Inside the Mind Behind You Know Who: Janani Srikanth on Humour, Human Nature, and the Art of Storytelling

 

Reader’s Muse welcomes bestselling author Janani Srikanth on board again! Congratulations to Janani on the release of her tenth book, a work of satire and observational humour called You Know Who, which is making waves since its release.

 

1.      You Know Who – how did you choose a title that has managed to completely redefine a two-decade strong pop culture reference?

 

The working title for this book was ‘The Comedy of Being Human’ because I was fascinated by how unapologetically repetitive human behaviour can be.

What fascinated me was how certain personalities and behavioural patterns keep reappearing no matter where you go. Families, friendships, workplaces, relationships… the faces change, but the patterns remain strangely familiar.

The more I observed people, the more I realised how unintentionally repetitive human behaviour can be in the most amusing ways. I wanted to present that amusement satirically through relatable people and situations.

But as the book started taking shape, felt the book was waiting for its real title.

And during one of our random long drives, the kind where many ideas between us usually take shape, I narrated the concept to Srikanth. Readers who follow my journey would know that my husband Srikanth designs my covers and is usually the first person I discuss my ideas with.

When he heard the concept, he immediately liked it and told me this was worthy of being my tenth book. We ended up having one of those long conversations where one observation leads to another, discussing so many archetypes and people we had both come across in life.

Almost a week later, when I was busy with another mental health awareness theme, he suddenly came up to me and asked, ‘Are you ready? I have a title for your book.’

Given that he has suggested the title for almost all my books, I knew he had probably hit it out of the park again.

He always has an annoyingly good instinct for titles.

He simply smiled and said, ‘You Know Who.’

I knew instantly it would work. The moment he said it, the entire concept suddenly found its spine.

From then on, the book gained momentum and I finished it in one go.

I think the title fits because the book is built on shared recognition. I wanted readers to read a chapter and instantly think of someone they know. Maybe even message a friend saying, ‘Read this. You’ll know who.’

Now it is difficult to say whether my writing and idea resulted in this title, or whether the title itself made me refine the concept further. You will never know.

And yes, the pop culture reference was purely coincidental. Though I think Voldemort probably deserves an archetype universe of his own. Maybe he will inspire the next volume in the series. You will never know.

😉

 

2.     With ten books to your name, you’ve changed both the fiction and non-fiction landscapes. You Know Who is a treat for your readers, coming up as a laugh riot. Was there a specific reason for this foray into a new sub-genre?

 

Ten books does feel surreal to say out loud. In one of my earlier interviews, I had mentioned having five unfinished drafts and ideas sitting quietly in the background. Somewhere along the way, life seems to have taken that statement very seriously. Three years later, I am speaking about my tenth book. That doubling feels less like strategy and more like one of those quiet manifestations you consciously speak into existence and slowly watch unfold. 

Perhaps this is also the right moment to consciously place another manifestation on record by admitting on Reader Muse that there are currently twenty five more drafts waiting in folders. Let us see what life does with that statement over the next few years.

Jokes apart, You Know Who was born from my fascination with social dynamics, recurring tendencies, and the wonderfully predictable unpredictability of people. If I consciously trace it back, I think the origins of this book go all the way back to a train journey to NIT Durgapur. I remember a random book purchase at the station, twenty four uninterrupted hours on the Coromandel Express, and quietly observing my batchmates in that strangely intimate temporary world trains create. Somewhere between conversations, silences, food packets, unsolicited advice, intellectual debates, and human quirks, I think my fascination with interpersonal rhythms truly began. That curiosity simply stayed with me and evolved over the years.

I wanted to write about the people we all meet in everyday life.

The one-topic experts. The culture keepers. The people who convert every casual conversation into a TED Talk nobody asked for. The accidental philosophers. The chronic overanalysers. The people who make every moment a teachable moment. Human beings are unintentionally funny because we are all walking patterns convinced we are entirely unique.

And honestly, what better genre than humour and satire to explore people with amusement, kindness, and understanding? The humour in this book is not meant to mock or villainise anyone. I wanted readers to laugh in recognition. The kind of laughter where you pause for a second and think, “Wait. I have definitely done this.”

Also, people who know me from my corporate and NIT days have asked me for years, “Janani, where is the dry humour we see in real life?” Most of my books have leaned reflective, philosophical, or psychological. This one finally lets that deadpan side of me fully enter the page.

So beneath the laughter riot, the observational humour, and the social satire, the book is still doing what all my writing eventually does. Quietly examining people with curiosity, amusement, and compassion.

 

3.     Starting with ABCL, you have displayed a different approach to writing and publishing. I have followed the awe-inspiring journey and have eagerly awaited every new release. You Know Who has easily changed the baseline expectation that readers would have about a Janani Srikanth book. How did this happen?

 

I think the biggest shift has been that readers no longer approach my books with a fixed expectation of genre. They approach them expecting a certain way of observing life.

That, to me, is far more meaningful.

When I wrote A Balance Called Life, many readers strongly associated my work with psychology, mindfulness, stress management, emotional wellbeing, and reflective self growth.

With every book, I realised I was becoming less interested in fitting into a single literary identity and more interested in following curiosity wherever it led me. Some ideas demand philosophical introspection. Some demand creative storytelling. Some demand emotional stillness and reflection. And some, like You Know Who, demand satire, humour, and social observation.

I think readers have also grown with me in that sense. They now seem open to being surprised. That is a beautiful space for an author to exist in creatively because it allows experimentation without fear of disappointing a fixed expectation.

At the core, though, I do not think my writing has changed as drastically as it appears on the surface. Whether I am writing psychology, fiction, philosophy, poetry, or observational humour, I am still interested in the same thing: understanding people deeply.

Only the lens changes.

With You Know Who, the lens simply became sharper, funnier, and far more unapologetically amused.

  

4.     It is not often that a book on situational/observational humour gives food for thought. But You Know Who has easily achieved this by interspersing the idea that the people we come across in life with such attributes also have their reasons. Even amidst the laughs, the lens of kindness is evident in your words. How closely does this reflect your personal philosophy?

 

That is a remarkably perceptive observation, actually.

I think one of the biggest shifts that comes from studying and practising psychology deeply is that it becomes very difficult to stay angry at people for long periods of time. You begin to see where behaviours come from. The insecurities beneath arrogance. The fears beneath control. The exhaustion beneath irritability. The private emotional worlds that sometimes appear outwardly as rudeness, sharpness, defensiveness, or imbalance.

That does not mean every behaviour must be justified or endlessly tolerated. But it does make human beings far more understandable.

I have always believed it is very easy to be sharp, mocking, or cruel and still get a laugh. Humour built on ridicule is not difficult. But for me, kindness is the underlying heartbeat of a balanced life. So even when I write about behaviours that are frustrating, exaggerated, or socially amusing, I try to reason them from the other person’s point of view. I wanted the humour in You Know Who to feel observant rather than dismissive.

The intention was never to reduce people into caricatures or cartoons. It was to create moments where readers laugh first and then quietly recognise either someone they know or parts of themselves. Because honestly, most of us have been the overexplainer, the know-it-all, the accidental motivational speaker, or the emotionally dramatic philosopher at some point in life.

I think kindness and observation naturally coexist in my worldview. Human beings are contradictory and emotionally layered.

Sometimes the person constantly correcting others is desperately seeking significance.

Sometimes the person giving unsolicited advice genuinely believes they are helping.

That complexity interests me far more than mockery ever could.

So beneath the satire, the observational humour, and the social commentary, there is still an attempt to understand people compassionately. I think readers can sense that intention while reading the book.

 

5.     You Know Who has your trademark wit and satire on display. While this is a slight deviation from your usually reflective works, it also reinforces the idea that the ‘funny side of life’ is just one light-hearted observation away. How easy or hard was it to balance the humorous side with the almost mesmerising philosophy?

 

Interestingly, I did not experience humour and philosophy as opposites while writing this book. To me, they naturally coexist.

Some of the funniest observations about human beings also happen to be deeply philosophical if you sit with them long enough.

Humour, at its best, creates emotional openness. People lower their guard when they laugh. And once that happens, you can quietly introduce reflection without making it feel heavy or instructional. I think that balance happened organically in You Know Who because I was never trying to “insert philosophy” into humour. I was simply observing life honestly.

Also, real life itself is constantly oscillating between absurdity and insight. One moment people are discussing existential meaning and the next moment arguing passionately in a family WhatsApp group about how tea should be made. Human beings are unintentionally profound and unintentionally funny almost at the same time.

So for me, the challenge was not balancing humour with philosophy. The real challenge was maintaining tonal restraint. I wanted the observations to feel light, effortless, and recognisable without becoming preachy, cynical, or overly dramatic.

I think my background in psychology and reflective writing naturally shaped that rhythm. Even when I am writing satire, I am still interested in emotional truth beneath behaviour. That is probably why readers still sense familiarity with my earlier works beneath the humour.

And personally, I have always felt that the funny side of life is often the wiser side of life too. Sometimes laughter allows people to accept truths they would otherwise resist.

 

6.     Your works have been genre-defining and now genre-bending. You Know Who has challenged all classic notions about the very genre it represents and delved into a side of satire that is unexplored/uncharted. How was your writing experience? Tell us a little about the behind-the-scenes.

 

The writing experience for You Know Who was creatively refreshing because it allowed me to engage with human behaviour from a far more playful lens. Unlike my earlier reflective works that often required emotional depth and philosophical stillness, this book invited me to observe everyday life with heightened amusement.

Ordinary conversations suddenly became material.

A corporate meeting, a train journey, a family discussion, a LinkedIn post filled with dramatic confidence, somebody turning a simple point into a masterclass on life... everything started sounding like potential chapters.

Writing for me has always been a deeply immersive flow state. And that was no different with You Know Who. The only difference was that this immersion came with far more laughter, amusement, and playful observation woven into the process.

A large part of the behind-the-scenes journey was honestly just observation. I have always been fascinated by contradictions in people and the recurring patterns hidden beneath everyday behaviour. The way human beings believe they are being completely original while unconsciously repeating familiar emotional scripts has always interested me. This book finally gave those observations a home.

I actually remember joking with a friend midway through writing the book that every new conversation was reminding me of yet another archetype and that, at this rate, I might accidentally have material for an entire second volume sooner than expected. That was the amusing part. Once you start observing people through this lens, you realise how universal these behavioural patterns really are.

But more than that, I think this book allowed readers to see a more playful side of my personality that usually stays beneath my reflective writing. People who know me personally, especially from my NIT and corporate days, have always associated me with dry humour, deadpan observations, and quietly noticing absurd social dynamics in real time. This was probably the first book where that side of me entered the page without restraint.

At the same time, satire requires far more restraint than people realise. The easiest version of humour is exaggeration without empathy. But I did not want the writing to feel harsh, cynical, or superior. In fact, some of the funniest lines while drafting were also the first ones I removed because they sounded clever at the cost of kindness. I wanted readers to feel recognised, not attacked.

So a lot of the editing process involved balancing wit with warmth. I would often ask myself, “Am I laughing with human nature here, or am I reducing someone into a joke?” That distinction mattered to me throughout the writing process.

 

7.     The teaser promos for this book were one of your best. With each ‘character reveal’, the anticipation grew exponentially. How do you manage to find the audience’s pulse so easily with your specialised/customised marketing ideas?

 

I think the biggest reason the campaign connected with people is because I never saw the marketing as something separate from the book. For me, the teasers, branding, archetype reveals, captions, visual language, and audience interaction were all extensions of the same storytelling experience.

Since You Know Who revolves around recognisable social archetypes, I wanted the promotions themselves to feel psychologically interactive rather than traditionally promotional. Every teaser was designed almost like a mirror. The intention was simple: readers should instantly think, “I know this person,” or occasionally, “Unfortunately, this is also me.”

That is why the reveals were intentionally minimal and recognisable instead of overly explanatory. Curiosity grows far more naturally when people emotionally participate in completing the pattern themselves.

I also paid a lot of attention to consistency in the campaign experience. The monochrome aesthetic, the recurring typography, the typing-click sound patterns, the restrained visual design, the relatable one-line observations... all of it was consciously created to build a very specific atmosphere around the book. After a few teasers, people immediately recognised that they were entering the You Know Who universe again. That uniformity matters because audiences emotionally connect with patterns much faster than we realise.

The typing sounds especially amused me while creating them because they subtly felt like someone documenting society in real time. Almost like quiet observational notes on society.

And honestly, I think being deeply involved in the branding, teaser strategy, and marketing process end to end helped preserve the essence of the book more authentically. When the creator shapes the communication personally, the emotional tone stays authentic.

What fascinated me most was watching readers begin interacting with the archetypes long before the release itself. People were tagging friends, guessing personalities, assigning chapters to colleagues, professors, relatives, and sometimes even confessing that they saw parts of themselves in the reveals. At that point, the campaign stopped feeling like marketing and started feeling like a shared social experience.

And I think that aligns perfectly with the soul of the book itself. We all know these people. We have all been these people.

 

8.     In an era where tradition is battling modernisation and entire generations are stuck trying to find the perfect balance, how do you think readers should approach You Know Who? In the book, the Culture Keeper makes an appearance alongside the Algorithm Whisperer, and both of them show their specific set of challenges in navigating this world. How did you bring harmony into what would have easily become a chaotic setup?

 

I think readers should approach You Know Who with openness rather than defensiveness. The book was never written to declare one side right and the other wrong. It was written to observe the strange, fascinating tensions human beings are constantly negotiating while trying to adapt to a rapidly changing world.

We are living in a time where generations are coexisting with completely different emotional languages, technological realities, social conditioning, and definitions of success. Naturally, that creates friction. 

The Culture Keeper and the Algorithm Whisperer may appear completely opposite on the surface, but both are actually responding to the same underlying human need in different ways: the need for relevance, certainty, identity, and belonging in a changing world.

That was important to me while writing these archetypes. I did not want them to become ideological symbols fighting each other. I wanted them to feel human first.

The Culture Keeper fears loss.

The Algorithm Whisperer fears invisibility.

And suddenly both become understandable.

I think harmony entered the book because I was more interested in understanding motivations than proving superiority. The moment writing becomes overly interested in deciding winners and losers, nuance disappears very quickly. Real life is rarely that simple. Most people are carrying valid fears, partial truths, inherited conditioning, and evolving identities all at once.

Also, humour helped immensely. Humour softens rigidity. People become more willing to reflect on themselves when they are laughing. A reader may disagree intellectually with an archetype and still recognise emotional truth within it because humour lowers resistance.

So even though the book contains contrasting personalities, generational tensions, modern contradictions, and social absurdities, I tried to hold everything together through one underlying thread: compassionate observation. That, for me, created the harmony.

 

9.     Observational humour is usually situational, often dealing with the current events in trend – this is probably why there are very few good books in this genre. But You Know Who is relevant today, and will also be so a decade down the line. How did the timelessness blend with the humour in your narrative?

 

I think the timelessness comes from the fact that the book is not really built around trends. It is built around recurring emotional and social dynamics.

Technology changes. Platforms change. Language evolves.

But human beings, emotionally and socially, repeat themselves far more than we realise.

The archetypes in You Know Who may appear modern on the surface, but their emotional patterns are actually very old. The need to appear knowledgeable, the desire for relevance, the fear of being left behind, the urge to correct others, the performance of identity, the search for validation, the attachment to certainty... these are deeply human tendencies that simply take new forms in every generation.

That was important to me while writing the book. I did not want the humour to depend entirely on temporary internet references or fleeting trends because those often age very quickly. Instead, I wanted readers to recognise behavioural rhythms that exist across workplaces, families, friendships, classrooms, social media, and even across generations.

I think that is also why observational humour becomes powerful when it moves beyond surface-level jokes and starts touching psychological familiarity. A reader may forget a trend after six months, but they will still remember the person who turned every conversation into a motivational seminar or the one-topic expert who somehow appeared in every social setting imaginable.

At its core, You Know Who is less about a specific era and more about the enduring contradictions of people navigating identity, relevance, ego, insecurity, belonging, and self-expression in changing social environments. That emotional landscape remains timeless even when the outer world keeps evolving.

And honestly, human beings will probably continue unintentionally entertaining each other for generations. That part, I suspect, is eternal.

 

10.  Your Fear OFF series took up common fears and propagated the idea that facing and embracing them would lead to a better life. Your fiction works portrayed multi-dimensional, mature characters who looked so relatable and real. But I have often wondered about your Question The Answers, which defied the age-old belief that life is just a quest for answers. It encouraged your readers to rethink the answers and question them for clarity. How did the idea for that book come about?

 

Interesting that you ask about that book specifically because Question The Answers remains one of my personal favourites as well. In fact, both Question The Answers and You Know Who are titles suggested by Srikanth, which feels strangely poetic now because both books, in very different ways, revolve around understanding people and the layers beneath what appears obvious at first glance.

The idea for Question The Answers emerged through my life coaching practice and interactions with people navigating different phases of life. I began noticing that many traditional self-help frameworks approached growth in isolated compartments, whereas real life rarely works that way. A person’s fears, ambitions, insecurities, relationships, emotional wellbeing, identity, and sense of purpose are all deeply interconnected.

I wanted to create something more holistic. Something that would help people reflect across multiple dimensions of life instead of searching for one perfect answer to everything.

More than a conventional self-help book, I always saw it as a reflective toolkit. If someone answers the questions in that book with complete honesty, they will inevitably encounter parts of their inner world they may not have consciously examined before.

The title itself came from a thought that stayed with me for a long time: why do we assume answers are permanent?

Imagine asking someone, “What matters most to you in life?”

In fifth grade, the answer may have been friendship.

In tenth grade, perhaps academic performance.

In adolescence, maybe love, identity, belonging, or validation.

Later, it may become peace, purpose, freedom, family, meaning, health, or emotional stability.

As people evolve, many answers they once defended with certainty quietly lose relevance through experience, perspective, emotional growth, suffering, success, failure, relationships, and changing priorities.

That is why I felt it was important to question the answers too.

Personal growth is not just about finding answers. It is also about revisiting them repeatedly with greater awareness. Until we build a deeply examined value system, rigidly declaring “This is who I am” can sometimes become limiting because the self itself keeps evolving through circumstances, cognition, experiences, and reflection whether we consciously notice it or not.

I think Question The Answers was ultimately my attempt to encourage readers to stay intellectually and emotionally open to their own evolution instead of becoming trapped inside outdated versions of themselves.

 

11.   With every book you have published, your readers realise that they can never guess what you will come up with next. You have covered so many broad subdivisions across spaces. A Reader’sMuse interview from 2023 discusses your plan to write 5 books, and you are now at 10, a pleasant surprise that has enriched so many lives. What can we expect next from your work desk?

 

Honestly, I think the unpredictability comes from the fact that I never begin with the question, “What genre should I write next?” I usually begin with curiosity. If an idea stays with me long enough, challenges me intellectually, emotionally, or creatively, and refuses to leave my mind, it eventually becomes a book.

That is probably why the journey has moved across psychology, self-growth, fear, philosophy, fiction, reflective writing, and now observational humour and satire. On the surface, the genres may appear very different, but internally they are all connected by the same underlying fascination: understanding life, people, emotions, contradictions, and the invisible forces shaping human experience.

It does feel surreal looking back at that earlier Reader’s Muse interview where I had spoken about writing five books someday and realising that the journey has now reached ten. But I think it also reinforces something I often speak about in life coaching: consistency quietly compounds over time. Sometimes you simply keep showing up for the work, stay committed to the process, and one day you realise the journey has expanded far beyond what you originally imagined.

As for what comes next, readers can probably expect a continuation of that creative unpredictability. There are books rooted in psychology and emotional wellbeing waiting to be completed. There are reflective works, philosophical explorations, short stories, poetry, fictional worlds, and character studies quietly evolving in notebooks and draft folders. And occasionally, ideas that surprise even me when they arrive.

But regardless of genre, I think the intention remains the same. I want every book to leave readers with a thought, emotion, perspective, or question that stays with them a little longer than expected.

And perhaps that is the only pattern readers can reliably expect from me now: they probably should not expect a pattern at all.

 

Rapid Fire

Which is easier to write – fiction or non-fiction?

Fiction. My characters endlessly fascinate and surprise me, which makes the process creatively chaotic in the best possible way.

Do you have an inspiration for philosophical musings in writing?

Philosophy itself. I have always been fascinated by humanity’s endless attempt to answer the same eternal questions through different minds and eras.

A favourite quote from your own books?

The ones readers underline repeatedly and call ‘uncomfortably accurate.’

What is your favourite genre in reading/writing?

My bookshelf has philosophy sitting beside satire, poetry beside psychology, and romance quietly coexisting with psycho-thrillers and suspense novels, which probably explains both my writing style and my personality fairly accurately.

J Krishnamurti or Martin Seligman?

This feels like psychology and philosophy fighting politely inside my brain. But J Krishnamurti always.

Favourite Tamil author?

Jayakanthan. Few writers understood human contradictions and emotional complexity with that level of honesty.

Two contradicting philosophies that you think would mirror life the best?

Acceptance of the present and the desire for transformation. I think most meaningful growth happens somewhere between the two.

If you had a wall poster, what book of yours would it currently feature?

You Know Who. The archetypes on the cover would absolutely enjoy silently judging everyone entering the room, and the aesthetic is vibrant enough to unapologetically become wall art.

Classical music or instrumentals for focus?

I can enjoy Bhimsen Joshi, Andrea Bocelli, Sanjay Subrahmanyan, Sid Sriram, or Nat King Cole for hours, but real concentration still comes from the mind itself.

Writing by hand or typing notes in apps?

Handwritten thoughts for storyboarding. Typed drafts for survival. Word for permanence.

Dedicated workspace or writing as inspiration strikes?

Midnight ideas enter WhatsApp. Books eventually report to the workstation. A proper monitor, ergonomic keyboard, organised desk, and silence. Apparently my creativity has professional standards.

Your favourite writing tool?

A creatively restless mind. The software is secondary.

 

Thank you for such thoughtful questions and for following my journey so closely across books and genres over the years. It genuinely shows when an interviewer has not just read the latest release, but has engaged deeply with the larger body of work, its evolution, and the philosophical threads quietly connecting it underneath.

Also, I would just like to formally acknowledge that your rapid-fire section casually contained questions that could easily become full dissertation topics in philosophy and psychology. I answered them in one line purely out of respect for the format.

 

Haha, that’s true, Janani. But arguably, even the simplest questions open wider windows for observation and become entire dissertation topics for a mind like yours that sees the world with rare lenses and pens down the observations with elan!

Really glad to have had this chat with you. This interview itself is a great teaser for your latest release, displaying a shade of the trademark humour and wit that always laces through your words.

Thank you for joining us yet again, and wishing you all success for your latest release and for all the future books that are patiently awaiting their turn!

 

About the Author

Janani Srikanth is a bestselling author, psychologist, philosopher, and life coach whose work explores human behaviour, relationships, identity, and modern life through psychology, storytelling, and social observation.

An engineer from NIT with master’s degrees in Psychology and Philosophy, her writing spans reflective non-fiction, psychology, contemporary relationships, fiction, and behavioural insight.

Her books have ranked across multiple Amazon categories including Psychology, Anxiety, Relationships, and Personal Growth.

You Know Who is her tenth book and her first venture into observational humour and social satire — blending psychological insight with sharply recognisable archetypes, conversational patterns, and the strange comedy of everyday human behaviour.

You Know Who is available worldwide on Amazon.

Interview with Kathryn Eriksen, author of 'Heart Dancing'

          Hello! I am Dhivya Balaji from Readers Muse, and I would like to begin by thanking you for agreeing to answer the questions I have for you.

          I recently finished reading ‘Heart Dancing’ and based on what I read, my curiosity was piqued and naturally, I have a few questions for you. Please answer those that you are comfortable with in as many words as you would like to.

1.   What made you come up with the concept for the book ‘Heart Dancing’?

I love to teach people how to live better lives by becoming deliberate creators. The best way to teach those principles is through stories. Weaving common conflicts within stories of fictional characters gives me the freedom to explore their responses, desires and motivation, while teaching life lessons to my readers.

Writing is such a powerful creation tool that I feel almost as if I have a magic wand that I wave in my imagination over the heads and in the hearts of my readers. Sometimes it sprinkles negativity, fear or doubt, but my wand (and words) always show the way home.

Heart Dancing is a story about the choices we have in every moment. My hope is that readers will see the different choices made by the characters in the story, and reflect on their own lives, the choices they have made and what they might do differently. My goal in writing the book is to show a way to accept the invitation to dance with life.

2.   Was there any motivation that made you actually put your concepts into fictitious events and weave a story around them? 

Humans are wired to learn through stories. When told well, stories captivate, motivate and demonstrate life as it should be…or could be when different choices are made.

Heart Dancing contains many of the concepts and truths I learned during my own journey of self-discovery and connection to God. I lived and suffered too many years as a victim. When I discovered how to change my thinking and listen to the music of my heart, my entire life changed. It was as if I had discovered a secret map to happiness! The dramatic effect on my own life was a strong motivation to share the “map” with others. The most effective way for me to share these concepts and techniques was through writing a story about them.

3.    Was the fictional story added as a means to send the message across? (I feel that the book would have a different impact when written in a much more direct manner without the piece of fiction interwoven).

I have read numerous self-help books, only to discover that the concepts being taught could be condensed into a few chapters (instead of ten or twelve). I also noticed a pattern – I would identify the kernel of information that made the book stand out, then set the book aside because the rest was just fluff. While non-fiction, self-help books have their place and provide great information, I wanted to approach this market from a different  and more unique angle.

I wrote Heart Dancing to inspire people to look at their lives, what they have created and see where they might make changes. The fictional story holds the reader’s attention as they absorb the same lessons as the characters. The story was not added to the message. The story in Heart Dancing is the message.

4.   Savanna’s reaction to Avery and her revelations (meaning her fast acceptance) are a tad too hard to digest, especially considering that she is a teenager going through a rough patch. Or is it easier to actually mould the younger teenage brain to understand things quicker?

Anyone with an open heart can accept these messages instantly. Most teenagers have not formed all of their opinions about life’s puzzles, simply because they have not lived long enough to experience loss, devastation, fear, dying, etc. It is through testing and searching that they discover the answers that work for them.

In Savanna’s case, she happened to have a spiritual teacher in her life, which made the transition occur more seamlessly. While many people may not have a relationship with someone like Avery, my hope is that they will be encouraged to seek out someone who can help them with the “big” questions.

5.   The idea of ‘Miracle Tokens’ making a change – what do you consider the most important element to ensure its reach – the advent of internet (helping in reaching a wider audience) or people’s firm belief to pass on the joy they receive,( in effect that even if a few people do it with conviction it will spread)?

Miracle Tokens are designed to be used in one of two ways – online through social media or offline, in person. The flexibility of the Tokens encourages people to share them in the way they feel most comfortable. So the answer to your question is that both elements are important – the digital age and sharing goodness with others.

6.   Are there any life changing moments that have altered your perspective? Were these before or after you became aware of the message? (I could guess that there would be more than one. Please share one with our readers. Thank you!)

Nothing extraordinary, just a series of “moments” that increased my awareness of something bigger than myself. When I rest in that “something” (God, the Universe, the Source) and allow its energy to come through me, my life is suddenly extraordinary. I wanted to share this connection and how to find it. That is the primary reason why I wrote Heart Dancing. To show, through story, that you too may find your own connection with God.

7.   According to you, are our spiritual selves a reflection of what we consider perfection? (Or at least the version we consider to have the least faults?)

I believe that every single person ever born or alive today has the same basic DNA. You came from the same source of infinite love that I did and we will both return to that same source. Because you came from infinite love, that means you are infinite love, even when you don’t recognize it. Your purpose on earth is to express that love in your own unique way.

8.   In your experience, what is the most inspiring Miracle Token story (as in people’s feedback) that you have heard?

I have just launched Miracle Tokens with the publication of Heart Dancing, so the stories have yet to be told. In my imagination, I can see a person who was feeling lost, alone and not seen receiving a MT that lets in a ray of light into her darkness.

9.   When you wrote that each person has his/her own story and sticks to it with justifications, isn’t it a bit like saying ‘Each story has three sides – our side, their side and the truth?’ (With truth being the series of events that actually happened without each human colouring it with their own lenses)

If the story you tell yourself about a past event limits you or makes you play small, then it may be time to change your story. The 4 step Story Alchemy Process provides a simple tool to change your stories from lead to gold. Of course, I do not advocate people lying to themselves; on the contrary, you should change your story when it is no longer true. The truth of the event is what it means to you. If that meaning no longer applies, why keep telling the same limiting story?  A thumbnail sketch of the Story Alchemy process is that it teaches you how to become the author of your stories, not the subject.

10.               I was drawn towards Avatar, and have always held that dogs have nearly human intelligence. But have you ever thought that our pets have superhuman awareness when it comes to spiritual concepts?

From my own relationship with dogs (and cats), I know that they have an unlimited supply of love. Unless a dog or cat is abused or mistreated, they always want to share their love. Whether that capacity to share love is “superhuman awareness,” I just can’t say. It does seem to be a different awareness than humans. To me, the difference lies in this: dogs and cats love as part of their value, instead of questioning their value for love (as humans do).

The second book in the Story Alchemy Adventure series is actually told from Avatar’s perspective. It will explore these issues and much more from a spiritual standpoint.  Avatar is a funny, quirky character who sees through the games people play and is constantly amazed how complicated people make life.

11.               DWTD?

DWTD is one of the keys to the book. If we see life as a dance and allow love to flow in our lives, it changes everything. (I don’t want to comment further – spoiler alert!)

12.               If you would want to effectively send the messages (the ones in Heart Dancing) across in as few words as possible, what would they be?

Love is who you are. No matter what has happened to you in your life or what choices you have made, at your most elemental level, you are love. You can never destroy that love or lessen it. You can only ignore it. Heart Dancing is a way of life that allows you to begin expressing that love, right here, right now.

13.                       Though I didn’t feel that the book was totally a Christian book, how far did your religious teaching help you frame your words?

Heart Dancing is not a Christian book. In fact, there are several instances where one of the characters struggles with the difference between his Christian upbringing and the spiritual messages being taught or demonstrated.

It is a book about God and our relationship with God. How our beliefs about God filter reality. When you begin to see your beliefs as filters, then you can change them to allow more of God into your awareness.

As I said in the introduction: “[The purpose is] to show you where to look in your own life to shift from victim to creator. To demonstrate how powerful you really are in the creation of your reality, your life and your dreams. To prove, once and for all, that the choice you face in each moment is between love or fear…and whatever you choose, that creates the next moment.”

14.                       All through your journey, what spiritual topic of discussion was your favourite? And was there any particular person / group of people who started the topic with you?   

The concept of deliberate creation captivates and empowers me. I have been both a victim and a creator – it is so much more gratifying to create my life instead of blaming others.

There are always two choices before me: love or fear. If I chose fear, I always receive the same result – more fear. It creates a spiral of never-ending, fearful thoughts. I have chosen fear many times, and it has never served me well.

On the other hand, when I choose love, I feel more alive. When I discover a thought pattern that is no longer true and I “alchemize” it, I feel as if a weight were lifted from my heart. As my heart expands, so does my capacity for more love. It is also an never-ending spiral...that produces more love.

The choice is before you in any given moment – love or fear. The question that is always before you is: “Why not choose love?”