Rupa Mahadevan grew up in Chennai, India, and has spent the past 15 years living in Scotland. An engineer by education, she works in the corporate world but has always been drawn to storytelling. Her love for writing began as a child, borrowing books from a mobile library and creating her own stories when the books ran out.
Encouraged by author Caron McKinlay and inspired by a milestone birthday, Rupa finally embraced her true calling, beginning her journey as a writer. Last year she won the Joffe Books Prize 2024 for her book ‘The Goddess of Death’. Speaking to Asian Voice, Rupa discusses her personal experience that shaped the idea about her book, themes and more.
1) Congratulations on winning the Joffe Books Prize 2024! How does it feel to receive this recognition for ‘The Goddess of Death’?
For any writer, insecurities can be overwhelming, and as someone for whom English is a second language, mine felt even greater. A constant voice in my head whispered that neither I nor my stories were good enough. Winning the Joffe Prize has been the greatest validation of my writing journey so far. While it hasn’t silenced that voice entirely, it has helped me believe in my stories.
I began pursuing writing seriously at 39, giving myself two years to secure a publishing deal or step away altogether. With just six months left on that timeline, winning the prize was life-changing. It meant the difference between becoming a published author and walking away, as balancing writing with a full-time job wasn’t sustainable long-term. I’m deeply grateful to Joffe Books and Audible for championing underrepresented voices and making this dream possible.
2) The title ‘The Goddess of Death’ is intriguing. What inspired the story and the title? Was there a specific idea or event that sparked it?
The Goddess of Death is a psychological thriller set in a farmhouse in Oban, Scotland, where a group of friends gathers to celebrate Navratri, a Hindu festival traditionally marked in South India with a display of dolls called ‘Bommai Golu’ (meaning “dolls display”). Bommai Golu was a cherished part of my childhood, and Navratri has always been my favourite festival—more so than Diwali, which is far more widely celebrated.
My other great love has always been crime thrillers. When a writer friend, Angela Nurse, suggested combining these two passions, I was thrilled. I wanted a title that captured both the themes of the dolls and the essence of crime. After brainstorming a shortlist of titles, I held a household vote, and The Goddess of Death won unanimously.
Kaali, often known as the Goddess of Death in Indian mythology, plays a pivotal role in both the ‘Golu’ display and the story’s narrative. Including the word “Death” felt like a natural fit for the crime genre.
The title also contains a hidden clue—The Goddess of Death, refers to one of the characters in the story. Uncovering who it is unravels the puzzle, but of course, you’ll need to read the book to find out!
3) How did your cultural heritage or personal experiences shape the themes in the book?
My lived experience and cultural heritage deeply shape my worldview and, in turn, influence my writing. It’s not just about the vibrant festivals, colours, or curry—though these add a beautiful richness to my stories—but also the smaller, subtler elements, like a turn of phrase or a saying in my mother tongue, Tamil, that make my voice distinct.
Having called Scotland home for the past 15 years, cross-cultural dynamics are a recurring theme in my work. At its core, my writing seeks to explore our shared humanity. Beneath societal conditioning, our wants and needs are remarkably alike—and that’s what makes us human. Through my stories, I aim to celebrate our differences while highlighting the common threads that connect us all.
4) What advice would you give to aspiring writers, particularly those from underrepresented backgrounds?
If I could offer advice to young novelists or my past self, it would be this: believe in yourself, especially as an underrepresented writer, because insecurities often feel magnified. Embrace feedback as an opportunity to refine your craft and remember these three key points: read like a writer—study passages you love to understand their magic; write like a reader—craft stories you’d love to read for a natural, enjoyable process; and treat each chapter like a scene, guiding readers step by step. For underrepresented writers, take advantage of opportunities like diversity-focused competitions, such as the Joffe Books Prize. Research and put yourself forward—you never know what might happen!
