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Inside The Lives Of Bollywood Screenwriters: Five Bizarre Contracts From OTT Platforms and Producers That Are Bleeding Them Dry
Hindi film screenwriters ask for urgent reforms in Bollywood contracts to sustain their livelihoods with dignity.
In the Hindi film industry, where producers and streaming giants hold court, a familiar, three-word mantra has been echoing through the halls of power for years: 'Content is king.' It's a phrase that's been bandied about with all the fervour of a royal proclamation, but scratch beneath the surface, and a different story emerges from those who create the content that makes the kingdom tick: the screenwriters. Their frustrations, disillusionment, and defeat are distilled into three blunt words: 'Contracts are sh*t.'
Over the last few months, The Hollywood Reporter India has actively covered the plight of screenwriters in Bollywood, from their mental health struggles, with many contemplating quitting the industry amid a historic slowdown, to the reasons behind the lack of funding and the scarcity of films available to them.
Even as the Hindi film industry celebrates a much-needed respite at the box office, the struggle, exploitation, and desperation of screenwriters continue, with powerful producers and OTT platforms dictating terms that leave writers with little more than a pittance and a prayer.
THR India spoke to several active screenwriters — anonymously — to piece together a list of some of the most bizarre, cruel contracts and clauses that they still have to navigate (or reluctantly sign) to keep working in the industry.
'99 Per Cent of Contracts Never Commit on Credit'
A leading screenwriter reveals an industry practice that continues to plague new writers: contracts that leave final credits at the discretion of production houses or streaming platforms.
"I've cried tears of blood looking at my credit being skewed on screen, only to discover it after the show's release," the writer confides. "It's as if once we provide the blueprint, everyone forgets who created it, and we're not credited properly for our work. Once, there was a show for which I wrote all six episodes, but I was only credited for a few, and then there have also been times where the production has asked me if a 'special thanks' will work," the leading screenwriter says.
Another screenwriter shares a similar tale of woe. They were hired to write the story, screenplay, and dialogue for a feature film, working closely with the director for three weeks to develop the project. However, when the contract finally materialised, the writer was shocked to find that the "story" credit was going to the studio head—a top producer with a steady release of films every year, including 2025— who had contributed nothing beyond a two-line idea.
"When I protested, they reluctantly agreed to an 'additional story' credit, but then demoted me to 'additional screenplay' as well," the writer recalls. "They said I'd have to earn the full screenplay credit, which would be their decision. I protested again, because I would be spending months on the project. Not even being assured of basic credit was unacceptable. Before I could resolve the issue, they removed me from their internal WhatsApp groups."
A screenwriter, with several popular titles on streaming platforms to their credit, says they were bewildered to get a contract from a leading OTT giant, which had a simple clause that if a writer does not get their due credit, it was okay. It stated that it would not be considered a breach of contract if the rightful credit has not been accorded in media and communications for post-production or license reasons.
Another writer's experience encapsulates the bitter taste of broken promises. Having poured their heart and soul into creating a show from scratch — conceptualising the idea, assembling the writing team, and guiding the narrative — they sold the IP to a prominent streamer. But when the show was ready to air, the writer was met with an unpleasant surprise.
Despite their contractual agreement stipulating "created and written by" credits, the streamer offered only a "written by" credit. The reason? According to the platform, "created by" credits were reserved for licensed shows, not streaming originals. The writer's surprise turned to heartbreak as they realised that the credit they had been promised, and had earned, would not be theirs to claim.
"My contract on paper promised me one thing, but the company's discretion delivered another. It broke my heart," the writer recalls.
Approval is Money
Every writer THR India spoke to echoed the sentiment that contracts are structured to tie payments to "approval" rather than "submission" of drafts. This subtle distinction has significant implications, leaving writers vulnerable to delayed payments and financial uncertainty. Only seasoned writers with leverage can negotiate better terms, securing payment on submission. However, for most writers, this remains an unattainable luxury.
"Payment tranches are the biggest tool of exploitation," laments an upcoming screenwriter. "It's only when senior writers set the norm that mid-level writers might get a fair deal."
A senior writer corroborates this claim, revealing that contracts often structure payments around principal photography milestones or — worse still — the release of the title.
"I've received 20 to 30 per cent of my payment after one-and-half years, which becomes irrelevant given the financial planning I'd done based on the contract," they explain. "One show I worked on pre-pandemic was released post-pandemic with changes and rewrites. I finally got paid for my last invoice a year and half later; it's exploitative to the core."
None of the rewrite work is accounted for in the payment, which screenwriters note is unfair. A successful writer mentions that they are currently writing the tenth draft of some episodes, which they had thought were completed in November 2024, for a show for which they signed the contract in April 2024.
"Now, I am already looking for more projects because this one isn't generating any more revenue for me. I submitted draft after draft, but the payment hasn't come because the approval is getting delayed."
'If We Land In Trouble, You Pay'
Something that has been the longest fight for the Screenwriters Association (SWA) is the deeply disturbing contract which has left most writers in the Hindi film industry anxious and worried: the indemnity clause by the producers, which effectively means that, if the project courts controversy, it is on the writer to defend it and pay for damages.
"But you are paying me on approval, not submission, and I am a writer on hire; shouldn't the indemnity be shared?" asks a screenwriter, who recalls walking out of a meeting when the producer didn't budge on relaxing the clause.
"You have approved it, so we are equal parties to it, at best. If a writer earns ₹1 lakh and someone files a defamation case of ₹50 crore, where does that leave him? The contract cost should be the indemnity cost; otherwise, how will a writer, who is already underpaid, work?" they add.
This has effectively compelled writers to not touch subjects that are even slightly political or religious, as they will be "out on their own" if things go south. "But there is no way out, if you have to work and need the money, you will have to sign a contract which has this clause and then say a prayer or two that you don't land in trouble," the screenwriter says.
Termination Clauses
Every screenwriter's worst nightmare: the draconian termination clause. Adding to the anxiety of not getting paid on time, endless rewrites, no assurance of credit, and potentially paying for any damage their work (approved by the makers) might cause, is the very real fear of getting fired overnight.
A writer, who has collaborated with major streaming platforms, reveals there are contracts which now include a clause that allows for termination if a writer is deemed "incapacitated" for more than seven days. "What does 'incapacitated' even mean?" the writer demands. "Are they implying that if I have a medical emergency, I'll be fired on the eighth day? This clause is a thinly veiled attempt to trap writers in ambiguous language that still means the same: we will make it worse for you to do your job."
This clause is just one example of the power imbalance that writers face, which gets murkier with the gendered nature of these dynamics. A female writer recalls how, after submitting a 40-page bible for a project, she faced sexism and misogyny from a senior male writer who led the writers' room. When she complained about the behaviour, she was met with silence and, eventually, a termination email.
"It became clear that the senior writer had used his power to get me removed from the project," she recalls. "The production house sent me a termination letter without even discussing it with me. After a long fight, I managed to secure some additional payment and a promise of credit if any part of my work was used."
'Talk to No One'
Sometimes a producer will also put "illegal" clauses, such as one stipulating that a writer cannot approach the SWA in case of a dispute. It is clearly stated that the writer has "no right to approach a union," an industry insider shares. "A major production house still has this in their contract, while another let go of it a few years ago," the insider notes.
Another contentious clause in writer contracts revolves around the waiver of "moral rights" and the relinquishment of royalty claims beyond their initial fee, despite the 2012 amendment to the Indian Copyright Act.
Some producers exploit new writers by including clauses that conflate fees with royalties, essentially duping them into surrendering their rightful earnings. "New writers are often pressured into signing contracts that state their fee includes royalties, which is a blatant lie. Vulnerable and eager to break into the industry, they often sign away their rights without realising the long-term implications," the industry insider adds.
The Lawyer's Take
THR India spoke to media and entertainment lawyer Sanjay Vasudevan, who, along with Anoop Ashok at Halo Partners, works closely with some of the biggest writers in the industry.
According to Vasudevan, there has been significant progress in recent years, with contracts becoming more transparent and writer-friendly than they were a decade ago, but there is still considerable scope for improvement.
When asked about the most challenging contract crisis he's tackled, Vasudevan recalls a particularly gruelling negotiation with a leading production house.
"We spent 50 hours negotiating and redrafting the agreement over a couple of months. We reasoned with them brick-by-brick, asking them to explain to us what their rationale is and use the same logic to try and insist on clauses that are more equitable. To their credit, that ended up setting up an industry precedent," he concludes.