What are the pros and cons of the emerging trend of TV writers becoming producers? Won’t a writer lose his competency of being a writer by becoming a producer? What does it mean to be a writer for TV? Have the daily soaps become money –making machines or is there anything writers can contribute? In the future do we see scope for a writer to have creative control of original content he/she has created? Can a writer becoming the show runner achieve this?
These questions broadly defined the session ‘The Business of TV Writing: Making of the Writer’ at the Indian Screenwriters' Conference held on 4 August at St Andrew’s Auditorium Bandra.
Moderated by celebrated writer Vinod Ranganath veteran writer of shows like Swabhimaan and Mere Angne Mein, the panel included stalwarts like Jayesh Patil (Writer Kumkum, Jassi Jaisi Koi Nahi), Shashi Mittal (Writer and Producer, Diya Aur Baati Hum among many more), Aatish Kapadia (Writer, co-producer Hatsoff Productions), Sonali Jaffer (Writer and now co-producer of Bahu Humari Rajni_Kant), Farhan Salaruddin (Writer and Producer of Beintehaa, Dahleez), Raghuvir Shekhawat (Dialogue Writer).
Vinod started off the conversation by discussing how today writers are going about writing the same story with hints of change. And has the ‘business’ taken over creativity.
Show me the money
Taking charge, Aatish started off by saying, “There are two types of writers- real writers and con writers. A real writer runs the show while the con ruins it. It is important to be able to distinct between the two. One need not be going all intellectual with shows, but be true to the subject. It is better to air mindless soaps that showing off pseudo issues. Everyone in the industry is to earn money and that should definitely be the focus. Do not be pretentious of this. As for making a mark in the society, you can do so only by character developments. Be more observant and make your show as a refection to the society. It will connect, it will work and you will be successful.”
Brand over money
Contradiction Aatish, Jayesh quipped, “It is not just about money but also brand. I feel as much as we give to TV, it gives us back more. Indeed it is a business but it is also a medium that gets million addict to a character, a show. They make our work a part of their family and it is our right to thus give them something worthy and something that remains with them. Writers turning to producers are a way to achieve a higher status and there is nothing wrong in it. But then when a writer becomes a producer, a good writer is killed and that can have its own repercussions.
Encounter with reality
Shashi was quite vocal about how in her decade long career she encountered various kinds of tyrants. “When I was a writer I met four kinds of producers- Baniya Producers, who weren’t bothered what you wrote. All they were affected was with the results that they counted in money. The second were the Channel Producers who were so close to the channel that they would act as a yes man to them. And not think twice before putting your writing down if needed. The third were over Critical Producers who would make changes and changes to your work and lastly the Passionate Producer who would work hard to make their shows effective.”
She continued, “And now that I am a producer, I am surprised to see that there are four categories in writer fraternity too. The first are Baniya Writers who write for only money. The second are the Channel Writers who are so close to the channel people that they get done with their work easily. Thre third are the Assistant Producers. They have so many shows with them that they appoint an array of assistants to manage their work. And lastly the Passionate Writers, they fight for their work and are termed as difficult writers, but sadly they cannot write bad.”
“That’s how the world here is divided. And we need to make our choices where we need to be,” concluded Shashi.
Create an audience
Talking about how everyone keeps on talking about the need to make different shows, Farhan said, “When I made Dahleez, people were encouraging that it looked as a different show. But unfortunately it did nothing on numbers. I must admit that there were flaws in our storytelling too. Failures shouldn’t deter us from not trying or else the industry will come to a stagnant stall. It is the right time to create an audience as they are slowly opening up to newer concept and there is a scope of change. We all are still waiting for a different show where everything is perfect. But until and unless we don’t try how will be manage to find out where is the perfection. I am glad that broadcasters are supporting writers and producers and if this continues, I am sure we will have wonderful shows on TV and they would also helps us laugh our way to the banks also.”
Conviction, capabilities and confidence
Agreeing to him, Jayesh quipped, “I think the three things that can help us achieve success are conviction, capabilities and confidence. As writers we should have the confidence and conviction to make the world believe in our ideas. And you should also be capable to make wonders.”
Aatish seconded him saying, “I have been a stubborn writer. I put my foot down on anything that I feel will affect my work. Be proud of what you are penning and wave the guts to fight with the world for it.”
“I started my career with Sudhir Mishra who kept telling me, ‘either you convince me or I convince you.’ I have understood what conviction can do with Dahleez. We stood by it and dared to make a different show,” added Farhan.
Fleeing the FEE
Taking the discussion further, Sonali shared how writers are subjected to rework after channel and producer feedbacks. “The first draft that a writer pens is always the best one and then made to change according to others’ sensibilities is indeed a tough job. And what’s worse is that reworks are never paid. Though writing and ideating is subjective but it does cause distress among many.”
Farhan too agreed to it and said, “I think rework should be charged. And I think someone senior will need to take charge and help build a decree around it.”
Sacrosanct advice for budding writers
And finally with the audience mostly consisting of budding writers, the panelists gave some golden advice. “Consider your work as sacrosanct and do not share it with everyone. Know who you are pitching and understand their sensibilities too. Be confident and believe in your work,” shared Sonali.
Shashi further added, “TV is a continuous project and is indeed a gamble. You should be ready to face the challenges. Also have the courage to speak up and tell the world your story or else you will never get a chance.”
And concluding the discussion Raghuveer stated, “We need to see a different world. Win trust of your audience and you will be able to make them believe in your story.”
With this the panelists wrapped the session with the conclusion that ‘every good story will find its way.’
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