Jugal Hansraj interview: ‘I visualise scenes in my head and play them out like a film’

In this interview, Hansraj talks at length about his latest book, The Jewel of Nisawa. Illustrated by Ruchi Shah, and published by HarperCollins India, it is a sequel to Hansraj’s book The Coward and the Sword (2021). Like the first book, the sequel too revolves around Prince Kadis, who is sent off on an epic journey that pushes him to wake up to his own potential. As he battles the fears that come up in his inner landscape and the odds he encounters in his physical world, he is held secure in the embrace of friends and elders who love him deeply.

A deserted kingdom, a secret messenger, a handwritten manuscript, a precious jewel and more! This book is filled with mystery and adventure, emotion and catharsis. Hansraj, who is working on Book 3 in the series, establishes himself as a confident storyteller; he skilfully explores the hero’s journey, weaving in philosophical lessons without reducing his characters to preachy pedagogues. Excerpts from the interview:

The Coward and the Sword was shortlisted for the Atta Galatta Children’s Fiction Book Prize 2022, and now you have come up with a sequel, The Jewel of Nisawa. What was it like working with the characters that you have already created, as well as the new ones?

I was happy that my earlier book was shortlisted for the prize. It gave me confidence that the sequel would be welcomed, too. I was already working on the sequel by then. In one way, it was an easier process the second time because the world of the book had already been created and the primary characters were already there. In another way, it was also more challenging because I was conscious of not being repetitive and was also adding several new elements, with new characters and a new world within the one that already existed.

How did you build the characters? Did you bring in characteristics of people you know intimately or have had fleeting encounters with? Did you let your imagination run wild?

For me, writing is an organic process. Being from a film background, I visualise scenes in my head and play them out like a film. Then the writing just flows. Every artist or writer creates something based on his or her perception of the world around them, based on influences that are uniquely their own. Subconsciously, therefore, I am sure that some characteristics must have been influenced by people I have met. But mostly it was instinctive and based on what came from my heart. The beauty of fantasy fiction is that you can actually let your imagination run wild, for instance like I did with the Kingdom of Nisawa and the unique bridge and pulley system, using which one got from one mountain to another.

Your hero, Prince Kadis, is 16 years old in the first book. He turns 18 in the sequel. According to you, why does the process of self-enquiry become so heightened in one’s teenage years? What did your teenage self have in common with Prince Kadis?

As one grows older and learns more about the world, perceptions are bound to change. They are constantly evolving; that’s what I tried to bring out in the prince’s mind. He is growing up and so is his worldview, his innermost thoughts and feelings. I did grow up as an anxiety-ridden child and teenager so a lot of the prince’s character comes from that.

The idea of heroism in both the books is linked to summoning up courage from deep within, and vanquishing one’s fears and inhibitions, rather than displaying one’s might and dominating others. How have your readers responded to this?

This seems to be something that has connected with readers the most. Generally, in this genre, heroism is more about displaying might and vanquishing enemies outside. What has connected with readers is the vanquishing of one’s inner demons and challenges. Some readers have told me they wish this message of peace could be replicated in the world today.

The prince draws a lot of strength from his friends who are loving and loyal. What was it like to write them? How did you ensure that they would stand out as individuals?

I wanted the prince to have a strong support system — friends who give him the courage to face his fears. Also, being around some strong women in my life, like my mother, and now my wife Jasmine, I wanted the girl characters to be strong and take the lead in helping the prince emerge from his shell. Writing out the characters around Kadis, who act like his voice of reason, was a very enjoyable experience for me and continues to be so.

The sequel opens with Buddhist philosopher Nichiren Daishonin’s quote: “They not only mistake mere stones for jewels, but, faced with jewels, call them stones.” How did his writings, and this idea of delusion, influence your creation of a fictional universe?

In fact, both these books have been strongly influenced by the writings of Nichiren Daishonin — who was a Buddhist reformer from 13th century Japan — and also the writings of Daisaku Ikeda whom I consider my mentor in life. The quote you have mentioned sparked off the idea for this entire book, just as another of Daishonin’s quote — “A sword is useless in the hands of a coward” — had sparked off the idea for my first book in the series.

You use a lot of Japanese names in The Jewel of Nisawa. What aspects of Japanese history and culture do you find most fascinating, intriguing, or worth emulating?

Due to my study of Nichiren Buddhism, I have been introduced to some aspects of Japanese culture, and I do find it extremely fascinating. A lot of books in this genre generally have their influences in Viking cultures or else older Anglo-Saxon cultures. I based the first book and the sequel on the cultures of East Asia so that they would have a unique voice.

Apart from being an adventure story, The Jewel of Nisawa comments on how we plunder nature owing to our endless greed for resources. How did you manage to weave in ecological concerns without being preachy? What role did your editors play?

The editors at HarperCollins India have been very supportive and encouraging, and I am truly grateful for that. The themes of both the books were influenced by Buddhist writings but I also wanted to tell a compelling story that would entertain as well as positively influence the readers. The first book had an underlying theme of the horrors of war, and the sequel is about greed and what that can do to the environment. We can see this around us.

The idea of choosing peace over war, which you introduced in the first book, is so relevant in the context of the genocide in Gaza. When children are exposed to images of bloodshed on screen, how can books offer comfort and hope?

My books will be just a drop in the ocean but every ocean is made of drops of water. If more of us can contribute some positivity through any form of art, slowly these drops will form an ocean of positivity.

After the recent passing away of your mentor Daisaku Ikeda, who was a strong voice for nuclear disarmament, how do you plan to continue working for peace in the world?

As for Daisaku Ikeda, he was someone I never had the opportunity to meet in person, but his writings are always there as guidance. Peace begins in the minds and hearts of each individual, so the only way I can contribute is by trying to be the best version of myself. As human beings, each one of us is a work in progress, but the attempt must be constant.

Are there any plans to adapt these two books into films or a web series? Which character would you love to play, and why?

I would love to see these books either as films or as a web series. I had visualised them as if I was seeing a film and then I would write. I am still using the same process as I work on the third book in the series, which is in progress. I am not sure if I would fit into any of the characters in these books, unless whoever is directing it considers me for a part.