Ace writer Sandeep has impressed audiences and critics alike with his talent for crafting gripping and emotionally rich stories. He has co-written two back-to-back releases—Criminal Justice Season 4, starring Pankaj Tripathi, and Kankhajura. Both projects showcase his ability to balance drama, suspense, and character depth, further establishing him as a significant voice in contemporary screenwriting.
In an exclusive conversation with Bollywood Bubble, Sandeep feels that in India is booming in the OTT space, writers are finally gaining ground but recognition still lags behind. He believes while collaborative teams and respectful directors have defined his journey, the real imbalance lies in visibility. He also shared his views about nepotism in the writing industry. Excerpts:
Screenwriters often remain invisible despite being the backbone of any film or series. Why do you think Bollywood continues to undervalue writers both in credit and compensation?
Original content needs space—without it, creativity suffers and the value of writing declines. While there’s been a slight improvement in credit and compensation, especially in the digital space, enforcement remains a challenge. Even with contracts in place, many writers struggle to chase payments, lacking the legal backing to fight delays. Despite modest fees compared to directors or actors, the emotional toll of unpaid dues is significant. Some producers are professional, but others violate contracts freely.
Visibility is another issue. Writers often aren’t seen as ‘sellable’ names, with focus placed on locking in directors, producers, and actors first—writing becomes an afterthought. This results in rushed scripts and compromised storytelling. OTT platforms are better; scripts are usually greenlit before directors, making content more writer-led.
Have you ever felt sidelined or overshadowed despite being a key voice behind some major projects?
Fortunately, I haven’t faced that issue yet—likely because my work has mostly been in OTT, where writing is central and scripts are locked early. I’ve worked with directors like Ajitpal on Tabbar, who valued my input, and even my current theatrical film with a reputed production house has been collaborative. I’ve never felt sidelined by my team. The imbalance, however, lies in media and public perception. That lack of visibility can be disheartening—especially when writers lay the foundation of story and character. The ‘Created by’ credit, for example, is crucial in OTT, where a single person often originates the concept. In the West, it’s rightly highlighted, but here it’s frequently ignored. In The Kanneda on Hotstar, I was co-creator and co-writer, yet many articles skipped the ‘Created by’ mention. I didn’t mind much, as I was credited as a writer, but it’s unfair when the creator and writer are different.
There’s a growing perception that only a few big production houses or star families control the stories that get made. Have you ever faced rejection or creative interference due to industry nepotism?
Frankly, I don’t think nepotism is prevalent in the writing industry the way it is with actors or stars. Writers don’t have a public face to sell stories; they rely solely on their talent. While networking is necessary to get your story heard, it’s the strength and resonance of the story that ultimately matters. If a story connects with someone, it gets made—regardless of who wrote it. OTT platforms are particularly strong in this regard—they often reject stories from even the biggest production houses if the content doesn’t work.
However, there is a fear that OTT platforms might start leaning towards the same “packaging” model as films, where projects are greenlit based on attached actors or producers, not the strength of the story. With increasing pressure on OTT executives to deliver numbers and build impressive portfolios, there’s a risk of creativity being sidelined for commercial metrics.
Also Read: EXCLUSIVE: Writer Sandeep Jain Expresses Concern Over LACK Of Original Content In Hindi Cinema; Reveals, “No One Wanted To Make Kota Factory”
Manisha has established a reputation for insightful and engaging storytelling with over six years of expertise in the industry. With a deep passion for cinema, she brings a unique perspective to her coverage, making it a trusted voice in the entertainment world.