Acclaimed screenwriter and filmmaker Biplab Goswami on Tuesday offered aspiring storytellers a rare glimpse into the creative, emotional and often uncertain journey of screenwriting, stressing that there is no fixed formula for crafting compelling stories.
Speaking at a workshop titled From Idea to Outline: The Anatomy of a Scene during the 19th Mumbai International Film Festival (MIFF) 2026, Goswami, best known for writing the critically acclaimed Laapataa Ladies, encouraged participants to trust their instincts, embrace uncertainty and remain committed to their stories despite setbacks.
Goswami described storytelling as a deeply personal process that evolves differently for every writer. “There is no formula,” he said repeatedly throughout the session. “Sometimes a story emerges from observation, sometimes from a trigger, and sometimes it simply arrives on its own. There is no fixed route.”
The writer spoke candidly about the challenges of sustaining creative momentum in an industry where promising ideas often struggle to find financial backing. He said writers must continue developing stories even when a producer is not immediately available. “You may have a good story, but no producer. That can be discouraging. But if you truly love cinema, you continue regardless,” he said.
Describing filmmaking as an all-consuming passion, Goswami noted that cinema demands an unusual level of dedication and obsession. “Cinema is not for everyone. You have to be mad about it. Hungry for it. Sometimes absent-minded because you are constantly living inside stories. Only then can you survive the process,” he remarked.
Sharing the evolution of Laapataa Ladies, India’s official entry for the Oscars in 2025, Goswami revealed that the story was first registered in 2014 as a collection of just 22 scenes. The screenplay underwent years of development before finally reaching audiences. “Life happened in between. I had to survive financially. By the time the film was released, the world had changed. The challenge was figuring out how to tell yesterday’s story to today’s audience,” he said.
The screenwriter described the process as emotionally demanding, requiring years of reflection, revision and persistence. “When I write, I watch the film on an imaginary screen. I become the first viewer. Then I imagine how audiences will watch it and even how scenes will be edited,” he explained.
Rejecting rigid storytelling frameworks, Goswami argued that every narrative develops its own rhythm and structure. “I don’t focus on theories. I focus on the story. Cinema is ultimately storytelling,” he said.
Addressing concerns commonly faced by new writers, he advised participants not to become overly anxious about process or format during the early stages of writing. “Sometimes I start with a single line. Then it becomes a synopsis. Then scenes emerge. At other times, I write scene by scene from the beginning. There is no rule,” he noted.
According to Goswami, persistence and self-belief are more important than mastering technical formulas. “First, believe in yourself. Then keep writing in whatever way works for you. Later, when you present it professionally, you can structure it according to industry standards,” he said.
He also cautioned against seeking shortcuts to creative success, arguing that writing remains one of the most demanding aspects of filmmaking. “Observe people, relationships, expressions and society. Those observations become your characters and your stories,” he said.