In 1991, when Honey Irani told the unconventional story of a teenage girl in love with her mother's lover, a nation sat up to take notice. For whether they agreed with the story or not, everyone who saw Lamhe was rivetted by it.
Having caught the viewer's attention, Irani went on to spin more such tales. Of sibling rivalry (Aaina), an unwed mother (Kya Kehna), a psychopathic lover (Darr). She wasn't the first woman storyteller in Indian cinema. Others before her have had tales to tell — Sai Paranjpe (Chashme Buddoor, Sparsh), Kamna Chandra (Prem Rog), Sooni Taraporewala (Salaam Bombay, Mississippi Masala). But Irani was a trailblazer because she managed a sustained commercial success. And, as she wrote hit after hit, it became clear that she wasn't a one-film prodigy, but had demanded entry into the story-tellers' league, which so far had exclusive male membership.
That little niche which Irani carved for herself is today a crowded ladies' club. There's Shibani Bhatija, who debuted last year with two blockbusters, Fanaa and Kabhie Alvida Naa Kehna. Shagufta Rafique who penned Who Lamhe. Bhavani Iyer, writer of the memorable Black and forgettable Main Aisa Hi Hoon. Nina Arora, who scripted Madhur Bhandarkar’s Page 3.
Indeed, it's come a stage that when  discussing the script of a particular film these days, the gender of the writer is not the first thing that is taken into account. The idea that women write only women-centric stories has been debunked. ``There never was this differentiation, except in the minds of people. And that myth, too, is now shattered,'' says Reema Kagti, director of Honeymoon Travels Ltd.  ``I guess we are lucky to have come to the industry at a time when there's so much room for experimentation. Perhaps in the age when the angry young man dominated the cinema screen, it would have been more difficult'' says Bhatija. For she agrees that while there is no reason why a man can't write a sensitive story or a woman an action flick, there are several advantages to sell stories close to your heart in an environment where novelty, and not formula, is in demand.
A woman’s sensitivity
This is a sentiment echoed by Neelakantee Patekar, documentary filmmaker and Marathi theatre personality. ``The treatment of a subject differs, depending on who is penning the story. The sensitivity of Lamhe could never have been portrayed as intensively by a male,'' she says. ``To an extent, this is true,'' concurs Sai Paranjpe. ``The sensitivity a woman shows, specially in subjects like domestic issues and social outlook, stands out, whether she is the writer or the director of the venture.'' In fact, it was for this reason that Rafique got her big break with Woh Lamhe, for Mahesh Bhatt felt that a woman would better write the story of the life of his former girlfriend Parveen Babi.
The young writers, however, do not like to be labelled under any category. ``Look at Tanuja Chandra. Dushman was quite a violent film, wasn't it? And Farah Khan made a success with a typical masala film, Main Hoon Na,'' Irani, the veteran of 15 years, points out. And just as if they are all out to prove their versatility, we have Bhatija, who is working on Kidnapped, which has ``dollops of action and drama'' as she puts it. Also in her kitty is the sequel to Krrish. Rafique  has Awarapan and Dhoka to work on.. While Kagti and Zoya Akhtar have put their heads together to write a thriller.
Multitasking here too!
But just because the industry is more acceptable to novelty doesn't mean that it's been all smooth sailing. Veterans like Paranjpe note that though the cornerstone of a good film is a sound story, the scriptwriter, whether male or female, figures very low down in the hierarchy.
``There have been times when the story is changed to suit the star's fancy. And we've had scripts being written even as the actors are rehearsing them before the shot. That is the bane of Indian cinema,'' she rues.
Irani concurs, noting that the trend among some of the new filmmakers to multitask, whether they are good at the job or not, reflects in the quality of the production. ``There are still some good production houses. But most interfere so much, it kills creativity. I once left a production midway because I could not handle my work being messed around with so much.''
The younger lot, however, are a lot more optimistic. They know that scriptwriting isn't the most glamourous specialty in the industry, and that the returns are modest. Yet, they are here to stay. ``It's challenging, isn't it?'' says Bhatija, quite proud that the four projects she's been involved with have been so different. ``For KANK, I was scripting an idea that germinated in Karan Johar's mind. Fanaa was my creation. The Krissh sequel is part of an ongoing saga of a family of superheroes. And Kidnapped is all action.''
These writers are also well aware that the trend in Indian cinema is changing towards more professionalism. ``So much rides on a film now that you cannot afford to be slapdash with any aspect of the production,'' they say, with optimism.
How much does scriptwriting pay?
Like most creative professions, payment largely depends on individual brand value. But it is way below what the stars command. For instance, for a film with a budget of Rs 30 crore, a very well established writer could command Rs 50 lakh, or even up to Rs 75 lakh.
But for most modest budget films, the payments are between Rs 15 to 20 lakh, Newcomers may have to make do with even a cheque of Rs 2 lakh.