Why Writers Often Remain in the Shadows
When you walk into any Bollywood set, the first thing you see are glitzy posters, flashing cameras, and the larger‑than‑life faces of the stars. Directors and producers are constantly in the limelight, because they’re the ones shouting the creative vision from the rooftops. Yet the person who actually builds that vision – the writer – often stays invisible. In my own experience, the script is the backbone of a movie, but the credit usually ends up on the poster’s edge or buried deep in the end‑credits roll.
It’s not that writers don’t work hard – they sweat over every line, every emotion, and every twist. The problem is that the Hindi film ecosystem has, for a long time now, treated writing more like a backstage job rather than a front‑stage attraction. The industry’s focus on star power means that the audience rarely thinks about who actually penned the dialogues they love.
A Glimpse of the Golden Era
There was a time, not too long ago, when writers like Salim Khan and Javed Akhtar were household names. Their scripts for classics like Sholay, Deewaar, and Zanjeer made them as big a draw as any lead actor. Their names proudly featured on posters, and you could easily spot them being interviewed alongside the director. That was a period when a writer’s reputation could command a significant fee – a fact many of us in the current generation sometimes forget.
Nowadays, the power dynamics have shifted. While actors command jaw‑dropping remuneration and directors become brands in themselves, the scriptwriter’s name is often left out of the promotional chatter. Even if a writer’s contribution is mentioned in the closing credits, it rarely makes it onto the billboards or social media teasers that generate the most buzz.
What Rohan Shankar Has to Say
He pointed out that regional industries such as Marathi and Malayalam treat their writers with more respect. “If you look at those film ecosystems, a writer is almost always mentioned when a film is marketed,” he said. “It’s a simple truth: the script is the foundation, and they understand that.”
Regional Industries: A Better Model?
Speaking about Marathi and Malayalam cinema, Rohan Shankar highlighted how writers there enjoy a status that rivals that of directors. In Malayalam movies, for example, it is common to see posters that read “Story & Screenplay by ___” right alongside the director’s name. This practice not only gives credit where it’s due, but also helps the audience appreciate the craft of storytelling.
He shared a personal observation: “When I visited a Malayalam set a few years back, the writer was sitting with the actors, discussing the nuances of each scene. The director would often ask the writer for a quick tweak on the spot. It felt like a collaborative family, something we need in Bollywood as well.”
Star Power Can Make a Difference
According to Rohan Shankar, the most effective way to change this is for the industry’s biggest stars to loudly advocate for writers. He said, “Directors, producers, and especially the big stars have the clout. If they start demanding that writers’ names appear on posters, it will become a norm.”
He reiterated that the power to push change sits with those who have the strongest brand value. “We need a few influential actors or directors to step up and say, ‘Hey, this writer’s name should be on the poster just as much as my name.’ That will set a precedent for everyone else.”
From his own experience, Rohan Shankar mentioned that he has seen stars like Kriti Sanon and Ahaan Panday voluntarily give credit to him when talking about their films. “When they mention my name during interviews, it feels good. It shows that they respect the work that goes into creating those dialogues.”
From ‘Mimi’ to ‘Saiyaara’: The Journey of a Writer
One of Rohan Shankar’s most celebrated works is Mimi, the story, screenplay, and dialogues of which he crafted. The film, which dives deep into the world of surrogacy, earned Kriti Sanon a National Award for Best Actress. Rohan Shankar explained that adapting an already existing story required him to re‑imagine the emotional core while staying true to the essence.
He also talked about his work on Saiyaara, a rom‑com that breathed new life into the genre. In this film, he was responsible for the dialogues that made the lead pair, Ahaan Panday and Aneet Padda, the talk of the town. “The chemistry on screen works because the actors deliver those lines with belief,” he noted, emphasizing the symbiotic relationship between writer and performer.
He added, “Even if a line is perfect on paper, without the actor’s timing and expression, it might fall flat. That’s why I always feel grateful to the actors who bring my words to life.”
Writer vs Fame: What Really Matters?
When asked if he seeks the limelight, Rohan Shankar chuckled and said the joy comes from seeing his words connect with people. “People send me messages saying a particular dialogue moved them or helped them through a tough time. That’s the biggest reward for a writer.”
He warned against chasing fame for its own sake. “A writer’s job is not to be on the magazine covers. It’s to make sure the story touches the audience. If the audience feels something, that makes it worthwhile, irrespective of whether my face is on a billboard.”
Did He Get His Due Credit for ‘Mimi’ and ‘Saiyaara’?
When asked whether he felt adequately recognized for his contribution to Mimi and Saiyaara, Rohan Shankar paused, smiled, and replied, “Yes, in many ways.” He explained the challenges of writing the deep, emotional dialogues for Mimi. “The film revolves around motherhood, and I had to feel what a mother feels when there’s a child growing inside her. If you miss that authenticity, the audience will notice.”
He continued, “We adapted the story from a foreign film, but we changed almost everything except the core idea. The emotional scenes, especially when the biological parents demand the baby back, went through several drafts. It was crucial to get the feelings right.”
Regarding Saiyaara, he mentioned, “It’s about young urban folks in their early twenties, dealing with love and career pressures. The romance was intense, and I’d never written that kind of high‑stakes love story before. It was challenging, but also hugely enjoyable.”
Why Writers Keep Writing Even on a Tight Budget
Despite often being paid less than their on‑screen counterparts, Rohan Shankar emphasized the fulfillment that comes from the writing process. “When you pen down a line, you discover emotions within yourself that you didn’t know existed. Both Mimi and Saiyaara taught me a lot about my own limits and capabilities.”
He concluded, “The satisfaction of seeing your words resonate with millions, even if you don’t get the biggest paycheck, is what keeps us going. It’s a labor of love.”
Looking Ahead: ‘Bhooth Bangla’
Rohan’s latest venture is Bhooth Bangla, directed by the veteran Priyadarshan and starring Akshay Kumar, Paresh Rawal, Rajpal Yadav, Wamiqa Gabbi and Tabu. While the film promises a mix of comedy and horror, Rohan Shankar says the real joy for him is to craft a story that blends laughs with shivers, something the Indian audience enjoys in festivals.
He added, “Working with such seasoned actors and a director like Priyadarshan pushes me to think differently. I’m hoping the screenplay will strike a chord and perhaps open another conversation about giving proper credit to the writer’s role.”
Final Thoughts: The Road to Recognition
In the end, Rohan Shankar believes the change will happen slowly but surely. He calls for a collective effort: actors, directors, producers, and even the media must start acknowledging writers as the essential pillars of cinema. “When a film becomes a hit, the writer deserves a place on the poster, the interview, and the applause.”
He hopes his own experiences—whether it’s the heartfelt acceptance from Kriti Sanon for Mimi or the applause from Ahaan Panday for Saiyaara—inspire others in the industry to stand up for their pen‑brothers and sisters.
