Showing posts with label short story. Show all posts
Showing posts with label short story. Show all posts

Sanjiv Sharma meets Chakrapani Srinivasan - Part #1 - The Return of the Retired Civil Servant

The Return of the Retired Civil Servant - Part # 1

At eight in the evening, the city loosened its collar but did not rest. The air above the road held that particular Mumbai fatigue—warm, salted faintly by the sea, yet softened by dusk. From the front window of the upper deck, Sanjiv Sharma felt the wind flatten against his face and slide past him like a patient hand. He did not move. He allowed it to comb through the day.

The bus groaned into motion from Electric House, its body protesting the load of commuters who had decided, like him, that trains could wait one day. The conductor’s whistle pierced through layered conversations: office gossip, half-finished phone calls, arguments about cricket scores, someone explaining loudly how onions were again becoming a national crisis. The upper deck was a balcony to the city, and Sanjiv occupied the front seat like a quiet spectator to a performance he had seen all his life yet never tired of.

BEST HQ, Electric House, Colaba


He worked only a few lanes away from the grand façade of Regal Cinema, folding shirts, stacking denim, convincing customers that a color suited them when it did not, and sometimes convincing them that it did when it did. Retail was theatre. He had learned to smile with the precision of a shop mirror: wide enough to reassure, narrow enough to conserve energy. Today the crowd had been relentless. A shipment had arrived late. Two customers had argued over a discount. A child had hidden inside a rack of winter jackets and refused to come out. By closing time his calves felt packed with sand.

The bus curved away from Colaba and began its slow northward crawl. Lights flickered alive in office towers like sequential thoughts. Sanjiv let his head rest against the metal bar and drifted inward.

He saw Chembur the way memory preferred it: not as it was, but as it had layered itself over years. His grandfather, Naik Havaldar Jairam Sharma, marched through those memories in sepia. A man of straight lines and polished boots. The old stories returned whenever Sanjiv grew tired: Poona Cantonment, the last years of British command, the strange pride of wearing a uniform that belonged to a country not yet fully its own. His grandfather rarely spoke of war, but he spoke of discipline as if it were a living relative. When he retired and moved with fellow soldiers to the emerging outskirts of Bombay, they carried their regimental camaraderie like a portable homeland. Chembur then was dust and promise. The Bombay Improvement Trust chawls rose in practical rows, unadorned, determined.

Sanjiv had grown inside those corridors of shared kitchens and shared arguments. Doors were rarely shut; privacy was a negotiable idea. His childhood smelled of frying onions, kerosene, incense, and damp newspapers. He had run barefoot across the corridor with Shalini, both of them scolded by multiple mothers who believed themselves collectively responsible. He smiled faintly at the memory of her braids, always too tight, her irritation at arithmetic, her triumph when she beat him in spelling tests.

The bus lurched. Someone laughed too loudly behind him. A ringtone erupted with devotional music. The city stitched itself back into his awareness.

He pictured Shalini now, probably coaxing Vijay into finishing dinner. Their son negotiated every spoonful as if it were a legal contract. Sunita, at three, would already be asleep, one arm flung across her pillow like a fallen dancer. Sanjiv felt a sudden swell of protectiveness so intense it bordered on fear. He wanted for them what he could not yet name in concrete terms—only a broad, shining assurance that their lives would travel smoother roads than his. Education, he told himself. That was the bridge. He had seen boys from the chawls become engineers, accountants, men who returned in cars that looked like visiting dignitaries. He did not envy them; he catalogued them as evidence.

The bus stopped again. More passengers pressed upward, filling the stairwell with the smell of sweat and talcum powder. An elderly gentleman emerged, gripping the railing with deliberate care. His hair was white but not defeated; it clung neatly to his scalp. He wore a pale shirt ironed with old-fashioned pride. A small cotton cloth bag dangled from his wrist, and a plastic bottle caught the overhead light.

He paused near Sanjiv’s seat, scanning for space. The only available spot was beside him. Sanjiv shifted immediately, knees angling inward to make room.

“Please,” he said.

The old man nodded, breath slightly labored, and lowered himself with a sigh that carried the weight of the day. He took a sip from his bottle, closed his eyes for a second as if sealing in the comfort, then leaned back. The bus resumed its rhythm. Outside, Marine Drive’s curve glittered like a necklace carelessly thrown on black velvet.

Sanjiv tried not to stare, but he felt the presence of the man the way one feels a book placed beside them—full of untold pages. He wondered about the cotton bag. It had the modest dignity of long use. His grandfather had carried something similar: documents, receipts, a folded umbrella, always arranged with military logic.

His thoughts wandered again, this time to the arithmetic of survival. Rent was stable for now, but school fees would rise. Shalini had mentioned English-medium tuition. He did not resent the expense; he resented only his own limitations. If he could climb higher in the shop—assistant manager, manager—perhaps one day he could open a small store of his own. He pictured a signboard: “Sharma Readymades.” The idea felt audacious and fragile, like glass warmed in the hand.

The elderly gentleman’s head tilted slightly, sleep flirting with him. The cotton bag slipped. It fell with a soft, final thud onto the floor, unnoticed by its owner.

Sanjiv reacted before thinking. He leaned forward, fingers brushing the dusty bus floor, and retrieved the bag. It was lighter than he expected. He tapped the man gently on the arm.

“Sir…”

The old man startled awake, eyes sharpening with embarrassed alertness. Sanjiv held out the bag.

“This fell.”

A flicker of alarm crossed the man’s face, then relief. He accepted it with both hands, as though receiving something ceremonial.

“Ah—thank you, thank you,” he murmured. His voice carried the rounded cadence of the south, polished by decades in offices where clarity mattered. “These old fingers, they betray me.”

They shared a brief laugh, the kind strangers exchange to confirm mutual goodwill. The man adjusted the bag securely on his lap and extended his hand.

“I am Chakrapani Srinivasan,” he said. “Retired civil servant. And tonight, apparently, a danger to my own belongings.”

Sanjiv shook his hand, surprised by the firmness of the grip. “Sanjiv Sharma. I work in Colaba. Going home.”

“Chembur?” Chakrapani asked, with uncanny accuracy.

Sanjiv blinked. “Yes! How did you—”

“This bus,” the old man said, gesturing grandly to their rattling chariot. “It carries only the faithful. We are a community of the tired.”

They laughed again, and conversation opened easily, as if it had been waiting. Chakrapani spoke of files and ministries, of decades spent navigating corridors where decisions moved slower than the ceiling fans. He had seen governments change like monsoon moods. Yet retirement, he confessed, was a stranger terrain. Time stretched differently. He now measured days by walks to the market and arguments with his gardener.

“And you?” he asked. “Family?”

Sanjiv described Shalini, the children, the chawl. He did not dress his life in apology; he narrated it plainly. Chakrapani listened with an attentiveness that felt like respect.

“Diamond Gardens,” the old man said suddenly. “That is where I live. A small bungalow. Old construction. My wife refuses to leave it. Says the walls know her moods.”

Sanjiv’s eyes widened. “I live near the railway station. In the old chawls. Five minutes from Diamond Gardens.”

For a second they stared at each other, mapping the invisible threads of proximity. Then the absurdity struck them. Two men, divided by architecture and income, carried nightly by the same bus, breathing the same tired air.

Chakrapani chuckled. “See? This city. It arranges us in different houses and seats us on the same bench.”

“Bombay is a grand equaliser,” Sanjiv said, the phrase arriving fully formed.

“Yes,” the old man agreed softly. “Here, the bus does not care who you were. Only where you are going.”

Outside, the city streamed past—shops closing, couples arguing gently, a boy racing a stray dog. Inside, on the upper deck, they rode in companionable silence, two residents of the same neighborhood, newly aware of each other, equal passengers in the long, humming vehicle that carried them home.

(c) Bharat Bhushan

16 February 2026

Writing short stories (4) - How to begin writing the story?

 How do you begin writing a short story? Most first time writers find it difficult to begin writing. Usually it is the first paragraph that is the most difficult. At times, I have sat at my desk trying to start and at other times there is this flood of ideas, images of many characters that keep moving about. 

It can happen at the most unusual of locations. Traveling back in a long distance train at midnight hours and you are watching the only other co-passenger and the mind begins to wonder about them. At other times, you know that you are chatting with a very illustrious personality but you are not interested at all. 

A good idea is to pen down a list of various points that can help you focus. On some days you get this most awesome idea that would definitely be larger than the number of words you need for a short story but can you be disciplined enough to sit and write or type it out? It would be a good strategy to list out the points of your terrific idea or of your yet uncertain topic. 

Try to pick up the three essentials that you need to begin, i.e. the protagonist, the antagonist and the location of the story. These form the crucial triangle that you need to begin with your short story. The first paragraph sets up the tempo for your short story. It decides if your story is going to race ahead in its stream of events or will it go forward because of the dialogue structure. 

You may suffer a writers' block for months and that is exactly why it is a good idea to start in the first para with whatever comes to your mind. 



Before =

After = 
(5) To use Pen+Paper or type it out on a computer?


Bharat Bhushan, July 13, 2021


Writing short stories (3) - Do you have a clear protagonist?

So you want to write a short story? Do you have a clear protagonist? You need to determine as to who will carry your short story from the beginning to the end. It is clear that you would have a hero and a heroine if you are writing a love story. But it does not usually work like that. It is not so easy. A hero in a love story could gradually or abruptly turn out to be a villain. That will certainly make for an interesting short story. 

Creating a major character to give strength to the story is up to the author unless you are borrowing a known character from other stories or from current events or depending upon the obvious aspects of generic protagonists. For example, you could borrow Arjuna or Hanuman from the Puranas to be part of your short story. You would not need to take away too many sentences to develop these characters within your manuscript. 

What if you take a renowned Olympian gold medalist champion athlete and turn him out to be an antagonist? Wait! That is actually been done in real life. A good protagonist could also be in conflict with a powerful antagonist or could be at conflict with oneself or with the image that the people have about them. You would need to be careful in such situations to avoid contradicting yourself by the time that you complete your story. 

The principal character notes could be written up separately as your reference guide and will help you to stay truthful and faithful to continuity with the protagonist and the antagonist if you decide on including them in your next short story or in a series. There could be more than one protagonist or antagonist and the author could turn them into a good collective team, for e.g. commandos or school students. 




Before = 

(2) Does your story have a beginning and an end?

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(4) How to begin writing the Story?


Bharat Bhushan, 12 July 2021

Writing short stories (2) - Does your short story have a beginning and an end?

So you want to write a short story? Does your short story have a beginning and an end? You do realize that the concept of a short story requires it to dispense with a gradual build up to introduce the location, place-in-time and the characters and their many relationships. Thus, the successful short story usually depends on known and familiar places to the reader. 

If you are writing for the people of your town or your part of the world, you would know that they are familiar with the locations. But if you are writing a short story located in remote Siberia and the story is meant for a global audience, you want to limit yourself only to the very obvious aspects of Siberia. 

The story needs to begin rather immediately with a situation that every reader would be familiar with. The protagonist and the antagonist need to be identified rather at the very beginning and their conflict must be written about with good clarity. The antagonist may actually be carrying the entire story and it should be made clear very early. 

The advantage of a short story is that it has to certainly have a beginning and an end. It helps you confine the story to a certain number of words and pages. The disadvantage is that as an author you begin to fall in love with the characters and you may not want either of them to lose so abruptly. You may thus want to keep on writing. 

That is the reason why one needs to impose a maximum number of words for the first draft. Stop your writing at that limit. One can expand on the story or the conflict when one goes from the first to the second draft. The story will definitely grow but it will not gain strength to become a novel. 



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(1) How short is a short story?

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(3) Does your story have a clear protagonist?


Bharat Bhushan, 11 July 2021

Writing short stories (1) - How short is a short story?

How short is a short story? It can be measured in good terms if you are typing it in and using a computer. I generally have a benchmark of 4 A4 pages for a short story but it has to be a very tight four pages. I use the default page setting in Ms Word and do not change the margins except to add a single line header for the title and a single line footer for the page number. I choose to work in Times New Roman font at Size 11 Normal font. 

I do not bring in sub-titles in the first draft in order to allow for a complete non-formatted short story to be completed. I give a 5-space indent to the first word of every para but do not provide any space to para breaks. This helps me use the entire writing space of the four A4 pages. 

It is difficult to write up to four pages if one is a new writer and if one does not have the practice. You can improve as you go forward and it becomes somewhat easier in future attempts. The other problem is when the story does not want to end with the last paragraph of the 4th page. That's ok. If you typed in four pages, you have done a good starter's job. The story is out there and now you can work with it. 

The tougher task begins in editing the text from the first to the second draft. You need to be careful here. Do not shorten the story in the second draft. Allow it to grow from the four A4 pages to five pages. This helps you to develop the characters and allows your principal character in the short story to appear real, plausible and believable and larger than the scope of the first draft. 



Next =

(2) Does your short story have a beginning and an end?


Bharat Bhushan, 10 July 2021