Television


Salient Work


Jassi Jaissi Koi Nahin. Producer: Djs - A Creative Unit

 
 
 

Jassi Jaissi Koi Nahin (There's no one like Jassi) (2003-2007)

The Indian Adaptation of the Columbian Series, YO SOY BETTY, LA FEA, which was adapted into UGLY BETTY in the United States.
 

 
Story and Screenplay for forty episodes of the show.
 

 
 

Left Right Left. Producer: Djs - A Creative Unit

 
 

Left Right Left (2006-2008)

Set in a military training academy, this young adult drama found a cult following online.
 

 
Developed the Show Bible.

Story and Screenplay for over four hundred episodes and two hundred episodes respectively.

Head Writer for over two hundred episodes.
 

 
 

Khotey Sikkey. Producer: YRF Television 

 
 

Khotey Sikkey (Bad Pennies) (2008-2009)

A group of rich brats avoid jail time by solving upper crust crime.
 

 
Created the Series.
 

 
 

12/24 Karol Bagh. Producer: Sunshine Productions

 
 

12/24 Karol Bagh... (2009-2010)

Set in the Karol Bagh area in New Delhi, 12/24 Karol Bagh... follows the struggles, dreams, and hopes of the Sethis, an everyday middle-class family.
 

 
Story and Screenplay for over a hundred episodes.
 

 
 

Full List of Shows


 

Series Title

Producer

Years

Broadcaster

Credits

Gardish

Prajakti Deshmukh/Ravi Rai/Anand Rai

1999-2000

Zee TV

Pilot - Uncredited

Janam

Prajakti Deshmukh/Ravi Rai/Anand Rai

1999-2000

Zee TV

Story & Screenplay

Hip Hip Hooray

UTV (Now Disney India)

1999-2000

Zee TV

Story & Screenplay

CID

B.P. Singh/Pradeep Uppoor

1999-2000

SET India

Assistant Writer + Screenplay

Aahat

B.P. Singh/Pradeep Uppoor

1999-2000

SET India

Assistant Writer + Screenplay

Talaash

Sudhir Mishra

2000-2001

Sahara One

Story & Screenplay

Untitled Television Series*

Himesh Reshamiya

2004-2005

SET India

Developed By

Bold And Beautiful Wives*

K Sera Sera Television

2004-2005

-

Developed By

Hello Dollie

Sagar Films

2004-2005

Star Plus

Story & Screenplay

Princess Dollie Aur Uska Magic Bag

Sagar Films

2004-2005

Star Plus

Story & Screenplay

Kabhi Haan Kabhi Na

Shrishti Arya/Rose Audio Visuals

2004-2005

Zee TV

Story & Screenplay

Jassi Jaissi Koi Nahin

DJs - A Creative Unit

2005-2007

SET India

Story & Screenplay

Karma

Balaji Television

2006-2007

Star Plus

Story & Screenplay

Left Right Left

DJs - A Creative Unit

2006-2008

SAB TV

Developed by + Script Head +

Story & Screenplay

Twinkle Beauty Parlor

Rose Audio-Visuals

2006-2007

SAB TV

Story & Screenplay

Office Show*

DJs - A Creative Unit

2006-2007

SAB TV

Created by

Four

Edit II Productions

2006-2007

SAB TV

Story & Screenplay

Happy Go Lucky

Handmade Films

2007-2008

Star One

Story & Screenplay

Jhoomein Jiya Re

DJs - A Creative Unit

2007-2008

Zee Next

Script Head +

Story & Screenplay

Simply Sapney

Amit Mehra

2007-2008

Zee Next

Story & Screenplay

Yahan Ke Hum Sikandaar

Cinevista

2007-2008

Zee Next

Story & Screenplay

Swim Team*

DJs- A Creative Unit

2007-2008

-

Created by

Jugni Chali Jalandar

DJs - A Creative Unit

2008-2009

SAB TV

Script Head +

Story & Screenplay

Annu Ki Ho Gayee Waah Bhai Waah

DJs - A Creative Unit

2008-2009

Star Plus

Script Head +

Story & Screenplay

Radha Ki Beetiyaan Kuch Kar Dekhayengi

DJs - A Creative Unit

2008-2009

NDTV Imagine

Story & Screenplay

Monica Mogre

Beyond Dreamz Productions

2008-2009

Zee TV

Story & Screenplay

Ramlal’s Since 1947

DJs - A Creative Unit

2008-2009

Colors

Created by

Khottey Sikkey

YRF Television

2008-2009

SET India

Created by

Untitled Television Series*

Magic Works/Rohit Roy Productions

2008-2009

Zee Next

Developed by

12/24 Karol Bagh

Sunshine Productions

2009-2010

Zee TV

Story & Screenplay

Uttaran

Kalyan and Rupali Guha

2009-2010

Colors

Screenplay

Fauji II*

Idiot Box/Red Chillies Entertainment

2009-2010

Colors

Script Head

Porus and Alexander*

Endemol Shine India

2009-2010

-

Created by

Chhoti Si Zindagi

Hats Off Productions

2009-2010

Zee TV

Story & Screenplay

Untitled Television Series*

Big Synergy Media

2009-2010

SAB TV

Created by

Cornetto Love Reels

Idiot Box/Red Chillies Entertainment

2009-2010

Channel V

Screenplay

 

*Shows were commissioned by the producer/broadcaster, but did not go into production.

 

 

 
 

Networks


The shows I've written have been broadcast on every major domestic and international television network operating in India.

  • Colors (VIACOM India)
  • Channel V (Fox India)
  • NDTV Imagine (Turner India)
  • SAB TV (Sony India)
  • Sony Entertainment Television
  • Star One (Fox India)
  • Star Plus (Fox India)
  • Zee Next
  • Zee Television
 

 
 

The Indian Television Industry


Credits Explained

A television show in the Hindi GEC (General Entertainment Channel) market has three primary writing credits: story, screenplay, and dialogue.

While the story is consistent with international practices, the screenplay bears little or no resemblance to what is considered a screenplay in the United States.

The screenplay contains a description of the action and indicative dialogue. The screenplay - in the Indian context - is closer to the American treatment than the American screenplay.

The screenplay is often written in English, whereas dialogue is written in either Hindi or Hindi transliterated into English.

I've written the story and screenplay for well over a thousand episodes of primetime television or over thirty thousand hours of original content.

 

 
 
Sometimes you have to wander a bit, and do what you don’t want to in order to figure out what it is you’re supposed to do.
— Larry David
 

 

2000 was a watershed year for Indian television. Prime Time shows mutated from half hour weeklies to half hour dailies. The programming became increasingly restricted to the domestic space and was often regressive, particularly in the depiction of women. Jassi Jaissi Kohin Nahi, from here called Jassi, went on air in 2003 and was a major breakthrough in counter programming. Jassi was a bright, educated, working woman who made her way in the world with determination, intelligence, and a lot of moral fiber. Jassi was on air for well over 500 episodes. It was a challenging show to write; every episode underwent immense scrutiny by the network and had near impossible deadlines. Unfortunately, the counter-culture that Jassi sparked did not set the ratings on fire for long enough, and Jassi's challenge to the dominance of conventional soap operas was relatively short lived. Yet, I'm extremely proud of the work we did on Jassi.

When Left Right Left premiered in July 2006 it was a one of a kind show on Indian television. Set in a military training academy, the show explored the lives of six young cadets who did not want to be there. LRL, as it was most often referred to, delved in to everything from contemporary attitudes towards patriotism, revenge, spies, nuclear codes, heartbreaks, friendship, and role models. The show was immensely popular among a teen audience, and spawned several future stars of Indian television. LRL had two major challenges for a screenwriter. A really short turnaround time meant that research into military training practices and procedures wasn't always possible, so it was difficult to make the character's actions seem authentic. And, unlike other shows on Indian television, LRL went through season breaks, and a complete location and cast overhaul. LRL was on air for over 400 episodes.

Khotey Sikkey was a bitter sweet experience. I created the show for YRF Television, the television arm of one of India's largest film studios Yash Raj Films. Though I consider some of the writing on this show to be among my best work, the show came at the fag end of a productive five-year run, and I was too burnt out to make it count. For the first time in a long career, I missed deadline after deadline. The producers were extremely patient and supportive, but as the production kicked into gear, and the scripts stopped trickling in, even they lost patience, and I was replaced as the screenwriter. Khotey Sikkey was the last show I developed in India. In many ways, it is the show that set me off into a new direction. Thus, here I am.

Most of my television writing has been atypical or alternative. I've had very few brushes with the emotionally saturated Mumbai soap factory. 12/24 Karol Bagh...,from here just Karol Bagh, has several elements in common with the conventional Indian daily soap: a large family, a heroine with a social problem, unrequited love stories, economic struggles, etc. However, Karol Bagh dealt with several themes that were sparsely seen - if ever - on Indian television: date rape, pre-marital sex, abortion, a nuclear family, and an overweight heroine struggling to assert herself. Karol Bagh was a very hard show for me to write because of my lack of familiarity with conventional soap structure. Yet, it was precisely because I was an outsider to this world that I could able to inject some of these themes into the structure of the show.