“Surviving an abusive marriage made me realise how many women stay silent because they’re taught that suffering is a virtue. That’s when I decided I wouldn’t just write stories — I’d write resistance.”
1. You’ve worn many hats — journalist, author, speaker — but how did your personal journey with storytelling begin? What first pulled you into the world of words?
I grew up in a home where books were treasured like family heirlooms. My parents rose from lower-middle-class beginnings through sheer grit, education, and relentless hard work. So, I was raised on the values of resilience, reading, and quiet ambition. Storytelling wasn’t some lofty dream — it was a way of making sense of the world we were striving to belong to.
I wrote my first poem when I was five — it was terrible, of course — but something cracked open in me that day. Journalism later gave structure to my voice. Fiction offered the freedom to colour outside the lines. Somewhere between deadlines and daydreams, I realised I wasn’t just telling stories — I was rewriting where I came from.
2. Your writing often explores themes of gender, identity, and empowerment. Was there a particular moment or experience that led you to delve into these topics so deeply?
I wish I could point to one defining moment — but really, it was more like a thousand paper cuts. The everyday sexism at work. The lecherous stares on the street. The expectations that came with being a woman, a wife, a mother, a daughter — but never just me.
The turning point, however, was deeply personal: surviving an abusive marriage. That experience made me realise how many women stay silent because we’re taught that suffering is a virtue. That’s when I decided I wouldn’t just write stories — I’d write resistance. And if even one woman could reclaim her voice through my words, it would all be worth it.
3. There’s a lot of buzz around the adaptations of Boys Don’t Cry and The Terrible, Horrible, Very Bad Good News. How has the process of seeing your work translated to screen challenged or inspired you creatively?
It’s exhilarating — and mildly terrifying.
Writing a book is a solitary act. Screen adaptations, on the other hand, are gloriously collaborative. You’re essentially handing over your baby to a village, and sometimes they dress it up in ways you never imagined. I’ve learned to let go — to trust directors, actors, and producers with the soul of my story.
It’s also taught me to think more visually, more cinematically — even when I’m writing prose. And watching my characters come alive on screen, hearing them speak and seeing them breathe? That’s the kind of magic no writer ever forgets.
4. And just for fun — if you could swap lives with any fictional character for a day, who would it be, and what’s the first thing you’d do?
Elizabeth Bennet, hands down. A sharp tongue, a sharper mind, and a flawless takedown of patriarchy disguised as flirtation? Sign me up.
The first thing I’d do is ride a horse through the English countryside — mud on my hem and zero apologies on my lips. And then maybe pen a letter to Mr. Darcy, just to keep him on his toes.
Bio:
Meghna Pant is an award-winning author, journalist, and speaker whose work spans fiction, nonfiction, and screenwriting. Known for her powerful narratives on gender, identity, and empowerment, she has penned acclaimed books such as Boys Don’t Cry, The Terrible, Horrible, Very Bad Good News, How To Get Published in India, and Feminist Rani. A former business news anchor, Meghna’s work has earned her several honors, including the Laadli Media Award, Bharat Nirman Award, and FICCI Young Achiever’s Award. With her stories now being adapted for the screen, she continues to inspire a generation of readers with her fearless voice and unapologetic storytelling.
Interviewed by: Niyati Gupta
Edited by: Shantanu Singh
.jpeg)
.JPG)
){kind=link}
0 Comments