An Audience with New Tastes
The Hindi film audience has evolved. With unprecedented access to global cinema and diverse narratives on streaming platforms, viewers are no longer content with tired formulas and big names alone. They have become more discerning, and their patience
for weak material has worn thin. This shift is visible in the box office and critical success of films celebrated for their narrative depth over their star cast. Movies like 'Kahaani', 'Andhadhun', 'Piku', and '12th Fail' proved that a compelling story, rich characters, and a tight screenplay can create blockbusters. This trend indicates a move towards a 'film-first' era, where audiences choose the story and its world before the star at its centre. This newfound appreciation for substance has, in theory, placed the screenplay at the very heart of the filmmaking process.
The OTT Boom and the Demand for Stories
The rise of Over-the-Top (OTT) platforms has been a revolutionary force. Streaming services created a voracious, year-round appetite for new content, providing a platform for stories that might have been considered too risky or non-commercial for the traditional, box-office-obsessed studio system. This digital explosion democratised the landscape, allowing independent filmmakers and new writers to find an audience. It fueled demand for long-form series with complex characters and non-linear screenplays, offering a creative freedom that was previously rare. The platforms also broke down linguistic barriers, creating a pan-Indian audience for regional cinema and proving that a powerful story transcends language. This created what should be an ideal environment for writers to thrive.
The Paradox: So Important, Yet So Undervalued
Herein lies the central conflict. While the screenplay's importance has soared, the screenwriter's status has not. Many writers in Bollywood report facing harsher conditions than ever before. Contracts have become increasingly one-sided, with payments tied to a project getting greenlit by a star, not to the submission of drafts. This means writers can spend months or even years developing a full script with no guarantee of payment. Veteran writer Anjum Rajabali has been a vocal critic of this system, noting that even seasoned writers are often arm-twisted into signing unfair contracts that strip them of rights and royalties. Many are forced to take on multiple projects simultaneously simply to pay rent in Mumbai, a practice that inevitably compromises the time and effort required to craft a quality script.
A Far Cry from the Golden Era of Writers
This struggle stands in stark contrast to the 1970s, an era when writers were revered. The writing duo of Salim-Javed (Salim Khan and Javed Akhtar) were superstars in their own right. They commanded fees higher than many of the leading actors of the time, and their names on a poster were a significant draw for the audience. They were a powerful force who shaped iconic films and were respected as the foundation of a project. Today, despite actors demanding fully-bound scripts before they even read them, writers find themselves fighting for basic credit and fair compensation. According to the Screenwriters Association (SWA), it's common for producers to retain final discretion on credits, sometimes leaving writers shocked to find their contribution diminished or absent upon a film's release.
The Path Forward
The disconnect between the demand for good stories and the treatment of storytellers is unsustainable. For Hindi cinema to truly embrace a content-driven future, this imbalance must be addressed. The Screenwriters Association (SWA) has been actively campaigning for better pay and more balanced contracts to protect writers' rights. The success of films like 'Zindagi Na Milegi Dobara' and 'Piku'—both celebrated for their witty, authentic, and emotionally resonant writing by Zoya Akhtar, Reema Kagti, and Juhi Chaturvedi—demonstrates the immense value that empowered writers bring. As audiences continue to vote with their wallets for compelling narratives, producers may have no choice but to recognize that investing in writers is not a cost, but the most critical investment in a film's potential success.
