A.SWA is a trade union and not a film production company or employment agency. We can’t help our members find work. However, we do help our members with opportunities of networking and exposure with workshops, pitching sessions, conferences etc.
A.SWA is a trade union and not an employment agency. We neither differentiate among our members on the basis of skills/talent nor do we read/judge their scripts. Thus, we can’t help you find a writer or scripts.However, you may opt to advertise with us on our website provided you’re a member of one of the Producers' Association. Write to firstname.lastname@example.org
A.SWA does not share personal details of members with other members or non-members or agencies, without the strict written permission of the member whose details have been requested. (However, in matters of dispute, with the express permission of the General Secretary, a member's details can be shared with a legitimate agency.)
A.No. However, most of the producers will ask you to register your script/work with SWA, as it’s the correct and professional way to function. Furthermore, it helps if you run into any problems with fellow writers or Producers/Directors in matter of Copyright, credits, remuneration etc.
A. Yes. Our Dispute Settlement Committee will help you in such a situation; provided you’re able give adequate proof of Copyright infringement/ theft and if the said work was registered with us.
A. The Online Script Registration system asks the user to upload a PDF and counts the number of pages. Once the payment is confirmed, it generates a registered PDF with a SWA registration number and unique digital ID, stamped in a QR code. The QR Code retains the registration details. The user is shown a temporary link through which he or she can download the registered soft copy. Additionally, one can also get an email at the registered email ID carrying the registered soft copy as an attachment.
The following are the TECHNICAL INSTRUCTIONS for Online Script Registration:
1. Any attempt to tamper with the document will invalidate the digital signature and cancel the registration.
2. For secrecy and security purposes, SWA website DOES NOT save your files/work. Therefore, only you are responsible for the safekeeping of your Registered Files.
3. You can register a maximum of FOUR Articles per transaction by uploading FOUR PDFS. However, registration of multiple Article/Songs/Mukhda in a single PDF will lead to cancellation of the registration.
4. You can also add a maximum of TWO Co-authors per transaction. However, due to technical limitations, while adding Co-author/s you won't be able to add multiple PDFs.
5. DO NOT proceed with payment if the number of pages is shown incorrect. If there is discrepancy in the number of actual pages and the payment calculation, it will lead to cancellation of the registration.
6. Avoid apostrophes and special characters in the script title.
7. UPLOADING THE RIGHT PDF FILE:
. Acceptable Font size is 12-14 (standard single spacing).
. DO NOT upload PDFs having scanned images. Use only PDFs of text documents
. . The PDF file must be A4 size with portrait orientation (landscape not accepted).
. There must be a margin of 1 inch on top and bottom of every page of your work.
. DO NOT protect your file using any password. Password protected files will not be processed by system.
DO NOT include any Header or Footer in your file. They will be inserted by the system as proof of registration.
A. An email is sent to your registered email ID after every registration, carrying the registered PDF as an attachment. However, it may take a few minutes for this email to come to you. If you don’t receive the email even after a few hours, contact Technical Support.
A. May be, your PDF file had a compression ratio that is not compatible with our online system. Try again with a different PDF. If the money was deducted but the script was not registered then please contact Technical Support giving you transaction number. We will cancel your transaction and money will be credited to your account. Online free PDF convertors and free screenwriting softwares like CeltX can cause this problem. Use MS Word (or Mac Word), which have standard compression ratios, to convert your files to PDF.
A. You shall find only the scripts/work that you registered online after July 2014. Documents registered before this month were taken down from the website after repeated reminders and a year of notice on the website. Also, documents registered manually at our office won't show online.
A.Check your Membership Validity on the membership card. It might need a renewal.
A. SWA members can email to our Legal Officer and take consultation. They can also our Legal Officer by taking a prior appointment. (Appointment timings: 3.00 -6.00 PM, Monday to Friday) Write to our Legal Officer, here.
A. No. Our Legal Officer provides consultation exclusively SWA members.
A. No. This service is free of charge.
A. No. One can meet our Legal Officer only at SWA office after taking a prior appointment. (Appointment timings: 3.00 - 6.00 PM, Monday to Friday)
A. While the SWA’s Legal Officer can certainly guide and advise its members on an existing contract, the services of drafting a contract for the writers does not fall in the dominion of the services of Legal Officer. However, we do have a database of competent advocates who can offer these services to you either for free or for a subsidized cost.
A. A fair contract, respectable remuneration as per Industry standards, freedom of speech (to be exercised in an accountable manner), due recognition and appropriate royalties are few of the basic rights which a writer possesses by default. Read about the intellectual property rights of writers, sanctioned by the Amended Copyright Act, here.
A. Foremost, do not pitch/disclose your work to anyone, including a friend/family member/relative before having it registered, either with SWA or the Copyright Office.
Avoid pitching your work through personal meetings and/or on the phone. It is always advisable to have a paper trail in case of copyright theft or breach of confidentiality, and hence, email is a preferable mode of pitching your script to the producer and/or any other individual.
As far as possible, always insist on pitching the script to the official email ID of the person associated with a production house. Do not share your script without insisting on a Non-Disclosure Agreement (“NDA”) even if it is with a trusted individual. A standard template of the NDA can be found here.
If you are unable to enter into a Non-Disclosure Agreement with the person you pitch your script to, at least ensure that you include a disclaimer of confidentiality in the email containing your script as an attachment. You may refer to the following sample disclaimer, modified as per your requirement:
“DISCLAIMER: This email contains confidential and privileged information, being shared with the recipient in trust. The information is being shared with the recipient only for the purpose of pitching [the script/concept] to the recipient and in case the recipient does not want to proceed to work with the author on the same, he may not save and/or retain the information in any form and delete and/or discard the same upon reaching such decision. Further, the contents of this email are not to be shared with any third party without the explicit permission of the author of the [script/concept], and any such sharing of information otherwise than with the consent of the author shall amount to a breach of confidentiality and trust and the author reserves the right to pursue legal action against the recipient in the occurrence of such breach of confidentiality.”
If you pitch your work to the producer through a personal meeting and/or narrate your script to the producer in person, always maintain a record of such meeting by sending an email to the producer either before or immediately after such meeting, detailing the discussion you had or are scheduled to have at the meeting.
A. An idea or concept is a seed, germ of a thought; which has not been worked upon to its capacity. An idea or concept, by sheer co-incidence can strike to more than one person at different time intervals. The best practice is to develop your ideas and concepts into treatments or stories and get them registered before narrating to anyone.
A. Screen Credits, are the titles that appear on the screen when the film/show is shown/aired. Your contract must state what credit/s you'll get and in what order they will appear. You can also negotiate on marketing related credits (like on posters, hoardings and other publicity etc.) by incorporating clauses about the same in your contract.
Do not sign the contract before thoroughly reading and understanding each and every covenant of the agreement. If you are unable to understand any of the clauses in your agreement, consult a legal expert to have it explained. SWA now offers this guidance to its members through its Legal Officer, free of charge.
As much as possible, insist on a ‘copyright assignment agreement’ agreement rather than a ‘work-for-hire’ or ‘commissioned work’ agreement.
Make sure that the amount of consideration is broken down in various stages/tranches instead of a one-time payment of the bulk amount. This would ensure that if the contract is terminated abruptly, you are at least paid a compensation due to you till the stage of such termination.
Section 19(4) of the Copyright Act, 1957 gives you the right to have the rights in your work revert back to you in case of non-use by the producer of such rights within a year. However, such right is waivable through the contract. See if your contract requires you to waive your right under Section 19(4) of the Copyright Act. If it does, ensure that there is at least a clause in your agreement that the producer would have to return your rights to you or that such rights will automatically return to you if not used by the producer for a specific period. This would ensure that if the producer acquires the right in your script and later does not end up making a movie on it, he cannot keep the rights in your script in perpetuity.
Termination – make sure that your termination clause is not one-sided and unfair. Ensure that your termination clause address the question of who shall retain the rights of your script upon termination of the contract by either of the parties: In case the producer wishes to retain the rights over the script upon termination, ensure that there is a clause to the effect that the rights over the script shall not vest with the producer till the consideration due to you till the stage of termination is paid to you.
Credit – Ensure that the credit clause survives termination of your agreement. Even if the agreement is terminated by either of the parties, you shall still be credited for your work.
Royalty – Make sure that your contract addresses the percentage of royalty due to you for your copyrighted work. Your royalty is separate from the consideration and any clause which states that royalty is included in the consideration is not valid. Your royalty is and should be separate from your consideration.
Make sure that your contract specifically mentions and lists down the particular rights which are being assigned to the producer rather than merely stating ‘all rights.’
Union/Guild Jurisdiction – Ensure that the jurisdiction of SWA or any other writer’s union/guild is not excluded from the contract. If there is a dispute at a later date and the writer has waived the right to raise any grievance with or raise the jurisdiction of his or her union/guild, such union including SWA shall not be able to intervene to resolve the dispute on your behalf.
These are only the basic clauses that one needs to look out for in the contract. However, other than ensuring the presence of these above clauses, do study your agreement thoroughly for other clauses that might pose a potential danger to you.
A. No. Both the parties sign one single mutually agreed contract.
A. No. There are different contracts for Films, Television, Digital Media and Songs.
A. Yes. Refer to our Minimum Basic Contracts (Film, TV, Lyrics, Digital) here. Although strongly proposed by SWA, the MBCs are still at a conceptual stage and not yet approved by Producer Bodies. Also, they may have certain minor provisions missing. Use them as models for drafting your contract, making modifications as per your requirements.
A. Your contract will determine what will happen when such a situation arises. A contract normally will have specific termination clauses. Therefore, do ensure beforehand that the contract you sign is in conformity with the basic terms and conditions as stated above.
Request the producer to enter into an agreement with you for assignment of copyright in your script. Do ensure that the agreement is in conformity with the basic terms and conditions as stated above.
If the producer is unable to enter into a full-fledged agreement at the moment, request the Producer to at least enter into a Memorandum of Understanding (MoU) with you for a copyright assignment/license in your script before you work on any modifications suggested by the producer. An MoU is a preliminary document crystallizing the intention of the parties to enter into a Long Form Agreement at a later date. Please note that an MoU is not sufficient by itself and is only an understanding between the parties of the basic terms and conditions of their deal. Do not sign the MoU or any other legal document to that effect without reading and thoroughly understanding it and preferably having it examined by a lawyer.
A. An agreement forms a legal relationship between the parties where one party promises to deliver the goods/services (which, in your case, is the script/screenplay) and the other party promises to pay a valuable consideration for the goods/services in return. When such a legal promise is entered into, the breach of such promise (by either parties) would naturally attract a penalty in the form of damages.
The party breaching the promise has to compensate the party who suffered a loss (monetary or otherwise). Avoiding a contract or non-performance of a contract amounts to a breach and would entitle the producer for compensation from you for the losses suffered due to your breach.
The amount for compensation of such losses would vary from case to case and would solely depend upon the contract you have entered into.
A. The term of validity of each contract differs and is completely dependent upon the wordings of your own contract. The termination and term of copyright also depend solely upon what your contract sets out.
A. NO, The writer has the most bargaining power to set out the terms of his contract fairly before such contract is signed. Once the contract is signed, no such oral promises of signing a better contract in the future are valid. A written agreement signed by both the parties supersedes any other oral agreement that the parties may have had. Do not sign any unfair contract based on the promises of a better contract in the future and/or assurance of the producer or any other parties that these unfair terms shall not be enforced on you. Any changes that you want present in your contract have to be made before you sign such a contract. Do not sign a contract unless you are completely satisfied of its fairness towards you.
A. SWA is speaking to experts on this issue and shall come up with a consolidating answer shortly.
A. Assuming that the agreement was executed in Bombay and governed by the Bombay Stamp Act:
Stamp duty value for a copyright assignment agreement:
(a) if the amount agreed (i.e., your consideration) does not exceed rupees ten lakhs - Two rupees and fifty paise for every rupees 1,000 or part thereof on the amount agreed in the contract subject to minimum of rupees 100.
(b) in any other case - Five rupees for every rupees 1,000 or part thereof on the amount agreed in the contract.
For Non-Disclosure (Confidentiality) Agreement: Since the same is not expressly stated under the Stamp Duty Act, it is my opinion that it will fall under the ‘miscellaneous’ category, for which the stamp duty is Rs. 100. The question of who pays the stamp duty would be usually addressed by your contract itself. However, the payment of stamp duty is flexible and can be paid by either parties or divided between both the parties, as per the parties’ mutual decision.
A. The rule of thumb for screenwriting fee is 2-5% of the total production budget. However, it largely depends upon the negotiations between the Producer and the writer. SWA is in the process of negotiating standard minimum wages with the Producer bodies. See the Minimum Rate Cards proposed by SWA, here.
A. Usually, before you pitch your script/screenplay to the Producer, you are asked to sign a ‘release form’ or a ‘submission release’ which states that you shall not sue production company or be entitled to any compensation on the occasion of any similarities between the material submitted by you and any material which may be developed or is under development by the production house.
It is a standard industry practice for producers to make writers sign such release forms, wherein the writers waive their right to sue the producer or claim compensation in case of any similarity between their submission and any project that the producer may undertake.
While this is done primarily to protect the legitimate interests of the producer, because it is quite possible that several writers may co-incidentally pitch the same story idea to the producer, or the production house may itself through its in-house team of writers be in the process of developing a similar idea, the legal wordings of such release forms are often quite harsh and skewed against the writers.
Please be assured however, that no release form/submission release can provide a producer a licence to commit copyright theft. If the writer can prove that his/her submission was actually stolen by the producer, then irrespective of the release, the writer can seek a legal remedy against the producer.
However, having said that, never sign away anything without first having understood it and weighing the implications of signing the document. What rights you are essentially signing away entirely depend on the wordings of your particular release and SWA would always advise you to have your release looked over and explained to you by a lawyer before you sign it.
A. You can approach the DSC to resolve matters concerning your Copyright infringement, remuneration and credits. Learn more about DSC, here.
A. No. SWA is a trade union, and its DSC provides support only to its members.
A. Try for a settlement, one last time, by formal email. You can also consider taking legal consultation from our Legal Officer. To file a complaint, submit the duly filled and signed DSC Complaint Form with the required documents. Learn more about filing a complaint with our DSC, here.
A. You should come to the DSC and they shall take your case forward. Taking any legal action without following the proper procedure would bar DSC to intervene at a later stage.
A. Yes. The DSC can accept a case if there is enough evidence of Copyright infringement in the form of emails, text/Whats App messages etc. In absence of a contract, the DSC follows the Minimum Rate Card proposed by SWA.
A. Only if there is some kind of compensation generated towards the writer, as and when the case is resolved, 5 percent of it goes to SWA.
A. No. The Dispute Settlement Sub-Committee of SWA only takes up disputes related to films, TV and digital media.
A. No. This is not allowed as per DSC’s protocol and the procedure prescribed in the DSC Bye-Laws.
A. No. This is not allowed as per DSC’s protocol and the procedure prescribed in the DSC Bye-Laws.
A.You can appeal against the verdict of the DSC, to Executive Committee of SWA.
A. Yes, registration is the prima facie proof of your copyright Authorship. However, this is not proof of copyright ownership.
Registering your literary and dramatic work like story, screenplay, script, etc. (Work) with Screenwriters Association (SWA) means creating a public record of the Work. Further, this registration is prima facie evidence of your authorship. For example, if two people have registered the identical story on different dates. Subsequently, a dispute arises regarding the real author of this story. The adjudicating authority shall first look into the date of the registration. The person who has registered first shall be considered as prima facie author and, the burden of proof shall shift to another party who denies the same. Let’s assume another scenario to understand the benefit of the registration. Mr. A released a film on 5th October 2020. Mr. B released another film with a similar storyline year 1st January 2021. Now, Mr. A sues Mr. B for copyright infringement. Mr. B can defend himself if he proves that he has registered the script of his film before 5th October 2020. Act of registration shows that the Writer is the prima facie author of the work. It is the reason why most of the production houses/platforms accept only registered work to consider. Apart from legal protection, SWA registration is widely accepted in the industry. Sending a registered work through a proper channel appears more professional than randomly sharing your unregistered work.
A. We discourage the registration of a one-liner/Concept. Please convert your one-liner into a brief story (2 pages minimum) before you register. Please note that copyright law does not protect an idea/concept but the expression of an idea. So, even if you register an idea/concept/one-liner, it shall not provide you any protection.
A. Not at all. We register the work at your undertaking that the work is your original work. So, you can register only the work that is authored/co-authored by you.
A. Merely the similarity in two words is not sufficient to successfully claim copyright infringement. If your work is unpublished then you need to prove the following two elements;
a) Point of contact: You need to prove how the person (against whom you are claiming copyright infringement) got access to your work. And;
b) Substantial similarity: The expression of both works is substantially similar. It means the unique features of both works are strikingly similar to viewer/reader. Please note that Generic similarities do not account for copyright infringement.
A. Yes, almost always, except (a) your work is already published (b) other person's work is 90-100% similar (almost identical baring some superficial changes) to your work.
A. Copyright does not protect an idea. So, you cannot sue someone for copyright infringement based on the similarities in the idea/concept. Two people can legally express the same idea in two different manners. However, there may be a case of breach of confidentiality if you have shared a detailed idea as confidential information and the receiving party has misused that information.
A. No. DSC shall entertain your dispute/claim of copyright infringement to mediate if you have a valid case as per the provision Copyright Act, 1957. DSC is a mediation body and it has to act within the framework of the law of the land. Any superficial claims shall not be entertained.
DSC is a mediation body. If you have a valid case, DSC shall make it best effort to reach out to the other party and amicably resolve the dispute. However, it does not have a power to issue injunction (like stopping the telecast/broadcast/streaming). Only the Court of law having appropriate jurisdiction can issue such order.
A.Registering your literary and dramatic work like story, screenplay, script, etc. (Work) with Screenwriters Association (SWA) means creating a public record of the date of the creation of your Work. Means, the registration is prima facie evidence in the case of the dispute related to first date of creation of work.
For example, if two people have registered the identical story on different dates. Subsequently, a dispute arises regarding the real author of this story. The adjudicating authority shall first look into the date of the registration. The person who has registered first shall be considered as prima facie author and, the burden of proof shall shift to another party who denies the same.
Let’s assume another scenario to understand the benefit of the registration. Mr. A released a film on 5th October 2020. Mr. B released another film with a substantially similar/identical storyline year 1st January 2021. Now, Mr. A sues Mr. B for copyright infringement. Mr. B can defend himself if he proves that he has registered the script of his film before 5th October 2020. Act of registration shows that the Writer is the prima facie author of the work. It is the reason why most of the production houses/platforms accept only registered work to consider. SWA registration is widely accepted in the industry and hence, sending a registered work through a proper channel appears more professional than randomly sharing your unregistered work.
A. Registerable Work includes dramatic/literary work like scripts, treatments, synopses, outlines, stage plays, novels, short stories, poems, commercials, lyrics, and various media work such as Web series, code, and other digital content, under the categories provided under 'Type of Creation' which are the following – Synopsis, Story, Script, Screenplay, Dialogue and Song.
An ‘idea’ cannot be protected under copyright. Hence, we suggest you to develop your ‘idea’ into ‘expression’ and then register it.
A. The primary purpose of registration is to establish the completion date of a literary/dramatic work.Though mere registration cannot prevent plagiarism, it can produce the registered material to any legal proceeding or arbitration in a dispute related to the first date of the creation/existence of the Work to verify the authorship of the same. SWA does not read the registered work, nor does it give legal opinions, advice, or inference to the authenticity of the content of the registered work. SWA can only testify to the date of the registration of a specific work.
Note, SWA registration cannot be used as prima facie evidence in the case of the ownership related dispute of a literary/dramatic work.
A. An author has to give the following declaration while registering any work with SWA.
I, ______ aged _______ s/o OR d/o Mr./Ms. ________ hereby solemnly undertake and declare that;
A. I am the author of this literary/ dramatic work (Work). In the case of co-authorship work, I have taken permission from my co-authors before registration. Further, I have declared the name of the co-authors while registering the Work.
B. If I am the Author but not the Copyright Owner of the Work, I have taken due written permission from the Copyright Owner to register the Work.
C. If the Work is a derivative work, I have duly taken written permission from the original author/owner to create this derivative work.
D. I understand that the purpose of registering the Work with SWA is only to create a record of the date of the creation of my Work.
E. This Work (along with its underlying works) does not infringe the intellectual property rights or any other related rights of a person or entity. In case it is found the contrary, I understand that registration will automatically stand cancelled. Besides, I will be solely responsible for the legal and disciplinary consequences whatsoever.
F. I fully understand that any tampering with this document will make this registration null and void. I declare that I have duly read and understood the rules and regulations, and FAQs of SWA regarding the registration of a work and membership eligibility criteria.
G. I understand and acknowledge that SWA does not read, access, verify, make copy, store, etc. of any material/Work that I register with SWA.
H. All the information I have provided to SWA while registering this Work is true and accurate, and I have not concealed any material fact herewith.
I. I shall fully indemnify and defend SWA for any cost and losses incurred to SWA due to any proven claim of the infringement of copyright, personality right, privacy right, life right, defamation, related rights or any civil/criminal claims arising out of this registered Work by any person at any point of time.
J. If I violate any of the above undertakings, SWA is entitled to (a) cancel the registration immediately (b) take legal and disciplinary action against me. As a consequence of registration cancellation, I cannot use, transfer, store, distribute, make available to public or exploit the registered Work in any manner whatsoever. Further, SWA shall not testify regarding the date of the registration in case of an authorship dispute.
K. I further affirm that I understand the content of this declaration and accept the same. All the information and statements mentioned hereinabove are true and correct to the best of my knowledge, belief and understanding. If anything mentioned above is incorrect, I understand it will be an offence of Perjury, and I will be solely responsible for the consequences arising thereafter Including but not limited to legal action, disciplinary action, cancellation of registration, publicly announcing the default wherever SWA deems appropriate, along with your details, or any other action as SWA deems fit.
A.The purpose of the registration with SWA is to make a record of the date of the creation. SWA does not read/verify the content of the work. It relies on the detailed undertaking given by the author while registering the work.
A.Yes, but you need to take the permission of the copyright owner in writing.
A.Yes, but with the permission of your employer in writing.
A.No. Only the author of the script can register it at SWA. In the content of the work, the author can mention that the script is commissioned by you/your company.
A.The nominal registration fee helps SWA maintain the overhead expenses and the administrative costs of its registration department.
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A.General information like Name of the member, Registration Number, number of pages, title, date and time of registration and declaration are saved with SWA (Saved Details). A member shall have access to the registered work temporarily saved in his/her account for five (5) days counting from the registration date. The registered work will automatically get deleted from the account and SWA server after five (5) days. It is clarified only the person who has registered the work shall have access to the work in this period and no SWA Staff can access/read the registered work at any time.
A.No, your personal information shall remain safe with SWA. However, in case of judicial intervention, SWA shall disclose such personal information as required by the Court of law, any relevant authority/tribunal and/or law enforcement authority.
A.No, titles are not registered with SWA.
A.No, registering your work with SWA does not take the place of registering with the Copyright Board of India. SWA registration is the proof of the date of creation of your Work. It can be used as a prima facie evidence in the case of authorship dispute.
A.Even if you have copyright registration by the Copyright Board of India, registering with SWA creates a separate record for the date of the creation of your material. SWA registration is not in parallel with copyright registration.
A.If there is a dispute pertaining to authorship or sequencing of material by date, then registration may be relevant. Our Dispute Settlement Committee (DSC) also shall help determine credits if a dispute is put forth for mediation.
A.Only the author who registers the material has access to the registered material or submission. With utmost regards to the confidentiality of your work, even SWA staff has no access to the registered work. However, in judicial intervention, SWA shall provide access to Saved Details (as defined earlier) to law enforcement authorities as required.
A.Yes, SWA can cancel the registration of your script if the Dispute Settlement Committee of SWA observes (a) you have violated the terms of the declaration given at the time of registration (ii) you are not the author of the work. SWA can cancel your registration also to comply with an order of the Court.
A.Work registered with SWA remains valid unless it is cancelled by SWA on the ground mentioned above.
A.Material once registered cannot be changed. However, you may register multiple drafts.
A.The following procedure is followed while registering work offline at the SWA office:
a. The member shall first sign the undertaking, make the payment for registering the material, a receipt shall be generated for the same.
b. The SWA staff shall duly put a date stamp and SWA stamp on each page of the material submitted.
c. The member shall then go to the Registration officer sign each page of the material. He shall also give his authorization in writing on the first page of the material submitted.
d. The Registration officer shall then hand over the registered material back to the member. In this process, no SWA staff/officials read the material and/or make/retain any copy of the same.
A.No, SWA members and other staff maintain the strictest confidentiality while dealing with registered material. Plus, SWA does not store/access/read/retain any copy of your registered work in its system permanently either in online or in offline registration.
A.Only the author of the work (natural person) who has written it can register it. A company can be the owner of the work but not the author.
A.Yes, provided you are a member of SWA.
A.Once you become a member with SWA, you get the option of registering your work at our office or via our website.
A.No. Whether one registers at office or online, the Association DOES NOT store or archive any member’s script/work, for secrecy and security purposes.
A.You can get a handwritten manuscript registered at the SWA office, if it follows the prescribed guidelines. However, getting your material typed and generating a PDF is a prerequisite if you're registering online at our website.
A. Number all the pages. At the top of the first page leave space for a paragraph for the SWA registration stamp and signature. The title, category of work and the name of the writer should be clearly written at the top of the first page, right before the main content. You can register multiple Songs/Mukhdas in one document but do number and title them specifically and clearly.
A. No. You can either do it in person at the SWA Office or register online on the website. However, your representative can also register the script/work on your behalf at SWA office provided he/she carries your valid SWA Membership Card.
A.Yes. You can register work in all Indian scripts like Roman, Devnagari, Urdu, Tamil, Gurumukhi etc. at our office as well on the website.
A.Yes, it is advisable to register ALL the drafts of your script/work, at every stage of rewrite before you share it professionally.
A.Yes. SWA’s Script Registration process is recognized and abided by the film industry as well as the entire body of film associations. However, it’s advisable to share only the registered softcopies (or the Xerox of the registered copies) as a deterrent to any Copyright infringement.
A.You may contact the Registrar of Copyrights (Copyright Office), Delhi.You can email your script/work to yourself. The date on email will serve as a proof of your copyright on that particular date.There's also an option of mailing your script/work to yourself by registered post. The sealed envelope, date of the registry and the receipt will collectively serve as proof of your copyright on that particular date.