sensitivity over sensationalism in writing. Avoiding content that would incite an individual’s sentiments is essential. For him, the true essence of a tale lies in its backstory.
His curiosity for underneath the surface details and the intriguing bits that can captivate readers and keep them turning pages is always at the forefront. He believes in the significance of writing that encourages readers to stay engaged. This trait, according to Sanghi, stands as a crucial quality for a writer.
Sanghi’s debut in crime writing was not with his most recent book Razor Sharp: A Kutta Kadam Thriller, but with Private India, which he wrote in collaboration with James Patterson. He acknowledged the profitability of the genre while expressing admiration for Patterson’s prolific output in this sector.
His experience of co-writing with Patterson enlightened him about the methodical process of writing crime novels. One valuable lesson he received was about the placement of a murder scene. Initially, Sanghi introduced a murder later in the story; however, Patterson advised moving it to the initial chapter. A decade later, Sanghi’s Razor Sharp begins with a murder following Patterson’s successful formula.
Both Sanghi and Zaidi concurred that crime writing still has a long way to go in India. They pointed out that despite crime thrillers dominating bestseller charts in places like London, this trend has yet to catch on in their homeland.
Moreover, Sanghi addressed an overused convention in crime narratives and films. This involves a jaded senior police officer who may not be popular but has sharp detective skills. Taking such imperfect characters and turning them into heroes is something both readers and viewers enjoy.
Despite the cliché nature of these characters, Sanghi believes that creativity within this trope can bring out dark and exciting attributes to the protagonists. Zaidi, on the other hand, introduced how most of his tales are based on real events.
For instance, Zaidi’s most recent work, The Black Orphan, relies heavily on real incidents. It delves into the perplexing deaths of six nuclear scientists in Mumbai- cases that were allegedly ignored by the government. These real-life occurrences have been seasoned with Zaidi’s imagination, thereby adding a certain thrilling element to the novel.
Sanghi offered his take on the art of crime writing. He believes that while writing, in general, is an art, crime writing is a technique that requires precision and meticulous planning. Each chapter and every unforeseen twist in the narrative need to be carefully drafted.
In Sanghi’s perspective, a crime story should offer an engaging experience where the writer and the reader are on equal footing in understanding the narrative. It shouldn’t be just randomness striking the readers, but the excitement of the story should lie in the reader’s ability to put together the pieces and unveil the mystery.