Behind the Script
By Dhwani Vyas
From Script to Screen
An aspiring screenwriter's guide to navigating the film industry
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Photograph by Dhwani Vyas
A writers desk
"Any writer worth his salt, even if he has a minuscule amount of talent, will survive in today’s day and age. There’s a tremendous demand for good writers,” says Niren Bhatt, who wrote for major films and web series such as Bhediya, Bala, Inside Edge, Asur, among many others.
As streaming platforms and digital media raise the stakes for good and saleable content, the demand for quality writing for the large and small screens has never been higher. As a result, writing which till recently was treated secondary to the art of film-making, is going through a surge in popularity. Established writers are much sought after, aspiring writers are hoping to land that big break, and new writers are striving to make their mark.
Aspiring and new writers are besieged with the dilemma: Should they keep at the grind or sacrifice their passion for a day job in an unrelated field to make ends meet? Here’s our guide to screen-writing your way to fame based on conversations with leading writers who have seen success in recent years.
Niren Bhatt argues that it is possible for writing itself to become a lucrative day job, providing all the perks of a corporate job while fulfilling the writer's dream.
Karan Bhanushali and Amatya Goradia, renowned for their Gujarati hits like Fakt Mahilao Mate and Golkeri, echo Bhatt's view on the changing landscape of the writing industry.
However, the duo treats TV writing as their stable job as they pen for the popular TV serial Wagle Ki Duniya on Sab TV, but continue pitching their shows and movies on the side. Bhanushali says it is frustrating to wait for pitch feedback as it might take months and years for a production house or a studio to get back. “It’s important to have a job that also hones your craft on a regular basis, and TV writing really works in those scenarios," he explains.
Their approach highlights the importance of striking a balance between pursuing creative passions and ensuring financial stability. While some writers may choose to opt for corporate jobs, others like Bhanushali and Goradia see the benefits of treating writing as a day job which will provide a stable income and improve their skills.
Photograph from Pexels.com
Coming together of a screenplay with a card approach.
Corporate writing jobs
Getting a job as a writer in conventional mediums like TV or a production house is another ballgame in itself. Nursing the talent one has and getting a job are two separate journeys a person has to take in order to make it as a professional in the film industry. “It's very difficult to break into the industry if you have no contacts, and the wait time for everything is long,” says Nittal Chandarana, 30 years old, who is currently working as a writer on two films that are in different stages of production. Chandarana started her career in films by being a part of the Creative Development team at Dharma Productions. The Creative Development team of a production house is akin to an R&D cell - it scouts writers, concepts, and stories. She got this job via an open call that Dharma productions did on LinkedIn.
It’s also this job that catapulted her into becoming the writer that she is today. “Creative Development would be the best way to enter the industry for an aspiring writer who also wants a stable job,” shares Chandarana. It’s a job that’s connected to writing, but it’s not actually writing. She further adds how a lot of people prefer doing creative development jobs for a while to eventually get into writing. However, it’s tough to manage a full-time job and simultaneously write your own script, as it requires oodles of discipline. Having said that, it is possible, she avers.
In an unorganized industry, creative development is the most corporate entry one could get. Because of the advent of OTT, all production houses, studios, and even platforms like Netflix and Amazon have creative development teams. It’s an easier way to start as compared to other options. “Tiger Baby, which is Zoya Akhtar’s production house, did an open call for the creative development team. Whether you get into those open calls or not is different, but the fact that they are doing it (is big). So you should know where to look,” says Chandarana.
Knowing where to look seems like an important prerequisite to survive in this industry. Chandarana adds that there are many resources out there, but they are not being advertised. If one is interested in this world, one should follow the who’s who of the industry on Twitter or Instagram. It’s the best way to get updates and information.
A day in the life of someone working in the creative team consists of reading one-pagers, synopses, and concepts, scouting writers, pitching concepts to other studios, setting up a writer’s room, and so on. A Creative Producer helms the team and every person is assigned different films to work on.
Apart from creative development, there are other job avenues for writers. Once you get an entry in the industry, other options open up. Script Supervisor is another job that many aspiring writers take up. This job entails being present when dialogues are done and rehearsed with actors. Many script supervisors go on to become writers and directors.
Besides these, major production houses like Yash Raj Films have writers on hire. These writers are paid to produce content exclusively for them, on demand. Some production houses set up writer rooms where they hire writers for six months to churn concepts just for them after which they pitch it to OTTs.
Some production houses commission writers to write the scripts they want to make. Commissioned writing is basically writing on your own but getting paid for it. It is a step above freelance writing.
Photograph from Pexels.com
Review and revisions of a script draft
Courses and Contests
People starting from scratch can also do basic writing courses which offer many opportunities. Well-known and long-standing writers like Anjum Rajabali, Satyanshu Singh, and Anand Sivakumaran have credible workshops to their name, according to Chandarana.
There are many screenwriting contests that one could get noticed in, but it’s a long shot and one should not completely rely on that option. Doing multiple things and seeing what works is the wise choice in the long run.
Having worked on both sides, the production house as well as a freelance writer, Chandarana recommends getting a job first and then becoming a writer. It works out well in terms of stability and learning the craft on the go. When asked about the pitch system in studios and how open it is to aspiring writers, she says, “Dharma Productions has an excel sheet system of logging every mail and pitch concept that comes in. Sometimes they do open calls for pitches, you just have to keep your eyes open.”
Conclusion
To conclude, the traditional way of becoming a screenwriter is still relevant. If one sends their pitch to a production house, there’s a reliable creative team employed to read those pitches and make a decision. However, the process of pitching to production houses requires a specific skill set that can be honed through practice and experience. Nittal Chandarana's experience demonstrates that a foot in the door can lead to more opportunities.
Chandarana recalls how an IT guy from Kolkata used to mail quirky concepts to Dharma. None of his projects got made but they hired him to write another movie for the production house.
Thus, there is no one specific or organized path to becoming a screenwriter in the Hindi film industry. “You can be a part of any writer’s room, you can do your own thing, you can start your own channel, you can make sketches. There are different requirements in today’s world. So, even if you can fit in one of those roles, you can be a part of a good series’ writer room. You get that experience, carry it forward, and then become independent yourself,” Bhatt concludes.
Video story:
Podcast: In conversation with Niren Bhatt
