Anand Neelakantan – I Gave Ravan, Duryodhan & Sita Their Voice—Because History Is Always Written by Victors (Bestselling Author of Asura, Ajaya & Screenwriter – Baahubali, Siya Ke Ram)

"We were never told stories of good versus evil—Indian mythology has always been a debate on what Dharma truly means. I’m just bringing that tradition back."

1. What first drew you to mythology, and how did the idea of retelling stories from the perspective of the "villain" come about?

I’ve been drawn to mythology since childhood. I grew up in Sarpanitra, a town near Kochi with over 108 temples. Storytelling was a vital part of the culture there—whether through oral traditions, dramatic forms like Kathakali and Koodiyattam, or folk narratives. At home, too, the Puranas were often discussed passionately.

In our village, understanding the Puranas wasn’t a passive exercise—it was rooted in debate. We were encouraged to think critically. Professional storytellers would travel from village to village, offering multiple perspectives and engaging in lively Shastraarth (scriptural debates) on epics like the Mahabharata and Ramayana.

This tradition of inquiry inspired me to explore mythology from different angles. I thought, why not tell the story from Dhamma’s perspective to better understand him? That led to retelling from Duryodhana’s viewpoint as well. It’s not something new—I’m following a long-standing Indian tradition. In Tamil, Sanskrit, Malayalam, and even Kannada literature, many classical texts retold epics from alternative perspectives. These regions, largely unaffected by invasions, retained the cultural confidence to question and analyze the Puranas.

Indian mythology was never just about good versus evil—it has always been about Dhamma and its many interpretations. My books are a continuation of that legacy.

2. Your books challenge traditional narratives. What kind of research and reflection goes into building these alternative viewpoints?

I dive deep into various versions of the Puranas—whatever I can find. Surprisingly, many challenges to the so-called “traditional” narratives are already embedded within these texts. What we now consider the conventional or mainstream version is actually quite recent, shaped largely by the devotional (Bhakti) era.

Even within Bhakti literature, there were critical voices. However, with the rise of Doordarshan and later TV retellings, the narratives became flattened—good versus evil, black and white. That simplicity was never part of Indian tradition.

So my research focuses on multiple Ramayana and Mahabharata traditions, including versions from across Asia. My recent book, Many Ramayanas, Many Lessons, draws from these diverse traditions. For those who believe Tulsidas’s Ramcharitmanas is the Ramayana, it might be surprising. It’s an important text, yes, but it’s just one among many—rooted in a specific region, language, and devotional framework.

3. From novels to screenwriting (like Baahubali and Siya Ke Ram), how do you navigate the shift between page and screen?

At the core, I’m a storyteller—the medium doesn’t matter as much. Of course, screenwriting is more technical, and I learned that craft over time. But my novels are already written in a highly visual style, so transitioning to screenwriting wasn’t difficult.

It’s about adapting your storytelling language to the medium, and with practice, it becomes second nature.

4. Many readers find your characters deeply human and relatable. How do you balance myth with realism?

The Ramayana, Mahabharata, and other Puranas are essentially human stories. Over time, elements like magic, miracles, and heavy devotional layers were added. But if you strip those away, what remains are stories grounded in very real human emotions and dilemmas.

When I write novels, I consciously avoid the supernatural and focus on the characters’ psychology—their internal struggles and motivations. That makes them feel modern and relatable. On television, of course, I can’t always do that. But in my books, I stay close to the emotional truth of the characters, and I think that’s why readers connect so deeply with them.

5. What does your creative process look like? Do you follow a strict routine or write when inspiration strikes?

I follow a routine. I write early in the morning—and I write a lot. In the last 13 years, I’ve written 18 books (16 published), around 1,400 hours of television across 14 shows, several audio dramas, and over 400 columns in English, Hindi, and Malayalam.

If I only wrote when inspiration struck, none of that would be possible. I write every day, whether I feel like it or not. Of course, when inspiration does strike, I seize it—but discipline is key.

6. You've inspired so many new-age Indian writers. What's one piece of advice you’d give to someone starting out?

Before you write, immerse yourself in stories. Read widely and watch all kinds of films and shows. If you’re writing fiction—especially mythological fiction—expose yourself to classical art forms, folk traditions, and modern media alike.

Read, but also watch. Watch classical dances, folk performances, television, world cinema—Hollywood, Bollywood, South Indian films in Malayalam, Tamil, Telugu, Kannada; Korean and Spanish films too. Storytelling exists in many forms, and the more forms you understand, the better you’ll write.

7. How do you deal with creative blocks or self-doubt—if at all?

Creative blocks are natural. When I hit one, I don’t stop writing—I just switch projects. If one story stalls, I move to another that I’ve been thinking about. After some time, I return to the original, and often the block has cleared on its own.

Creative blocks usually arise when you don’t know what happens next in the story. So instead of forcing it, I let the mind work in the background while I stay productive elsewhere. It’s about momentum—never letting yourself go entirely still.

8. Just for fun—if you could step into any mythological character’s shoes for a day, who would it be and why?

Without a doubt, Ravan. Why wouldn’t I want to be him? He ruled for 10,000 years, had his own island, a flying chariot, immense knowledge, and lived—and died—like a king. And let’s not forget: whenever Ram is remembered, so is Ravan.

Given the choice, I’d happily step into Ravan’s shoes.

Bio:

Anand Neelakantan is a bestselling Indian author and screenwriter known for his powerful retellings of mythological epics from the perspective of so-called villains. With acclaimed books like Asura: Tale of the Vanquished, Ajaya, and Vanara, he challenges traditional narratives and brings complex characters like Ravana, Duryodhana, and Bali into a new light. Anand has also written screenplays for popular shows like Siya Ke Ram and Baahubali: Before the Beginning. A master of storytelling rooted in Indian tradition, he blends critical insight with compelling drama, making mythology more human, relatable, and thought-provoking.

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Interviewed by: Niyati Gupta 

Edited by: Shantanu Singh