An engineer getting struck to the glamourous TV industry and becoming an actor is an old tale. But here was a young boy who dared to come out of his small town to be a writer in Mumbai. Holding dreams close to his heart, Virendra Kumar Shahaney has today, emerged as one of the finest writers in the TV industry. Soon he moved to Sony Entertainment Television as a creative director and having enjoyed his stint there for some time, he has finally settled as a producer with his first show Main Naa Bhoolungi under his banner Dancing Water. In a talk with Tellychakkar.com, Virendra talks about the way the industry functions and how he would like to bring about a change by way of his show. Excerpts from an enriching tete-a-tete. Read on… Let’s start with your journey in the industry? Well, that’s quite a long story and filmy. As I passed out with an engineering degree in the year 1997, I was sure that this was not what I wanted to do as my interest lay in storytelling. And coming from a small town village in Madhya Pradesh, I just didn’t want to run away to become a writer and sideline my responsibilities but instead wanted to work and earn. That led me to Mumbai. And so you found your calling here? Well yes, I knew one can only make use of his writing for newspapers and ad agencies. And since I did not have any background in journalism, I soon started visiting ad agencies seeking a job. Though I had no experience behind me, I would churn out good stuff in a jiffy when they told me to give content and that showed my mettle. Along with that my attitude of ‘I can do it’, made me gram some good offers soon. And I soon settled down in the city working as a copy writer. Then how come TV happened? To be honest, I feel I was fortunate to have made an entry into the industry when it was just shaping up. Since there were just a few people in the industry then, it helped us get good positions. One of my friends who happened to know B P Singh (Fireworks Productions) introduced me to him after which he offered me to join his team. And that was the take off point of my TV journey. Then how come you moved to be a creative director next? I didn’t just move out hurriedly but did so after a long journey of 10 years. After all every individual wants to grow and take more responsibilities and so did I. I started off as a creative director with Agle Janam Mohe Bitiya Hi Kijo for which I worked as a writer too. After that I moved to Sony Entertainment Television where I worked with some wonderful shows like Parvarrish when the channel was doing favourably well. The thing is one always looks for ways and means to channelize his/her creativity in different spheres when you tend to get bored of a monotony of work. So monotony made you start your production company, Dancing Water? (Laughs) In some way, yes and then having been in the industry for so long, I felt I had grabbed the right vision about how this industry works. And as a writer, I also knew what the likes and dislikes of the audience and what the medium is all about. And moreover I believed as a producer I knew I would get the freedom to experiment with subjects I believe in. You are talking about experiments, yet you went ahead with a done-to-death subject with your first show Main Na Bhoolungi? (Sounds uncomfortable) Now you have basically touched a raw nerve with this question. (After a pause) When I planned to produce a show I went around with variant scripts to everyone but sadly not even one channel dared to take it though everyone appreciated my work. Those scripts are still lying unused with me. Main Na Bhoolungi was the last choice, and since the channel wanted to go with it, I too gave in. So what is the reason of the industry still being apprehensive of taking risks? See, primarily a lot of money is involved and everyone is desperate to make their show work. To target fresh audiences, nobody wants to lose on their already accumulated viewers and thus go with safe bets. Like for instance, the makers of 24 did take that risk but in the bargain it could not garner the required number, but at least they did try. I feel audiences today are ready to accept fresh shows but there should be someone who is ready to stand up willing to take the risk and inspire all. So will that be you in the coming days? (Laughs) Let’s see how things go, but I have definitely made up my mind that unless I get a chance to do things my way, I am not making any other show. Coming back, why did you decide to work with Yash (Patnaik) and not go solo with your first show? Well, since we both started our career with CID at the same time, I have known Yash for long. And since I had to struggle for a year to get my first show, I was in search of a partner who had specialized experience in production. And I had no one better than Yash for it. Today some characters become a known face. What do you think is the secret to it- the actor or the writing? Of course it’s the writing. Characters make stars out of faces. You might say Ram and Priya got popular in Bade Ache Lagte Hain as Ram Kapoor and Sakshi Tanwar were already known faces. But tell me who knew Deepika Singh when she started off as Sandhya in Diya Aur Baati Hum. Or best, only the angry young man character made Amitabh Bachchan immensely popular. But writers in our industry hardly ever get recognition. Why? It’s because that they lack the will to stand up and claim that they have worked so hard and also ask for credit for the same. But I have seen changes in these years and I am sure it will change a lot more. Also with most writers today turning producers, they can work with their kind of script independently. Now that you are a producer, do you plan to bring changes for the writers? Most definitely, and I did it too by signing three new writers for my show who are working independently. This has brought a lot of confidence in them and as for some goof ups are concerned; I am always there to take control. What is the biggest challenge you are facing as a producer? To be honest, it’s delivering one episode a day that really takes a toll. The team has to be on their toes 24X7 and seeing them worn out and exhausted, I feel pressurized. The compulsion of delivery is really difficult. Also we are sure you must have faced the pressure of TAM ratings as a writer. How are you dealing with it now? Well, its part and parcel of a show and quite reasonable. For, if you can’t deliver numbers you don’t have the right to air the show. Your show should be good enough to catch attention and give you viewership. After having worked in three positions which one do you like the best? I think being a creative director suited me well. It was then I could be in touch with writing and production part too (smiles). Finally, any advice you would want to give out to the people in the industry? I would just say ‘invent’, not just creatively but also by way of production value. And our show is a finite series which I feel is the future of the industry. So try out new things and do not be scared to take risks.