Bollywood has long been a director- and star-driven industry, but the tide is turning in favor of the storytellers behind the scenes – the screenwriters. In recent years, the importance of writers in Hindi cinema has evolved dramatically, with content emerging as the new hero of Bollywood. This article explores how the writer’s role has grown from the margins to the spotlight, highlighting successful screenwriters and their impact on contemporary storytelling. Written in simple Indian English, we delve into the journey from script to screen, fact-checking along the way and drawing on reliable sources to ensure accuracy and depth.
Contents
- From the Shadows to the Spotlight: Evolution of the Bollywood Screenwriter
- The New Age of Storytelling: Writers as the New Heroes
- Spotlight on Storytellers: Screenwriters Redefining Bollywood
- Challenges and Change: Writers Fighting for Credit and Fair Pay
- The Road Ahead for Bollywood’s Writer-Driven Revolution
From the Shadows to the Spotlight: Evolution of the Bollywood Screenwriter
In the early decades of Indian cinema, screenwriters often remained unsung, their contributions overshadowed by actors and directors. Story and dialogue writers were crucial – crafting the dramatic narratives and memorable lines that audiences loved – yet they rarely received equal acclaim or compensation. A handful of writers did break through to fame. In the 1970s, the duo Salim Khan and Javed Akhtar (known together as Salim-Javed) revolutionized Bollywood storytelling. They penned iconic films like Zanjeer, Deewaar, and Sholay, creating the “Angry Young Man” persona for Amitabh Bachchan and proving that a powerful script could mint a superstar. Salim-Javed were among the first screenwriters to demand prominent billing and high fees, signaling that writers could be creative forces in their own right.
After the Salim-Javed era, however, the industry largely returned to its star-driven ways. Through the 1980s and 1990s, flashy masala films (mixing action, romance, comedy, drama) dominated, and script formulas often took precedence over originality. Prolific dialogue writers like Kader Khan became known for punchy one-liners and slapstick humor in collaboration with directors like Manmohan Desai. Still, the writer’s status remained secondary. As veteran writer Kamlesh Pandey notes, somewhere along the way Bollywood “lost its heart” – the soulful storytelling of earlier years waned, and authentic narratives gave way to commercial formulas. Pandey laments that after the 1960s, many talented writers passed on without equal replacements, weakening the emotional core of films. The result was an era when audiences flocked mostly for their favorite stars, and the screenplay was treated as a functional component rather than the film’s backbone.
The turn of the millennium brought a gradual shift. The 2000s saw a new generation of filmmakers and writers who believed in “content-driven cinema.” Films like Lagaan (2001), Dil Chahta Hai (2001), Swades (2004) and Rang De Basanti (2006) signaled a paradigm change – these movies focused on strong, original storylines and contemporary themes, not just star appeal. Screenwriters such as Jaideep Sahni (Chak De India, Khosla Ka Ghosla) and Abhijat Joshi (Lage Raho Munna Bhai, 3 Idiots) crafted scripts that won both critical acclaim and commercial success. Even mainstream directors realized that a fresh script could become the real hero. By the 2010s, the slogan “Content is king” had taken root in Bollywood, indicating a new age where writers would finally step into the limelight.
The New Age of Storytelling: Writers as the New Heroes
Today, Bollywood is undergoing a story-first revolution, where screenwriters are increasingly recognized as key drivers of a film’s success. In what was traditionally a star-obsessed industry, the story has become the new hero and the writer its creator. Film journalist Noël de Souza observes that India’s movie landscape is changing: big-name actors alone can no longer guarantee a hit if the script is weak. Audiences exposed to global content via streaming now demand engaging narratives, and Bollywood has had to adapt or risk losing viewers.
One clear sign of this shift is that several recent box-office winners have been “offbeat” films with no A-list stars, driven purely by strong storylines. This was virtually unheard of in earlier decades. For example, in 2019 three of the highest-grossing Hindi films were content-driven stories without Khans or Kapoors headlining. Instead, movies like Stree (a horror-comedy) and Badhaai Ho (a family dramedy about late parenthood) won audiences with their novel scripts and characters. Writer Saiwyn Quadras, who wrote biopics like Mary Kom and Neerja, notes that when he started out, producers only wanted formulaic plots – but after his real-life story films became hits, even big studios began seeking solid scripts over star vehicles. “In the star-driven system nothing else mattered, least of all the script,” Quadras recalls, but in the last few years many star-centric films have bombed while well-written films made a mark, forcing the industry to put new trust in writers.
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Another catalyst for the writer’s rising importance is the explosion of streaming platforms and web series. Major services like Netflix and Amazon Prime Video have brought Indian audiences a world of high-quality content, raising the bar for storytelling. Simultaneously, these platforms nurtured a new ecosystem where writers and showrunners play a central role. Gritty, layered series such as Sacred Games and Made in Heaven – with dedicated writers’ rooms – proved that Indian writers could create complex narratives on par with international shows. This cross-pollination of creative standards has put pressure on Bollywood filmmakers to develop stronger screenplays for theatrical films as well. In essence, the OTT revolution has empowered writers and made audiences hungry for innovative, authentic stories.
The industry is acknowledging this change. Top stars and directors now openly credit their writers for a film’s success, something rare in the past. There are also more platforms for writers to shine: screenplay awards, script labs, and film festivals that honor writing. The Screenwriters Association (SWA) in India has become more assertive, echoing the spirit of Hollywood’s WGA, to champion the cause of writers. “We refused to remain faceless and asked for a voice at the table,” says writer Utkarshini Vashishtha, describing how this new generation of Bollywood writers stood firm to tell the stories they believed in. Writers now often have agents, and some even function like showbiz figures themselves, giving interviews and commanding social media followings – a scenario that was hard to imagine a couple of decades ago. Clearly, the Bollywood writer is stepping out of the shadows and into the spotlight of the new age.
Spotlight on Storytellers: Screenwriters Redefining Bollywood
Who are the writers leading Bollywood’s storytelling renaissance? Below is a look at some notable screenwriters – both veterans and new-age voices – and how their work is shaping contemporary Hindi cinema:
| Screenwriter(s) | Notable Works | Contribution to Modern Bollywood |
|---|---|---|
| Salim–Javed (Salim Khan & Javed Akhtar) | Sholay (1975), Deewaar (1975), Zanjeer (1973) | Pioneering writer duo who became as famous as the stars. They introduced taut storytelling and iconic dialogue, proving writers could create superstar personas (e.g. Amitabh’s “Angry Young Man”). Their success in the 1970s set a precedent for valuing screenwriters. |
| Rajkumar Hirani & Abhijat Joshi | Munna Bhai M.B.B.S. (2003), 3 Idiots (2009), PK (2014) | Writer-director Hirani and co-writer Joshi blend social messages with heartwarming humor. Their scripts balance entertainment and insight, showing that well-written stories can achieve massive popularity and critical acclaim. They proved content-driven films can be blockbuster hits. |
| Juhi Chaturvedi | Vicky Donor (2012), Piku (2015), October (2018) | A master of slice-of-life storytelling, Juhi writes nuanced, realistic dramas exploring unusual subjects and everyday emotions. Her films (about sperm donation, a father’s constipation woes, etc.) captivated audiences with authenticity, reaffirming that compelling plots make every element stronger. She exemplifies how strong writing can turn simple stories into moving cinema. |
| Anurag Kashyap | Black Friday (2007), Dev.D (2009), Gangs of Wasseypur (2012) | Anurag, an acclaimed writer-director, brought gritty realism and experimental narratives to Bollywood. His success in indie and mainstream circles opened doors for edgier content. By writing and producing films that broke formulaic patterns, he inspired a wave of new filmmakers to take risks with storytelling. |
| Kanika Dhillon (and other leading female writers) | Manmarziyaan (2018), Haseen Dillruba (2021); others: Lipstick Under My Burkha (Alankrita Shrivastava, 2016), English Vinglish (Gauri Shinde, 2012) | Part of a rising tribe of women screenwriters transforming the portrayal of heroines. Their female characters are flawed, fearless, and authentic – a sharp break from the perfect, decorative heroines of old. Writers like Kanika, Alankrita, Gauri Shinde, Zoya Akhtar, and Juhi Chaturvedi bring fresh female perspectives, making narratives more inclusive and relatable. They have proven that real women on screen resonate strongly with audiences today. |
As shown above, each of these writers has impacted Bollywood’s storytelling in unique ways. For instance, Juhi Chaturvedi’s success with everyday family stories (Piku) and delicate romances (October) demonstrated that films about ordinary people can become critical and commercial winners – encouraging studios to back original scripts over remakes or star vehicles. Rajkumar Hirani and Abhijat Joshi’s work on socially conscious comedies (Munna Bhai series, 3 Idiots) proved that a well-crafted script with a positive message can achieve mass appeal, even without conventional “hero vs villain” tropes. And the gritty multi-generational crime saga Gangs of Wasseypur, co-written by Anurag Kashyap, showed younger filmmakers that audiences were ready for bold, unconventional storytelling outside the typical Bollywood formula.
It’s also worth noting how female screenwriters have changed the game in recent years. Bollywood heroines of the past were often idealized figures, but writers like Kanika Dhillon, Alankrita Shrivastava, and Reema Kagti have crafted women characters who are messy, complex, and self-driven. Whether it’s Rani in Haseen Dillruba (a housewife with hidden desires) or the ensemble of flawed women in Lipstick Under My Burkha, these stories bring an honesty and relatability that was long missing. “Many women screenwriters are shining and coming under the spotlight for their strong and unique narratives,” Kanika Dhillon says, crediting the last few years of change. The presence of women writers has diversified viewpoints on screen – no longer are female characters merely accessories to the hero, but they lead stories with their own agency and flaws. This shift has enriched Bollywood’s narrative landscape, making it more reflective of society. And it reinforces an important point: when you empower different voices in screenwriting, you get fresher, more engaging stories that audiences connect with.
Challenges and Change: Writers Fighting for Credit and Fair Pay
Despite the creative strides, Bollywood screenwriters have had to fight long and hard for basic rights – fair credit, fair compensation, and respect within the industry. Historically, many writers were underpaid and invisible: contracts (if any existed) were skewed in favor of producers, and writers could even be replaced or have their name left out without much recourse. In the past, it was common for a star’s hairdresser or a film’s spot boys to have guaranteed pay, while the writer’s fee remained uncertain and paltry in comparison. “Big stars have 12-13 spotboys, even their drivers are paid, but there’s no surety writers will get their fee,” notes veteran screenwriter Anjum Rajabali, illustrating how producers have traditionally “treated stars like nawabs” and neglected the writers.
Rajabali, who has penned films like Ghulam and Rajneeti, has been at the forefront of a movement to get screenwriters their due. Under his and the Screenwriters Association’s advocacy, some major issues have been highlighted and addressed. For example, for years contracts included outrageous clauses: a writer could be fired at any stage without full payment, and some agreements even barred writers from approaching the union (SWA) in case of disputes. In one instance, writers had to indemnify producers for any losses due to controversy – meaning if a film faced protests, the writer might be held financially responsible. Such terms reflect the power imbalance that long existed between producers and writers in Bollywood.
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However, the winds of change are blowing. Inspired in part by the Writers Guild of America’s assertiveness, Indian screenwriters have become more vocal since the late 2010s. The SWA drew up minimum basic guidelines recommending that a writer be paid at least ₹4 lakh for each component – story, screenplay, and dialogues – totaling about ₹12–13 lakh for a full script. This was a breakthrough step: it set a concrete floor for compensation, whereas previously newcomers might be offered paltry sums. While big studios could afford even higher fees, the guidelines aimed to protect writers on smaller projects from exploitation. Rajabali acknowledges that ₹13 lakh per script is still modest (legendary writer Javed Akhtar himself was surprised how low the figure is) but calls it a starting point towards fair remuneration. He emphasizes that even low-budget indie films should budget properly for writers – after all, “the most important component in a small-budget film is the script… invest well in the writer, they’re your foundation”.
Crucially, in 2023–2025 there have been landmark developments. In early 2024, Bollywood writers, under SWA’s push, engaged top producers in talks to fix long-standing issues. By March 2025, a historic agreement was reached between the Screenwriters Association and 12 major production houses (including giants like Yash Raj Films, T-Series, and even streaming platforms like Amazon Prime) to ensure fair credit and compensation for writers. Under this new deal, producers agreed to minimum fees (approximately ₹13 lakh for a full writing job, aligning with SWA’s guidelines) and, importantly, to credit-sharing norms that recognize each writer’s contribution. Now, the writer’s name must appear in the opening credits of a film – among the top three titles – and promotional materials, a visibility writers rarely enjoyed before.
If multiple writers work on a script, the one contributing over 50% to the final draft will get top billing, and anyone with over two-thirds contribution can receive a solo credit. These credit rules are designed to reward the actual creators of the screenplay, rather than letting seniority or arbitrary decisions dictate billing.
The new contract framework also addresses grievance points: delayed payments (writers often had to develop ideas on “spec” with no contract, leading to uncertainty) and oppressive clauses have been revised. For instance, writers will now have the power to terminate a contract if things go awry, and producers can no longer insert clauses that bar a writer from seeking help from the Association. If a producer fails to give proper credit, they must issue a public apology and correct the mistake in all prints and digital versions. These changes mark a significant cultural shift – Bollywood is officially recognizing that writers are the backbone of storytelling and deserve equitable treatment.
Writers and industry watchers have hailed this as a “pivotal moment for screenwriters,” while also cautioning that implementation is key. “For decades, writers have been treated as mere tools despite being the backbone of storytelling. The real question is, will this agreement truly change anything?” asks writer-director Suhrita Das, voicing a mix of hope and skepticism. Similarly, screenwriter Pawan Sony (of Stree fame) called it a major achievement but stressed that the legal fine print must be enforced properly. On a positive note, there is optimism that empowering writers will uplift the entire industry. “Empowered writers create stronger narratives, which in turn elevate cinema and television,” says writer Chintan Sarda, highlighting that fair treatment of writers isn’t just about justice – it’s good business for everyone.
The Road Ahead for Bollywood’s Writer-Driven Revolution
Bollywood’s journey “from script to screen” is entering an exciting new chapter. The evolving importance of writers – from being hidden workhorses to celebrated storytellers – is reshaping the Hindi film industry’s future. With audiences showing appreciation for well-written, content-rich films, writers now have a more powerful seat at the table. We see films where the script is the star, diverse voices crafting the narratives, and writers daring to experiment with form and genre. This creative flourishing is coupled with concrete industry reforms that acknowledge writers’ contributions not just in spirit but in contract and coin.
There are still challenges ahead. Changing an old mindset takes time – some producers may drag their feet on fully honoring the new agreements, and enforcing writers’ rights across the board will require vigilance. But the momentum is clearly in favor of the storytellers. Indian screenwriters today are far more organized, confident, and ambitious than ever before. They are not only writing films but also stepping into roles as showrunners, producers, and directors to protect their vision. The success of writer-led projects has shown that when the foundation of story is strong, everything else falls into place.
For movie lovers, this writer-driven wave promises a richer cinematic experience. We can expect more films that surprise us with originality, characters that feel real, and dialogues that ring true – because they originate from writers who are empowered to take creative risks. As one industry saying goes, “If it’s not on the page, it’s not on the stage.” By investing in the page – the screenplay – Bollywood is investing in better cinema. And as the writers behind those pages finally get their due, the journey from script to screen in Bollywood’s new age looks set for a blockbuster climax, one where storytellers are the true stars of the show.