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Chetan Bhagat, one of India’s most popular and polarising authors, has once again found himself addressing long-standing criticism — that his books are written from an overwhelmingly male perspective. In a recent conversation, the author of 12 Years: My Messed-Up Love Story opened up about being labelled a “male fantasy” writer and defended his style, intent, and accessibility-driven storytelling.

In his interview with Pinkvilla, Chetan Bhagat was asked about trolls who claimed his latest novel romanticises immaturity rather than exploring a nuanced emotional relationship. The author, visibly exasperated by the perception, responded sharply: “How do I write a book then? Do I co-author the book with a woman? What is this nonsense? I have been writing for 21 years. If the story is not mature, it will not work. If I handle it in a creepy, vulgar way, it will just collapse.”

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The writer — who has been both celebrated and ridiculed for his bestselling novels — admitted that he faces trolling long before his books even reach readers. “Even before I announce the book, people decide what they are going to say about it,” he said, pointing out that much of the criticism stems from preconceived notions about who he is and the kind of stories he tells.

Chetan Bhagat sees a hypocrisy in being stereotyped

Bhagat also reflected on what he sees as hypocrisy in the way audiences approach gender representation in writing. “That’s classic stereotyping. These people tell me that I stereotype, but they are stereotyping me,” he said, addressing those who assume that a middle-aged male author writing about younger female characters must be projecting personal fantasies. “They say that if a 45-year-old man writes about a 21-year-old woman, it must be a fantasy. But it is not my fantasy,” he clarified.

Expanding on his challenges as a writer, Bhagat highlighted how misunderstood authors can be in India’s literary ecosystem. “It’s very difficult to be in the writing profession. I am very sensitive to people who write. There is no money. There is no fame. You work for years and you get nothing,” he said, stressing that writing requires discipline and emotional vulnerability that readers often overlook.

He also explained why he keeps his language and storytelling simple — a deliberate choice, not a limitation. “My final presentation is very simple because I have to reach the common man,” Chetan Bhagat said. “I talk in Hindi and present myself as a grounded boy. The way I talk, the way I mention tea — it makes people think ‘isko baja bhi sakte hai.’ And I’m successful, so they see me as someone who doesn’t deserve it because they have struggled in their writing careers.”

In a moment of candid self-awareness, Bhagat added with a laugh, “If I weren’t Chetan Bhagat, I would have hated Chetan Bhagat.” The statement summed up his acceptance of his polarising identity — both admired by millions for democratising English fiction in India, and dismissed by purists who question his literary depth.

Bhagat also shared a rare moment of validation that came from one of Indian cinema’s most respected lyricists and writers, Gulzar. “One person who routinely sends me messages, talks about my columns, and praises my work is Gulzar sahab,” Bhagat revealed with pride. “One of the first things he told my mother was, ‘I wish I could write like your son.’ Nobody who is doing so well and is as successful ever says that.”

This endorsement, Bhagat implied, matters more than the countless anonymous critics online. For him, appreciation from a writer of Gulzar’s calibre underscores the universality and emotional resonance that even the simplest of words can hold.

Chetan Bhagat’s journey as a writer has been both meteoric and controversial. Since his debut with Five Point Someone in 2004, he has carved out a unique space in Indian publishing — not as a literary novelist, but as a storyteller for the masses. His novels, often exploring love, ambition, and middle-class aspirations, have become pop-culture milestones and Bollywood blockbusters. Five Point Someone inspired 3 Idiots; One Night @ The CallCenter was adapted as Hello; The 3 Mistakes of My Life became Kai Po Che!; 2 States mirrored his own inter-community marriage; and Half Girlfriend was turned into a romantic drama by Mohit Suri.

Despite his mass appeal, Bhagat continues to battle perceptions that his work lacks depth or gender balance. But his defence remains consistent: he writes stories that speak to ordinary people, not literary elites. His choice of words, tone, and characters is designed for connection — not for critical validation.

In an age where social media outrage often shapes public perception, Bhagat’s resilience stands out. Whether one sees him as a commercial craftsman or a flawed provocateur, he remains one of the few writers capable of sparking national debate with every release. As he puts it himself — “If I were really as immature or sexist as they say, my books wouldn’t have lasted 21 years.”