Research & Development into Crafting a Folklore

The decision to write horror folklore was a long time calling. Crafting a story within this genre required a delicate balance of imagination, historical accuracy and a journey that involved rigorous research and creative development. There are stories from my past and culture that have been both thrilling and terrifying. Writing Indian folk horror was not just about conjuring up scares, as these narratives are rooted in traditions and superstitions in my culture. Developing supernatural stories and meeting them with researched cultural truths was an intricate process.

Familial Influence

Every great story starts with a spark of inspiration. For folklore horror, this often comes from a fascination with particular myths, legends, and oral storytelling. In my case, this creative flame was kindled in the heart of Maharashtra. I grew up in Mumbai & Nagpur, listening to stories told over and over again by my Aaji (grandmother). During those hot summer holidays, my Aaji shared tales that shaped my perspective of the supernatural forever. I would be completely captivated as she recounted elaborate tales of interactions with goddesses, witches, and demons. As a wide-eyed 10-year-old Trupti, picturing my Aaji dealing with the supernatural was both exciting and terrifying. She was my hero! What made these stories even more captivating was the simplicity with which my Aaji recounted her experiences. I would lay my head on her arm, fiddling with her flawlessly draped nine-yard saree, as she straightforwardly recounted her stories. There were no dramatic flourishes, no exaggerated gestures; just the raw, unadorned truth as she remembered it. Her voice was steady and unwavering.

My dad, on the other hand, was an animated storyteller. His storytelling skills were like stepping into a whole new world, a world where his words painted vivid pictures in my mind. With each tale, he transported me to realms of horror, making me feel as though I were right there alongside the characters he brought to life. His voice would rise and fall with the tension of the plot, his gestures adding a touch of drama to the narrative. As he delved into the details, his stories became more than just words - they became experiences. I could almost feel the chill of the wintry night, and hear the footsteps of the approaching witch and her wailing baby. The sound effects he used made the stories come alive, sending shivers down my spine and leaving me on the edge of my seat. Even after the tales ended, this fear lingered in the air. As I lay in bed, wide-eyed and filled with a mix of fear and fascination, I could still hear the echoes of my dad's narration, his voice weaving its way through my nightmares.

Their stories, steeped in folklore, became the foundation upon which inspired my creative journey.

Diving into Research

The history, geography, and cultural practices of Maharashtra are closely connected with its folklore and traditions. These include Mythology of goddesses, Sacred trees, tribal lives, haunted forts, wandering spirits, protective deities, and mystical legends, providing insights into the beliefs and creative minds of the locals. Whether shared through festivals, literature, or oral narratives, these tales remain captivating and chilling, retaining their significance in modern culture.

Fig. 1 S. M. Edwardes, By-Ways Of Bombay, 1912

The development of my folklore included sourcing materials from books, academic papers, maps, prints, catalogues, photographs and gazetteers. I initiated the process by frequenting libraries, engaging with folklore societies, cultural societies, and museums and conducting archival investigations to uncover its origins. Understanding its origins, variations, and the cultural context in which it exists was crucial. This helped in portraying the myth accurately and respectfully.

Exploring themes and motifs

I explored different cultures across India, including Assamese demonology, rituals related to sacred trees, folklore surrounding wells, and cults, while also drawing parallels to Islamic, Zoroastrian, and Buddhist traditions. Whether it is the varied gods in Hindu mythology, the eerie tales from medieval Europe, or the intricate beliefs of Christianity, these stories express common themes of good versus evil, safeguarding, and the supernatural.

The fascination with these age-old stories and traditions resides in their ability to provide insight into the shared consciousness of civilizations across time. Looking into these domains has enabled me to reveal the complex web of human creativity and the diverse approaches various societies have taken to comprehend the mysterious. Whether exploring the Greek myths portraying divinities and champions or delving into the folklore of native communities recounting tales of spiritual beings and natural gods, each narrative presents a distinct viewpoint on the universe and our role in it.

Essentially, my interest in myths and folklore goes beyond mere entertainment or curiosity; it represents a deep dive into the human experience and the lasting impact of storytelling. These age-old narratives remain relevant in our lives, reminding us of our common humanity and the lasting influence of our shared imagination.

The representation of power and femininity in folklore through symbolism

My first step was identifying a focal point – a myth that scares and resonates on a deeper, cultural level. Folklore and mythology across cultures offer profound insights into how societies perceive and interpret femininity and power. These narratives often feature female figures who embody both nurturing and malevolent aspects, using symbolism to convey deeper meanings about gender, morality, and the supernatural. Here’s an exploration of how malevolent power and femininity are represented through symbolism in various cultural traditions:

In Hindu mythology, Kali (See Fig. 2) embodies both nurturing and destructive forces, symbolizing the duality of feminine power. Often depicted with a garland of skulls, a skirt of severed arms, and blood dripping from her tongue, symbolizes the destructive and protective aspects of feminine power. Her wild hair represents freedom and untamed nature. Kali embodies the fierce, maternal energy that destroys evil to protect the righteous. Her terrifying appearance challenges conventional notions of femininity and underscores the complexity of female power.

Fig.2 Kali, originally published by K. P. Hazra. Chromolithograph, India, 1917. © British Library.

Fig. 3 Hariti with children, Sculpture, 1st century BCE, Gandhara.

Hariti (See Fig. 3) is initially depicted as a Rakshasi(demoness) who abducts and devours children. This portrayal underscores a malevolent power associated with femininity, particularly focusing on the subversion of maternal roles. Her cannibalistic acts represent a perversion of motherhood, transforming nurturing into destruction. This extreme behaviour highlights the fear of unchecked feminine power and its potential for chaos.

Hariti, initially a child-eating demoness is converted by the Buddha into a protector of children. She is often depicted holding a child, symbolizing transformation from malevolence to benevolence. The portrayal of Hariti and her change may indicate concerns within a patriarchal society regarding strong women and the desire to manage and tame their power.

Hariti is a moral example, highlighting the importance of kindness, understanding, and the responsible use of power for the benefit of society. This folklore uses symbolism through Hariti to offer profound observations about human behaviour and societal standards, addressing the fears and aspirations related to female empowerment.

Interplay themes within Qarinah, Succubus, Lilith

The Qarinah is a demoness in Islamic mythology, often associated with sleep paralysis and nocturnal disturbances. The term "Qarinah" can also refer to a spirit that accompanies an individual throughout their life, but its more malevolent depiction aligns it with themes of fear and control. Their association with sleep paralysis reflects the fear of losing control and being vulnerable, particularly during sleep, a time when one is supposed to be at rest and safe. Her intrusion into the private, intimate space of the bedroom signifies societal anxieties about female sexuality and its perceived dangers.

Having its roots in medieval Christian demonology, the Succubus (See Fig. 4) symbolizes the alluring threat of uncontrolled female sexuality. She is renowned for luring men and draining their life energy, frequently through intimate encounters. Portraying the intense and risky aspect of sexual longing, specifically the apprehension that it may dominate rational thinking and result in one's ruin. The Succubus commonly acts as a cautionary tale concerning the perils of yielding to physical desires, which are depicted as corruptive and spiritually harmful.

Fig. 4 The Succubus, Sculpture, Auguste Rodin, 1889

Fig. 5 Lilith, Oil on Canvas, John Collier, 1887

Lilith (See Fig. 5) is a figure in Jewish mythology who is often depicted as Adam's first wife, created from the same earth, and who refuses to be subservient to him. She is later transformed into a demoness, embodying aspects of rebellion, independence, and vengeance. Lilith's refusal to submit to Adam's authority symbolizes a broader resistance to patriarchal control and the assertion of female independence. In later myths, Lilith is depicted as a threat to children and pregnant women, intertwining themes of motherhood with malevolence, reflecting deep fears about female reproductive power and its potential to harm.

Folklore provides insight into how societies perceive and express their fears concerning female power, sexuality, and independence through characters like the Qarinah, Succubus, and Lilith. These mythical beings, originating from various cultural and religious backgrounds, symbolically and profoundly represent these ideas. All three figures utilize sexuality as a means of asserting power, challenging the societal norms and expectations imposed on women. They represent a form of resistance against male authority, whether through direct rebellion, as seen in Lilith's case, or through subtle manipulation, as demonstrated by the Succubus and Qarinah. These entities evoke both fear and fascination, highlighting the mixed emotions societies harbour towards strong, self-reliant women who defy traditional gender roles.

Writing Folklore with "Save the Cat" Principles

Crafting an engaging folklore seemed very challenging. I employed the Save the Cat method, introduced by screenwriter Blake Snyder, which provides a systematic approach that can be adjusted for crafting folklore narratives. A clear structure helped with keeping my story logical and engaging. It ensured that each part of my story served a purpose and kept the audience hooked. Snyder’s rules also focus on making characters relatable. By giving them clear motivations, flaws, and moments that show their humanity, one can make the audience care about what happens to them.

Snyder's Beat Sheet breaks a story into 15 essential parts, ensuring it flows well and keeps the audience interested. Here’s a simplified breakdown:

1. Opening Image: A snapshot of the world before the story starts.

2. Theme Stated: A hint at the story’s main message.

3. Set-Up: Introduce the main character and their world.

4. Catalyst: An event that changes everything for the main character.

5. Debate: The main character hesitates before deciding to act.

6. Break into Two: The character commits to their journey.

7. B Story: A subplot that supports the main story.

8. Fun and Games: The main action of the story, where the character explores their new world.

9. Midpoint: A big event that changes the direction of the story.

10. Bad Guys Close In: Challenges and threats intensify.

11. All Is Lost: The character hit their lowest point.

12. Dark Night of the Soul: The character reflects and finds a new resolve.

13. Break into Three: The character decides on a final plan.

14. Finale: The climax where the character faces the biggest challenge.

15. Final Image: A closing scene that shows the change in the character or world.

Scrivener

Writing a horror story requires careful focus on details, a thorough exploration of fear, and a strong organizational ability to craft a narrative that will engage and frighten readers. Utilizing tools such as Scrivener greatly enhanced my writing experience. It offered a versatile platform designed to handle the complexities of long-form storytelling.

Being able to use this program on both my iPad and iMac gave me the flexibility to synchronize the project across both devices. This program allowed me to experiment with diverse narrative structures and explore different viewpoints. I successfully navigated the complexities of crafting a horror novel with ease, enabling me to focus on enhancing the elements that would evoke both fear and fascination in my audience.

Crafting the Horror

I crafted a folklore by reflecting on the challenges and significant events that have influenced my perspective. I immersed myself in my cultural heritage, drawing inspiration from traditions and wisdom passed down through generations. This journey of self-discovery led me to uncover profound insights and truths that became the foundation of my folklore world. Every aspect of my experiences, beliefs, and values intertwined to bring depth and authenticity to the stories I created. Through this creative process, I paid tribute to my ancestors while establishing a strong link between the past and the future. The folklore I crafted continues to captivate and inspire those who engage with it.

'Unnamed', Trupti Lyndon, 2024

Although my first draft was flawed, receiving feedback from friends, family, mentors, and peers, particularly those well-versed in the folklore or culture being discussed, was extremely beneficial. Their suggestions highlighted errors, suggested improvements, and ensured the authenticity and sensitivity of the story.

Writing folk horror is an arduous but immensely rewarding journey. It’s a dance between the real and the imaginary, a task of bringing ancient myths to life in a way that captivates and terrifies modern readers. Through meticulous research, careful crafting, and deep respect for the source material, folk horror can transcend mere storytelling, offering a glimpse into the soul of a culture and the universal fears that unite us all.

Whether you're a budding writer or a fan of horror, keep in mind that the most captivating stories are those based on reality - even if that reality is veiled in chilling folklore.

Arts Council England funded this Research and Development into Writing folklore

An Elegy for a Bloom: Lupus in Illustration

'An Elegy for a Bloom' showcases my experience with Lupus Sle, a chronic autoimmune disease. The disease has been an ever-present factor in my life, and it demands careful consideration in all aspects of my daily routine. Lupus occurs when the immune system, which ordinarily defends the body against infections and illnesses, attacks its organs and tissues. Unfortunately, it is an incurable disease, and its unpredictable nature poses significant challenges to those who live with it. 

The goal of this project is to create a metaphorical narrative that raises awareness about Lupus. The diagnostic process can be lengthy, and many individuals suffer silently due to the nature of the disease, which often leaves them in a state of confusion and uncertainty. This project aims to provide a comprehensive account of my experience with Lupus Sle, with the intent of inspiring others to seek medical attention and better understand the condition.

Developmental process

In colder countries, people eagerly await the summer sun as it has a positive effect on their moods and health. Lack of sunlight for prolonged periods can adversely affect well-being. In the UK, this season is celebrated as a time of life. 'An Elegy for a Bloom' has been created to depict the effects of sun exposure on individuals suffering from Lupus. This condition can trigger symptoms such as fatigue, joint pain, weakness, skin rashes, itching, and burning, and can even cause organ damage.

The Damned Sun (see Fig. 1) depicts a woman walking in a woodland area with plenty of tree shade and coolness on a warm sunny day. However, she is covering her head with a scarf and holding an umbrella, which suggests that she is uncomfortable being outside on a summer day and is wearing layers of protective clothing to prevent any flare-ups.

Fig. 1 The Damned Sun from An Elegy for a Bloom (2024)

Capturing Symptoms and Expressions

About half of all lupus patients experience a characteristic rash that spans the width of the face and covers both cheeks and the bridge of the nose. It may occur spontaneously or after exposure to the sun. The butterfly rash appears red, elevated, and sometimes scaly. The butterfly rash may appear on its own, but some people observe that its appearance means that a disease flare is beginning. In this illustration (See Fig. 2) the woman's unamused expression suggests she anticipates an incoming flare-up with the arrival of a butterfly.

Fig. 2 Arrival from An Elegy for a Bloom (2024)

The Spoon Theory

Spoon Theory is a friendly concept that uses spoons to represent energy throughout the day. For someone with chronic fatigue, each activity costs a certain number of spoons, and once they're used up, their energy is depleted. To replenish their spoons, rest and sleep are necessary. Pushing past the number of spoons can cause a crash that takes days to recover from (See Fig. 3) It's a helpful way to understand chronic fatigue and support those who live with it.

Fig. 3 A Rose is a Rose is a Rose from An Elegy for a Bloom (2024)

During the period of illness, I experienced episodes of confusion, delirium, and psychosis in which my consciousness was clouded. During these episodes, I felt agitated and fearful and experienced visual or auditory hallucinations, as well as paranoid thoughts such as feelings of persecution. These episodes can last for several hours or days before subsiding. (See Fig. 3)

Fig. 4 Delirium from An Elegy for a Bloom (2024)

Stress is a significant trigger for lupus, and it often poses a great challenge for me to work during a flare-up. Once, I experienced a flare-up while painting this illustration (See Fig. 5) and my original composition looked entirely different.  Despite my ambition to complete the illustration, lupus overpowered my mind and body. That day was a struggle, and I felt helpless, angry, and in pain, completely isolated. Fortunately, the flare-up eventually subsided, and I was able to finish 'The Labyrinth'.

'An Elegy for a Bloom'  represents Lupus as a blatant violation of the most fundamental laws of the immune system. Nevertheless, the disturbances that dangerously turn self into non-self remain unclear and hazardous.

Fig. 5 The Labyrinth from An Elegy for a Bloom (2024)

This blog post delves into the exploration of illustration as a means to comprehend Lupus Sle, emphasizing its ability to capture symptoms, emotions, and experiences while fostering empathy, empowerment, and advocacy.

Arts Council England funded this Exploration and experimentation with Illustration techniques. 

Navigating Archival Research at the British Library

The British Library, an institution steeped in history, offered me the opportunity to embark on a captivating journey through time and knowledge. I found myself immersed in the magnificent halls of the British Library, eagerly exploring the rich tapestry of Indian folklore and British Indian history. My experience with archival research has been eye-opening, educational, and inspiring. In this reflection, I will share the profound impact that my time spent at the British Library has had on my perspective and understanding of history, culture, and the art of research.

The grandeur of the building and the sheer volume of knowledge within its walls was overwhelming, my initial encounter with archival research was daunting. But the moment I uncovered my first manuscript of Indian folklore, the words seemed to leap off the page, painting vivid images in my mind. The legends of gods and goddesses, mythical creatures, and everyday heroes unfolded like colourful canvases, and I realized that, as a writer, I could now illustrate with words. My goal was to breathe life into forgotten stories and bring them back to the forefront of literature.

As I delved into the archives, I found myself travelling through time. Letters written by historical figures, ancient maps, and centuries-old manuscripts revealed the stories of bygone eras. It was as if I had a time machine at my disposal, allowing me to witness the thoughts, dreams, and events of people who had long departed from this world. Each page seemed to resonate with the vibrant cultures and traditions that have shaped India for millennia.

I soon realized that archival research is an art and a science in itself. It's not just about flipping through pages and deciphering old handwriting; it's about connecting with the past, understanding the context of the documents, and piecing together the intricate puzzle of history. It's like being a detective, uncovering hidden truths and unravelling the mysteries of the past.

My exploration at the British Library was two-fold, a path I decided to embark on to create a nuanced narrative that encompasses both Indian folklore and British Indian history. It was a decision born out of a desire to understand how these worlds intersected and to breathe life into stories that had been forgotten by many. Initially, I grappled with the idea of moving from illustrating these stories to becoming a writer. However, as I dug deeper into the documents, manuscripts, and records, I realized that this transition was an evolution of my art rather than a departure from it.

The archives gave me a new palette to work with: words, historical context, and an in-depth understanding of the cultures I aimed to portray. Through this process, I aim to bring these narratives to life, intertwining the threads of Indian folklore and British Indian history to craft stories that resonate with a global audience. This journey has been a transformation of my artistic and literary identity, and I am eager to continue exploring the intersection of these two worlds.

My time at the British Library was funded by Arts Council England.