Mahabharat Warriors: Ravana Returns – An Author Interview with Rajendra Sarilla

 

                                                                                   RAJENDRA SARILLA

Q.1.Your last book was an original fantasy. What was the creative spark that made you, a self-described discovery writer, decide to weave together the two largest epics of India into Mahabharat Warriors: Ravana Returns?

A. Even though Scarlett was an award-winning book, it never received the attention it truly deserved. The reason is simple: in India, the fantasy genre has no market—or rather, it has a peculiar one. Indian readers love fantasy books like Harry Potter or Game of Thrones, yet the very same readers overlook fantasy written by Indian authors. They carry a misconception that Indian fantasy is either mediocre or merely a duplicate of Western fantasy.

That realization stung. But it also clarified something essential for me.

I understood that unless I wrote mythology fiction, people simply wouldn't notice my talent. And that realization led me to a deeper truth: I had always wanted to create something epic. Something Indian readers could connect with on a visceral level. Something that could stand tall beside the best of Western fantasy. So I created an epic mythological fiction—a crossover story that weaves together the two great epics of our land.



Q.2. The title alone is a bold statement. Ravana is one of literature’s most complex anti-heroes. What about this character compelled you to bring him back, and why pit him against or alongside warriors from the Mahabharata? What question about these characters did you want to explore?

A. I believe that stories are born from characters. So as a writer, my task was clear: to create a powerful story with powerful characters. But I wanted to go a step further. I wanted to create characters that Indian readers are already familiar with—figures they carry in their collective memory.

That is why I chose to draw from the Mahabharata.

Then came the question of the antagonist. I needed a villain who was not merely menacing but truly formidable—someone who could stand as an equal, if not a superior, to the warriors of the Mahabharata. Ravana fit the bill perfectly. His legend carries weight, his power is unparalleled, and his presence commands attention.

Once I placed him in the narrative, I found myself captivated by a deeper question: how would the Kauravas and Pandavas react when faced with a common enemy as powerful as Ravana? What happens when lifelong rivals must set aside their differences to confront a threat that transcends their ancient conflict? That question became the soul of my story.



Q.3. In your interview for Scarlett on bookschharming blog, you mentioned you write what you enjoy reading. As a reader, what did you feel was missing in the vast landscape of mythological fiction that you wanted to create for yourself?

A. Most mythological books—whether the Shiva Trilogy or the Kalki Trilogy—have limited themselves to exploring a single character. They follow one hero, one arc, one singular journey. I wanted to change that.
I wanted to do something no one had attempted before.

No one had written a crossover in this space. Not truly. Not one that brings together the two great epics and lets their legendary characters share the same stage. So I set out to write something different—a crossover mythological fiction with multiple characters, each with their own weight, their own conflict, and their own place in the story. I didn't want to tell the story of one hero. I wanted to tell the story of a world.



Q.4. For a writer, the aesthetic is in the world-building. How did you approach creating the rules for this universe? What was the most challenging aspect of merging the distinct cosmologies, timelines, and power structures of the Ramayana and Mahabharata into one cohesive world?

A. In Hindu cosmology, the Ramayana unfolds in the Treta Yuga, while the Mahabharata belongs to the Dwapara Yuga—eras separated by lakhs of years. But I wanted to make things simple and accessible for the reader. So I anchored the story to the most widely recognized Gregorian timeline: 8000 BC for the Ramayana, and 3000 BC for the Mahabharata.

I had to ensure a smooth narrative flow between the two timelines. The events set in 8000 BC needed to align seamlessly with those unfolding in 3000 BC. Every thread had to connect; every consequence had to echo across the ages.

Thankfully, the power structures across both epics share a fundamental consistency. Both belong to the ancient period—an age when kings fought other kings for power and glory. That continuity gave me a solid foundation to build upon.



Q.5.You’ve described yourself as a writer who "goes with the flow" rather than using a strict outline. For a project with this level of complexity—managing iconic characters, existing mythologies, and fan expectations—how did your discovery writing process work? Did you have to adopt new strategies?

A. Most people have a misconception about writers who go with the flow—the so-called discovery writers. They assume we are reckless because we do not follow a rigid outline. But I feel fortunate to have this ability. To me, writing is about letting go. It is about unleashing your imagination without restraint.

Even with a story as complex as Mahabharat Warriors: RAVANA RETURNS, I did not adopt any new strategy. I did not force an outline or impose a structure from the outside. Instead, I trusted the process—and the story flowed naturally. It felt as though the mythological characters themselves were narrating the events. They knew where they wanted to go. I simply followed.



Q.6. You’ve previously spoken about your love for writing powerful female characters like Scarlett and Black Viper. In this new book, which features legendary male warriors, are there female characters who get their moment? How do you balance creating agency for them within the boundaries of a mythologically-inspired world?

A. I have always been fascinated with powerful female characters. There are so few of them in epic literature, and they rarely receive the attention they truly deserve. They exist in the margins—present, yet often overlooked.

In Mahabharat Warriors: RAVANA RETURNS, I wanted to change that. Characters like Urmila—Lakshmana's wife, who spent fourteen years in solitary slumber while her husband stood by Rama; Ulupi—Arjuna's wife and a Naga princess with her own strength and wisdom; Shurpanakha—Ravana's sister, whose humiliation set the Ramayana in motion. Alongside them, other minor female characters finally get their moment.

Within the confines of a male-dominated storyline, I tried to bring balance. I gave these women space to speak, to act, and to remind us that even in epics shaped by kings and warriors, the women were never merely spectators.



Q.7. You mentioned in a previous interview that you write in intense two-to-three-hour stretches, often to epic action music. What was on your playlist while writing the battle scenes for RAVANA RETURNS?

A. When I write action or battle scenes, I need the right atmosphere. I listen to epic action music—the kind that makes your pulse quicken and your imagination expand.

My playlist includes the soaring, cinematic compositions of Audiomachine, the brooding intensity of Hans Zimmer's Dark Knight soundtrack, and the thunderous, heroic anthems of Thomas Bergersen's Two Steps from Hell. These are the sounds that fuel my writing. They transport me to the battlefield, where every clash of swords and every surge of emotion feels alive.



Q.8. What is the most surprising thing you learned about yourself while writing this epic crossover?

A. Through writing this book, I realized something about myself: I am very good at creating cliffhangers, twists, and turns in the storyline. The unexpected comes naturally to me. I have a feel for when to reveal, when to conceal, and when to leave the reader breathless.

Now, I feel I could be a good mystery or thriller writer too. Because if there is one thing I know how to do, it is to keep readers guessing. They won't see what is coming for them.

You may think I am arrogant to say this, but I believe I have the potential to be as good as Agatha Christie if I focused on writing murder mysteries. Go ahead—call it confidence, call it ambition. But you will know how good my imagination truly is when you read my books.



Q.9. Scarlett was aimed at building a fantasy audience in India. With RAVANA RETURNS, you’re tapping into a deep well of existing mythological knowledge. How does your approach to connecting with your target audience change for a book like this? What do you hope a new reader, who might be picking up your work for the first time, takes away from it?

A. With Ravana Returns, I had to approach things differently. Unlike pure fantasy—where there are no limits and imagination runs entirely free—mythology required me to operate within a framework. These characters are already familiar to readers. They come with expectations, with histories, with cultural weight. I had to honor that while still making the story my own. That balance was a new challenge. But I embraced it.

One thing I know with certainty: once people start reading my books, they become my fans. It has already happened before. I receive direct messages on Instagram from readers thanking me for writing a book that moved them, that thrilled them, that stayed with them. That connection means everything to me.



Q.10. You’re a life coach and a writer. This book deals with ambition, ego (Ravana), and duty (the Mahabharata warriors). How does your work as a life coach inform the internal conflicts you write for these larger-than-life characters?

A. As a life coach, I understand something fundamental about human nature: most people put up a brave front even when they are scared inside. They project confidence while doubting themselves in silence. This truth applies not only to the people I work with but also to the characters I write.

In Mahabharat Warriors: RAVANA RETURNS, I tried to explore the inner conflicts of characters like Ravana, Duryodhana, and Karna. Beneath their legendary exteriors, they carry fears, insecurities, and contradictions. They are not merely heroes or villains—they are human.

This approach brings a great deal of drama to the story. Egos clash. Alliances emerge and fracture. Every character is navigating their own internal battle, even as they fight the one on the outside.