When Writers Guild of America (WGA) launched an industry-wide strike demanding fair pay and benefits for its writers, and not just being treated like gig workers, this created a domino effect and writers unions around the world began demanding unfair treatment. Unite to fight the system. Screenwriters Association of India (Self) also asked its members not to accept any new writing assignments on American films and series.
In fact, SWA is looking to invite studios and independent producers to negotiate and discuss a ‘minimum basic contract’ (MBC) over the next few weeks. The MBC will include a set of basic principles on which a standard writer-producer agreement should be based, in the hope that it will ensure a fair deal for writers when contracts are finalized by production houses.
not so long ago when the producer Ritesh Sidhwani agreed to a system in which authors had the option of entering into profit-sharing agreements. According to Ritesh, the new guidelines will make writers feel safe as writers are often stripped of their credit. Emphasizing that this is a basic thing that every producer should follow, Riteish also promised to take up the matter with the Producers Guild and press for making the guidelines mandatory for all production houses.
In today’s #BigStory, we highlight the woes of Indian screenwriters, the need for a standard contract, choosing screenwriting as a profession and how OTT is creating new opportunities. read on.
Are writers compensated fairly?
Filmmaking is a lucrative business, but the same cannot always be said about screenwriting as a profession. While films rake in crores at the box office, writers often walk away with meager amounts as compensation, sometimes not even getting proper credit for their work. While established writers get a decent fee, it is the newcomers who are often exploited in the name of getting opportunities.
“But that is true of any field. Experience and success clearly earn a premium,” says Sharik PatelCEO of Zee Studios.
SWA has minimum wage recommendations for writers, but do producers or filmmakers follow these guidelines? “Not really,” says Sharik. “But I would say it’s in the ballpark.”
“I don’t think a writer’s rights are well protected,” says the writer-director. Mayank Tiwari, “People sign away their rights because otherwise they wouldn’t get the gig. When it comes to pay, most writers are underpaid. It’s a trend all over the world. There’s a strike in Hollywood about it.”
Author Suparn Verma Agrees, “I don’t think writers are compensated fairly. There are some writers who get paid and we’re lucky enough to get paid what we deserve. But not all writers get paid.” what they deserve, I think they should be paid more. And hopefully the pay disparity will be tackled slowly in coming times. But it has become much better than it was 10 years ago. The authors are more respected today, more in demand. But still, we have a long way to go. And with the current producers, creators, actors, the respect given to writers is immense, and that respect is slowly- Slowly turning into money.
Senior Screenwriter and President of SWA, Robin Bhatt Says they are educating writers about their rights. ,Writer’s help is necessary, whatever can be signed, And especially the newcomers, they feel that it is a great thing that the makers are giving them a break. So they feel that they have to sign on the dotted line without looking at the papers. The point SWA is trying to make is that a producer is not giving you a break by looking at your face, they are giving you a break because they like your content. In most cases there is an agreement that credit will be given at the discretion of the producer. How can you do this? A writer who has written the screenplay, script, dialogue or story should get due credit.
Veteran screenwriter and activist of SWA, Anjum Rajabali It is said that often new writers feel squeezed. “Therefore, there has to be a safety net, one cannot go below that,” he says. “There is some dignity involved. What are we asking for? We are not asking for anything. If your film’s budget is 5 crores excluding star fees, you should be able to pay 12 lakhs to the writer. What is that?” If your budget is 15 crores then give 24 lakhs to the writer which is nothing. Almost 1.3% of your entire budget. Your entire film is based on the script. We are encouraging the producers by saying that if you If you invest in films, you will be able to save money later. Because the script will be written efficiently and your film will be successful. If the script is bad, what are you going to do? Why are you discouraging writers?”
Standard Contract Requirement
The OTT revolution might have created better work opportunities for new and upcoming writers, but the popular perception of screenwriting as a lucrative profession is a bit wrong, believes Mayank. “For me, personally, after working for over a decade, it is difficult to negotiate contracts even with the help of lawyers. This is often a wrong choice for young up-and-coming writers as they are not in a position to negotiate. That’s why a standard contract helps,” he says.
“There are two important things a writer works for. One is the fee he gets. This is how their house runs. The second is credit, which is probably more important than writing fees. Because credit determines the future of a writer,” says Anjum.
He said, “When a work that people have appreciated is credited to you, people want to work with you. It strengthens your career. A writer should be recognized by his work. If they are not known by their work, then there’s obviously a problem. Sometimes, there’s teamwork. There are co-writers. Sometimes, after you’ve written the screenplay, the producers want another writer to get involved. is independent. So it has to decide who gets the credit. Which authors are eligible for co-authorship credit and in what order the credits are assigned. So, it becomes necessary to be clear about it,” he added. Said.
As far as writers’ safety is concerned, Suparn believes that the Screenwriters Association has been completely supportive of writers’ safety over the years. “To be a member of the WGA of America, you have to have writing credits and stuff with SWA, it’s not like that. You can be a fairly new writer, and you can be anywhere in India, and you can upload your concept. and get it registered in few seconds.So it really helps and everyone is safe.And no legitimate producer or director will listen to your idea unless it is registered with SWA It happens,” he explains.
“It’s been a long time since producers and writers haven’t agreed,” says Robin. He insists that there should be a common document. “When there is an association of writers and producers why does each writer go through different types of documents again and again? The two should sit across the table and produce a document that is very balanced, favoring neither the authors nor the producers. Ultimately that’s what we want to achieve.”
“Even in the case of new writers, no one knows the legalities. So we want a model contract where the writer is guaranteed even a minimum amount, so there is no dispute. We want to sit with the producers. And want to strike a deal that is acceptable to them as well. Big writers can demand a price and they get it. The problem is with the newcomers who can’t negotiate or say no,” he added. .
OTT is creating new opportunities
There is a perception that the OTT revolution has brought immense opportunities for writers. But is it true or is it a popular belief?
“We are living in the golden age of storytelling where it is all about telling the story. It starts with the writers,” says Suparn. “And today all creators, producers, actors, platforms are looking for unique stories, stories that are original and have a voice. And that’s really where people are trying to find interesting writers, skilled writers. So to say that today has brought abundant opportunities for writers is an absolute fact, and it is not a popular notion. Because without the script, without the writers, we are nothing. It all starts with the script.”
Anjum happily admits that the appreciation of the need for a good, strong script has certainly grown. “There is a lot of interest in the film industry among producers, studios and platforms,” he says. “They all take screenwriting seriously, no doubt, which is a good thing. Also the opportunities for writers have increased a lot. Earlier you only had cinema and TV. Now, you have OTT platforms. There are many opportunities.
screenwriting as a profession
Can someone with creative instincts become a film writer? What is needed to have the necessary experience to be a screenwriter?
Mayank says, “Anybody who appreciates cinema and is willing to apply themselves to the craft can take up screenwriting.” “It is challenging as a career but one can start with pen and paper. Love is essential for cinema.
There are opportunities for new writers as well. “Experience obviously helps but it all depends on various factors. We are working with a lot of fresh talent in developing the stories,” says Sharik. “Some projects already have writers attached and scripts ready. and others, we add additional authors or commission new works. The selection process depends on many factors.
These opportunities can come with their own challenges. Mayank says, “For a long time I signed contracts blindly because I needed a job.” “Many times producers sign the contract but wait for the first draft before releasing the signing amount. Ultimately the power rests with the creator. The situation is not a pleasant one for writers, although I will say that things are definitely slowly getting better and a standard contract would go a long way.
Suparn summarizes it for all aspiring screenwriters, “Well, you need to know how to write. It is like any person who has some talent can become an actor or a director. You don’t know until you try, right? You have to practice, you have to write and nothing can stop you from becoming a writer. No one is holding your hand. All you need is a pen and paper or a laptop. Just start writing, write ideas, write, rewrite, rewrite 100 times, ask your friends to listen to it, see if you did a good job and keep getting better. It is a process. Nobody writes a first draft, which is great. None. So it’s a long, hard-working process. But you have to keep getting better and better at writing, reading and learning. It is a process. It’s about working in your talents.
In fact, SWA is looking to invite studios and independent producers to negotiate and discuss a ‘minimum basic contract’ (MBC) over the next few weeks. The MBC will include a set of basic principles on which a standard writer-producer agreement should be based, in the hope that it will ensure a fair deal for writers when contracts are finalized by production houses.
not so long ago when the producer Ritesh Sidhwani agreed to a system in which authors had the option of entering into profit-sharing agreements. According to Ritesh, the new guidelines will make writers feel safe as writers are often stripped of their credit. Emphasizing that this is a basic thing that every producer should follow, Riteish also promised to take up the matter with the Producers Guild and press for making the guidelines mandatory for all production houses.
In today’s #BigStory, we highlight the woes of Indian screenwriters, the need for a standard contract, choosing screenwriting as a profession and how OTT is creating new opportunities. read on.
Are writers compensated fairly?
Filmmaking is a lucrative business, but the same cannot always be said about screenwriting as a profession. While films rake in crores at the box office, writers often walk away with meager amounts as compensation, sometimes not even getting proper credit for their work. While established writers get a decent fee, it is the newcomers who are often exploited in the name of getting opportunities.
“But that is true of any field. Experience and success clearly earn a premium,” says Sharik PatelCEO of Zee Studios.
SWA has minimum wage recommendations for writers, but do producers or filmmakers follow these guidelines? “Not really,” says Sharik. “But I would say it’s in the ballpark.”
“I don’t think a writer’s rights are well protected,” says the writer-director. Mayank Tiwari, “People sign away their rights because otherwise they wouldn’t get the gig. When it comes to pay, most writers are underpaid. It’s a trend all over the world. There’s a strike in Hollywood about it.”
Author Suparn Verma Agrees, “I don’t think writers are compensated fairly. There are some writers who get paid and we’re lucky enough to get paid what we deserve. But not all writers get paid.” what they deserve, I think they should be paid more. And hopefully the pay disparity will be tackled slowly in coming times. But it has become much better than it was 10 years ago. The authors are more respected today, more in demand. But still, we have a long way to go. And with the current producers, creators, actors, the respect given to writers is immense, and that respect is slowly- Slowly turning into money.
Senior Screenwriter and President of SWA, Robin Bhatt Says they are educating writers about their rights. ,Writer’s help is necessary, whatever can be signed, And especially the newcomers, they feel that it is a great thing that the makers are giving them a break. So they feel that they have to sign on the dotted line without looking at the papers. The point SWA is trying to make is that a producer is not giving you a break by looking at your face, they are giving you a break because they like your content. In most cases there is an agreement that credit will be given at the discretion of the producer. How can you do this? A writer who has written the screenplay, script, dialogue or story should get due credit.
Veteran screenwriter and activist of SWA, Anjum Rajabali It is said that often new writers feel squeezed. “Therefore, there has to be a safety net, one cannot go below that,” he says. “There is some dignity involved. What are we asking for? We are not asking for anything. If your film’s budget is 5 crores excluding star fees, you should be able to pay 12 lakhs to the writer. What is that?” If your budget is 15 crores then give 24 lakhs to the writer which is nothing. Almost 1.3% of your entire budget. Your entire film is based on the script. We are encouraging the producers by saying that if you If you invest in films, you will be able to save money later. Because the script will be written efficiently and your film will be successful. If the script is bad, what are you going to do? Why are you discouraging writers?”
Standard Contract Requirement
The OTT revolution might have created better work opportunities for new and upcoming writers, but the popular perception of screenwriting as a lucrative profession is a bit wrong, believes Mayank. “For me, personally, after working for over a decade, it is difficult to negotiate contracts even with the help of lawyers. This is often a wrong choice for young up-and-coming writers as they are not in a position to negotiate. That’s why a standard contract helps,” he says.
“There are two important things a writer works for. One is the fee he gets. This is how their house runs. The second is credit, which is probably more important than writing fees. Because credit determines the future of a writer,” says Anjum.
He said, “When a work that people have appreciated is credited to you, people want to work with you. It strengthens your career. A writer should be recognized by his work. If they are not known by their work, then there’s obviously a problem. Sometimes, there’s teamwork. There are co-writers. Sometimes, after you’ve written the screenplay, the producers want another writer to get involved. is independent. So it has to decide who gets the credit. Which authors are eligible for co-authorship credit and in what order the credits are assigned. So, it becomes necessary to be clear about it,” he added. Said.
As far as writers’ safety is concerned, Suparn believes that the Screenwriters Association has been completely supportive of writers’ safety over the years. “To be a member of the WGA of America, you have to have writing credits and stuff with SWA, it’s not like that. You can be a fairly new writer, and you can be anywhere in India, and you can upload your concept. and get it registered in few seconds.So it really helps and everyone is safe.And no legitimate producer or director will listen to your idea unless it is registered with SWA It happens,” he explains.
“It’s been a long time since producers and writers haven’t agreed,” says Robin. He insists that there should be a common document. “When there is an association of writers and producers why does each writer go through different types of documents again and again? The two should sit across the table and produce a document that is very balanced, favoring neither the authors nor the producers. Ultimately that’s what we want to achieve.”
“Even in the case of new writers, no one knows the legalities. So we want a model contract where the writer is guaranteed even a minimum amount, so there is no dispute. We want to sit with the producers. And want to strike a deal that is acceptable to them as well. Big writers can demand a price and they get it. The problem is with the newcomers who can’t negotiate or say no,” he added. .
OTT is creating new opportunities
There is a perception that the OTT revolution has brought immense opportunities for writers. But is it true or is it a popular belief?
“We are living in the golden age of storytelling where it is all about telling the story. It starts with the writers,” says Suparn. “And today all creators, producers, actors, platforms are looking for unique stories, stories that are original and have a voice. And that’s really where people are trying to find interesting writers, skilled writers. So to say that today has brought abundant opportunities for writers is an absolute fact, and it is not a popular notion. Because without the script, without the writers, we are nothing. It all starts with the script.”
Anjum happily admits that the appreciation of the need for a good, strong script has certainly grown. “There is a lot of interest in the film industry among producers, studios and platforms,” he says. “They all take screenwriting seriously, no doubt, which is a good thing. Also the opportunities for writers have increased a lot. Earlier you only had cinema and TV. Now, you have OTT platforms. There are many opportunities.
screenwriting as a profession
Can someone with creative instincts become a film writer? What is needed to have the necessary experience to be a screenwriter?
Mayank says, “Anybody who appreciates cinema and is willing to apply themselves to the craft can take up screenwriting.” “It is challenging as a career but one can start with pen and paper. Love is essential for cinema.
There are opportunities for new writers as well. “Experience obviously helps but it all depends on various factors. We are working with a lot of fresh talent in developing the stories,” says Sharik. “Some projects already have writers attached and scripts ready. and others, we add additional authors or commission new works. The selection process depends on many factors.
These opportunities can come with their own challenges. Mayank says, “For a long time I signed contracts blindly because I needed a job.” “Many times producers sign the contract but wait for the first draft before releasing the signing amount. Ultimately the power rests with the creator. The situation is not a pleasant one for writers, although I will say that things are definitely slowly getting better and a standard contract would go a long way.
Suparn summarizes it for all aspiring screenwriters, “Well, you need to know how to write. It is like any person who has some talent can become an actor or a director. You don’t know until you try, right? You have to practice, you have to write and nothing can stop you from becoming a writer. No one is holding your hand. All you need is a pen and paper or a laptop. Just start writing, write ideas, write, rewrite, rewrite 100 times, ask your friends to listen to it, see if you did a good job and keep getting better. It is a process. Nobody writes a first draft, which is great. None. So it’s a long, hard-working process. But you have to keep getting better and better at writing, reading and learning. It is a process. It’s about working in your talents.