She told Lakshmi Homstrom :
Craftsmanship is so important in writing, and you only learn it by doing it. And the short story was the perfect form to learn from, because one had to be brief. One had to be careful. And that training is still with me: I am very careful about not using any extra words... because I didn't want to overplay anything. (Holmstrom) 14
Economy is the Sine qua non of a decent short story as borne out by Deshpande's stories which are not troubled with lecturing labels. Her language is straightforward, immediate and laconic; close to speaking voice. sometimes instead of full and long sentences, she uses words circularly and negligibly.
Deshpande utilizes certain abstract gadgets to make an imaginative touch to her compositions through analogies, likenesses, similitude, and incongruity, continuous flow, inside monolog and even myth and folklore. Deshpande renders her appearance succinct, concrete and consolidated. To uncover the internal workings of the protagonists' brains and the enthusiastic swells in their souls, Deshpande utilizes allegory of 'the dim' and 'the daylight', "demise" and 'life', 'silent'. In addition, she utilizes the strategy like inside monolog or continuous flow to give the …show more content…
She ever does not go for Indian translations in her works to provide an Indian flavour. She does not write for the foreign readers. She is basically Indian and writes for the Indians: My English is as we use it. I don't make it easier for anyone really. If I make any changes, it's because the novel needs it, not because the reader needs it.‘ (Holmstrom) 15
In ShashiDeshapande's compositions there is a meeting of two universes - the dialect of perusing among the urban readership and the passionate world of each day experience. My readers were people who read English, yet experienced their own and enthusiastic lives, as I did, in their own languages'(Deshpande)16.Deshpande is cognizant that there is first the issue of openness to a proficiency custom, and to dialect or dialects other than English, that is basically to make a mutual code in the middle of dialect and experience and between the author and the readers. Shashi Deshpande adheres closely to daily life experience. Her novels move in space and in addition in time, and reuse legendary legacy, through disguised convictions. She uses the’realistic ‘approach to domesticate English, she says,
“I am converting the life which is lived in different languages, a small part of it being in English as well into a Single language” (Deshpande)