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Most authors would love a film or TV deal but the route to success can often take years. In today's show, Vikram Chandra explains how his book, Sacred Games, made it to Netflix after many years of failed development, and how his cross-cultural writing enabled a truly multi-cultural experience.

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Vikram Chandra: I was a spectacularly nerdy little kid. I had a life inside my head that was very active. I used to make up these stories and some of them were quite epic that would go on for weeks and months.

And then of course once I could read I started I became an obsessive reader. I was always trying to get money from my mother and father to buy books. I should say also that my mother is a writer and so some of my earliest memories are of seeing her at the kitchen table writing plays for radio and television and then later films. She's had a very successful career in the film industry in India.

So writing stuff stories down was something that seemed just ordinary. I got my first story published when I was 12 in the student-run school magazine, and that was the thing that really put the bug in place because I suddenly had a larger audience than my friends and family and people seem to like what I was doing.

But it was also very clear to me, because I'd seen the paychecks that my mother got for her work, that making a living from writing was next to impossible. Quite often now I wake up and I think it's miraculous that I have actually done this and managed to still keep doing it.

Vikram Chandra: Thank you. I kept writing and I finally became the editor of my school magazine and my college magazine and the same time especially during my teens I really found this love for American literature. So everything from Melville to Edith Wharton, Hemingway, Fitzgerald, Zora Neale Hurston, and it had this far away glamour also of being a place where I wanted to go.

So I finally made it over to the States as an undergrad and I majored in English with a minor in creative writing in fiction. And then after I got my BA I suddenly realized more than ever that I had to make a living. I had a moment of panic. Am I going to get by? And so since my mother was already involved in the film industry and I was like, I love movies. I incessantly watch films and television. I thought well, here's an industry where I can at least get a job as an assistant to an assistant director or something, so I went to film school at Columbia.

I knew I couldn't make a movie out of it. What I had in my head was way too big and epic. So I dropped out of film school and went off to the university to a couple of writing programs and got my MFA and an MA. And wrote my novel there, which I was very grateful for, especially for a couple of amazing teachers.

I had John Barth and Donnell Barthelemy were incredibly generous to me. And so that's how I managed to get my first book written and then incredibly enough it found an agent and the publisher and that was it.

Joanna Penn: It's a brilliant start. We're going to come to Sacred Games soon, but I did want to ask you and it's so funny because you said America had this far away glamour and I think certainly when many people think of India and Mumbai, Bollywood, I mean talk about faraway glamour. Most people think that is more glamorous.

Vikram Chandra: Right? Absolutely and I also had the arrogance of the young person that I thought I actually knew the United States before I got here. And when you get to this place that we've always dreamed of, you find that it's more unknown and complex than you could have ever imagined.

Joanna Penn: The same is true of India for sure. I've been a couple of times and it's like just dipping a toe in but this is interesting to me because you do seem truly bicultural, in that you live between the US and India and you see your families across both countries.

Vikram Chandra: I talked about Colonel Skinner whose father was a British soldier. His mother was an Indian princess who was captured during a war apparently and so I think right from the beginning I've been in really interested in these coming together of cultures and nations and people and both the creativity and also the destruction that comes out of all of that.

And then I think in relation to India, particularly what fascinates me also is language and how language travels across worlds and changes. India right now, by most estimates, has a hundred and twenty and five million people who speak English and that number is expected to quadruple over the next decade, which means that that at some point fairly soon India will have the largest number of English speakers in the world.

So to replicate that on the page while you're trying to tell a story about cultural seepage, if you want to call it that, globalization, is one of the things that I've tried really hard to get close to and have had a lot of fun doing over the course of all the books.

Joanna Penn: That's very interesting and I want to come back on that English-speaking idea because I've said this many times on the podcast but the English speakers, many of them will be educated and potentially middle class and book buyers.

I've always been impressed by how Indians love books. There's a flourishing pirate book market with print books on the streets, you'll find lots of people selling books on the street. It's lovely because people want to buy books.

Vikram Chandra: Yes. I should also note that it is depending on which year you look at it, it is the fastest-growing economy in the world, which is why publishers from all over the world have set up offices in Delhi over the last couple of decades.

And so I think though that as the middle class grows as more and more people move into the living class, English is moving in all directions and down the social ladder, as it were, so that everyone, even at the very bottom of the economic scale, everyone understands that this language is what gives you leverage and moving yourself up.

We started watching it in English but then found that I just didn't want to watch it in English. So we watched it in Hindi with English subtitles, which I think a lot of people are now doing with Netflix. It worked well that way.

Vikram Chandra: Exactly. And as you'll see in the original soundtrack, you'll see people speaking different languages. Sometimes even one sentence will have words from three different languages in it.

And as for the issue of Sartaj Singh, the lead, being a part of the Sikh religion, Bombay in the police force, that would be very much a minority. If you went up to Punjab or the North that would not be the case at all. So in retrospect I can say that in making one of the protagonists of the book of this religion served me very usefully because he was an outsider in this police force for those reasons.

Having a protagonist who is in some ways an outsider is fictively often very useful and you can see this technique deployed over a large bunch of fictions. But I can say this one being the kind of post-game analysis because when I started writing the character just came to me as he or she often does. He first showed up in a book of short stories called Love and Longing in Bombay, which was the book before Sacred Games in which I thought I would try to write a police procedural because I love them so much.

And as soon as I started thinking that, I had this policeman in my head who had a turban and I have no idea why but once that happens, once you get that initial spark of inspiration, you can find ways to use whatever you start with.

And again I can say that looking back I could try and unravel this a bit and think of all the friends that I had growing up who were Sikh. The name of this character came comes from a boy who was I think three or four more years senior to me in school. Especially in that short story he's very handsome and he's a bit of a dandy and I can think of characters in my life who were like that. I guess that's the fun and mysterious thing about writing is that all you experience is mixed together in this strange chemistry and then it suddenly pops up.

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